Course Proposal Details for - Early 20th Century Avant-garde Movements in Cinema and Other Arts (Course
code not assigned)
School
School of Literatures, Languages and Cultures
Course Description
An introduction to the major avant-garde movements of the 1920s: Impressionism,
Dadaism, Surrealism, Futurism, Constructivism, and Expressionism. This vibrant
and richly illustrated course examines their presence in cinema and other arts, in
particular painting, sculpture, architecture, and photography. It also provides a
unique opportunity to (re)discover and discuss films by the most influential
filmmakers of early avant-garde cinema. No prior knowledge required.
Normal Year Taken
Year 1 Undergraduate
Course Level (PG/UG)
UG
Visiting Student
Availability
Not available to visiting students
SCQF Credits
10
Credit Level (SCQF)
SCQF Level 7
Home Subject Area
Lifelong Learning (LLC)
Other Subject Area
Course Organiser
Course Secretary
% not taught by this
institution
0
Collaboration
Information (School /
Institution)
Total contact teaching
hours
Any costs to be met by
students
Pre-requisites
LLC BoS 20 March 2013
20
Co-requisites
Prohibited Combinations
Visting Student Prerequisites
n/a
Keywords
Fee Code (if invoiced at
course level)
Proposer
Martine Pierquin
Default Mode of Study
Classes & Assessment excl. centrally arranged exam
Default delivery period
Lifelong Learning - Session 1
Marking Scheme to be
employed
Common Marking Scheme - UG Non-Honours Mark/Grade
Taught in Gaidhlig?
No
Course Type
Standard
Summary of Intended
Learning Outcomes/L01
By the end of this course, students should be able to:
- identify the avant-garde art movements of the first half of the twentieth century
- explain the influence of these movements on cinema
- recognize cinematic avant-gardes of the 1920s
Learning Outcome 2
Learning Outcome 3
Learning Outcome 4
Learning Outcome 5
Special Arrangements
Components of
Assessment
Exam Information
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One 2000 word essay submitted after the course finishes, worth 100% of the total
mark.
Syllabus
Academic Description
Study Pattern
Transferable Skills
Study Abroad
Reading Lists
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OFFICE OF LIFELONG LEARNING
NEW OR REVISED CREDIT COURSE PROPOSAL
SECTION A
Course title
Early 20th Century Avant-garde Movements in Cinema and Other Arts
School BoS
Date of Meeting
SCQF level 7
Credit points
Contact teaching 20 Weeks/days
10
hours
New Y/N
N
Revised Y/N
Y
If replacement,
name of course
replaced
Details of any pre-requisite
There are no pre-prerequisites for this course – open to all.
courses (if any) or other
requirements
Course operational with
effect from (date)
Course proposed by
Malgorzata Bugaj
Contact
bugajm@g
details
mail.com
Course tutor(s)
Include qualifications
10
Malgorzata Bugaj
MA British Literature and Teaching
MSc Culture Studies
Departmental URL
www.ed.ac.uk/studying/short-courses
SECTION B
Short description
of course
An introduction to the major avant-garde movements of the 1920s:
Impressionism, Dadaism, Surrealism, Futurism, Constructivism, and
Expressionism. This vibrant and richly illustrated course examines their
presence in cinema and other arts, in particular painting, sculpture,
LLC BoS 20 March 2013
architecture, and photography. It also provides a unique opportunity to
(re)discover and discuss films by the most influential filmmakers of early
avant-garde cinema. No prior knowledge required.
Intended learning
outcomes
By the end of this course, students should be able to:
-
Contents
identify the avant-garde art movements of the first half of the
twentieth century
explain the influence of these movements on cinema
recognize cinematic avant-gardes of the 1920s
1. The First Avant-garde
General introduction to 1920s avant-gardes.
The First Avant-garde in cinema: Germaine Dulac, Abel Gance, Marcel
L’Herbier and Jean Epstein.
2. Dadaism / Abstract Cinema
Dadaist art and the link between of Dada and Abstract cinema; Clair and
Picabia’s Entr’acte, Man Ray’s Retour a la raison, Leger’s Ballet
mechanique, Richter’s Ghosts Before Breakfast and Duchamp’s Aenemic
Cinema.
3. Surrealism
Introduction to surrealist art Surrealist art.
4. Surrealism in cinema
Films of Luis Bunuel (Un Chien andalou and L’Age d’or), Jean Cocteau
(The Blood of a Poet) and Germaine Dulac (The Seashell and the
Clergyman).
5. Expressionism
Introduction to German Expressionism.
