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Post-Cinema: Technology, Politics, Audiences

General data

Course ID: 4219-SD0080-OG
Erasmus code / ISCED: 08.9 The subject classification code consists of three to five digits, where the first three represent the classification of the discipline according to the Discipline code list applicable to the Socrates/Erasmus program, the fourth (usually 0) - possible further specification of discipline information, the fifth - the degree of subject determined based on the year of study for which the subject is intended. / (0229) Humanities (except languages), not elsewhere classified The ISCED (International Standard Classification of Education) code has been designed by UNESCO.
Course title: Post-Cinema: Technology, Politics, Audiences
Name in Polish: Post-Cinema: Technology, Politics, Audiences
Organizational unit: American Studies Center
Course groups: General university courses
General university courses in American Studies Center
General university courses in the social sciences
ECTS credit allocation (and other scores): (not available) Basic information on ECTS credits allocation principles:
  • the annual hourly workload of the student’s work required to achieve the expected learning outcomes for a given stage is 1500-1800h, corresponding to 60 ECTS;
  • the student’s weekly hourly workload is 45 h;
  • 1 ECTS point corresponds to 25-30 hours of student work needed to achieve the assumed learning outcomes;
  • weekly student workload necessary to achieve the assumed learning outcomes allows to obtain 1.5 ECTS;
  • work required to pass the course, which has been assigned 3 ECTS, constitutes 10% of the semester student load.

view allocation of credits
Language: English
Type of course:

general courses

Short description:

What we know as cinema has never been a homogenous body but really a range of diverse entities. Nevertheless, in the 20th century, most of them utilized a fairly uniform spectrum of formal devices and narrative grooves. In the 21st century, though, a number of transformations and innovations, many triggered by the arrival of digital technologies, make it possible to talk about post-cinema. We will examine these developments and aesthetics through close readings of selected films to discover how they change our ways of thinking about and feeling with the movies.

Full description:

What we know as cinema has never been a homogenous body but really a range of diverse entities. Nevertheless, in the 20th century, most of them utilized a fairly uniform spectrum of formal devices and narrative grooves. In the 21st century, though, a number of transformations and innovations, many triggered by the arrival of digital technologies, make it possible to talk about post-cinema. Some of these departures are spectacular and staggering; others less obvious but no less game-changing. We will examine these developments and aesthetics through close readings of selected films to discover how they change our ways of thinking about and feeling with the movies.

Bibliography:

Selected primary texts:

- Gamer (dir. Mark Neveldine & Brian Taylor 2009)

- Sky Captain and the World of Tomorrow (dir. Kerry Conran 2004)

- Southland Tales (dir. Richard Kelly 2006)

- Paranormal Activity (dir. Oren Peli 2007)

- Detention (dir. Joseph Kahn 2012)

- Unfriended (dir. Leo Gabriadze, 2014)

- Spider-Man: Into the Spider-Verse (dir. Bob Persichetti, Peter Ram-sey, Rodney Rothman, 2018)

Selected secondary texts:

- Shane Denson & Julia Leyda Post-Cinema: Theorizing 21st-Century Film (2016)

- Shane Denson Discorrelated Images (2020)

- Deborah Levitt The Animatic Apparatus: Animation, Vitality, and the Futures of the Image (2018)

- selections of book chapters and journal articles

Learning outcomes:

Upon completing this course, a student:

1. KNOWLEDGE

• has a knowledge of American film in the last two decades

• recognizes key texts of post-cinema

• is aware of multiple contexts of contemporary American film, including technological, economic, and industrial

2. SKILLS

• is able to use critical tools

• is able to formulate critical arguments about American film and media

• is able to use a range of theoretical apparatuses in analyses of individual films

3. SOCIAL COMPETENCES

• is aware of cultural differences between American and European popular cultures

• is open to new phenomena and ideas in American popular culture

• understands and appreciates the role of popular literature in the United States

Assessment methods and assessment criteria:

Students are expected to watch assigned movies, read assigned texts, at-tend classes, participate in class discussion, and write a final es-say/project.

1) final paper

2) class participation

3) weekly activities

This course is not currently offered.
Course descriptions are protected by copyright.
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