6. Expressionist cinema
Wiene’s The Cabinet of Dr Caligari, Rye and Wegener’s The Student of
Prague, Lang’s Destiny, Murnau’s Nosferatu and Wegener and Boese’s
The Golem.
7. Futurism
Introduction to Italian Futurism and Russian Cubo-Futurism.
8. Futurism in cinema
Short futurist films and Protazanov’s Aelita: Queen of Mars.
9. Constructivism
Introduction to Russian Constructivism.
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10. Constructivism in cinema
Man with a Movie Camera and other films by Vertov, Pudovkin and
Eisenstein.
Transferable skills
Critical thinking, comparative analysis, group discussion
Organisation of teaching
Weekly interactive lectures illustrated with videoclips and followed by
group discussion.
Components of
assessment
One 2000 word essay submitted after the course finishes, worth 100% of
the total course mark.
Indicative essay questions:
1.
Discuss the influence of one of the 1920s avant-garde art
movements on cinema.
Guidance: after choosing one avant-garde movement discussed in the
course (Dadaism, Surrealism, Expressionism, Constructivism, Futurism),
you will demonstrate how cinema is linked with other arts (painting,
sculpture, architecture, and/or photography).You will analyse stylistic
traits and themes prominent in the discussed films and compare them
with the preoccupations of the movement. You should also demonstrate
good knowledge of the discussed movement.
Recommended reading: relevant sections and chapters in the course
bibliography; as general introduction: chapter 1-2 in O’Pray, M., 2003.
The Avant-garde Film: Forms, Themes and Passions. London :
Wallflower and chapters on German Expressionism, French
Impressionism and Surrealism and Soviet montage in Bordwell, D. and
Thompson K., 2008. Film Art: an Introduction. N.Y.: McGraw-Hill.
2.
Discuss how Surrealism plays with both artistic and social
conventions.
Guidance: by focusing on works of art representative of Surrealism (e.g.
paintings, objects, photographs, films) OR the body of work of a particular
artist, you will demonstrate how the movement subverts established
conventions in art and our perception of reality, thus inviting humour,
disorientation or shock. You should demonstrate a developed
understanding of surrealist art and ability to recognise the application of
surrealist theories in artistic practice.
Recommended reading: relevant sections and chapters in the course
bibliography, esp. Kuenzli, R. E. ed., 1996. Dada and Surrealist Film.
London : MIT Press. and Waldberg, P., 1978. Surrealism. London:
Thames & Hudson.
3.
Discuss the influence of political and social factors on Futurism,
Expressionism and/or Constructivism.
Guidance: you will contrast and compare two of these avant-garde
movements analysing political and social conditions that shaped its
origins and subsequent development. You will show good knowledge of
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the discussed movement as well as its historical background.
Recommended reading: relevant sections and chapters in the course
bibliography, esp. Edwards, S. and Wood, P. eds., 2004. Art of the Avantgardes. London : Yale University Press in association with the Open
University, Eisner, L. H., 1969. The Haunted Screen. London: Thames &
Hudson. (Expressionism), Ottinger, D. ed.,2009. Futurism. Paris: Éditions
du Centre Pompidou. and/or Petrić, V. 1987. Constructivism in Film.
Cambridge University Press.
Course Readings
Essential
O’Pray, M., 2003. The Avant-garde Film: Forms, Themes and Passions.
London : Wallflower.
Recommended
Recommended bibliography:
Aitken, I., 2001. European Film Theory and Cinema: a Critical
Introduction. Edinburgh University Press.
Bordwell, D. and Thompson K., 2008. Film Art: an Introduction. N.Y.:
McGraw-Hill.
Edwards, S. and Wood, P. eds., 2004. Art of the Avant-gardes. London :
Yale University Press in association with the Open University.
Eisner, L. H., 1969. The Haunted Screen. London: Thames & Hudson.
Kuenzli, R. E. ed., 1996. Dada and Surrealist Film. London : MIT Press.
Ottinger, D. ed.,2009. Futurism. Paris: Éditions du Centre Pompidou.
Petrić, V., 1987. Constructivism in Film. Cambridge University Press.
Waldberg, P., 1978. Surrealism. London: Thames & Hudson.
Recommended filmography:
Coeur Fidele. 1923. Jean Epstein. France: Pathe Consortium Cinema.
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L’Age d’Or. 1930. Luis Bunel. France: Vicomte de Noailles.
The Seashell and the Clergyman. 1928. Germaine Dulac. France: Delia
Film.
Man with a Movie Camera. 1929. Dziga Vertov, Soviet Union: VUFKU.
The Cabinet of Dr Caligari. 1920. Robert Wiene. Germany: Decla-Bioscop
AG.
Web sources
Class handouts
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Relevant articles and excerpts from books