Modern Languages and Cultures |
The information contained in this module specification was correct at the time of publication but may be subject to change, either during the session because of unforeseen circumstances, or following review of the module at the end of the session. Queries about the module should be directed to the member of staff with responsibility for the module. |
Title | THE GERMAN CINEMA SINCE 1990 | ||
Code | GRMN330 | ||
Coordinator |
Dr AF Plowman Modern Languages and Cultures Afp0001@liverpool.ac.uk |
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Year | CATS Level | Semester | CATS Value |
Session 2019-20 | Level 6 FHEQ | First Semester | 15 |
Pre-requisites before taking this module (other modules and/or general educational/academic requirements): |
Modules for which this module is a pre-requisite: |
Co-requisite modules: |
Teaching Schedule |
Lectures | Seminars | Tutorials | Lab Practicals | Fieldwork Placement | Other | TOTAL | |
Study Hours |
22 |
22 | |||||
Timetable (if known) | |||||||
Private Study | 128 | ||||||
TOTAL HOURS | 150 |
Assessment |
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EXAM | Duration | Timing (Semester) |
% of final mark |
Resit/resubmission opportunity |
Penalty for late submission |
Notes |
CONTINUOUS | Duration | Timing (Semester) |
% of final mark |
Resit/resubmission opportunity |
Penalty for late submission |
Notes |
Essay1 There is a resit opportunity. Standard UoL penalty applies for late submission. This is an anonymous assessment. Assessment Schedule (When) :Semester 1 | 2500 words | 40 | ||||
Essay 2 There is a resit opportunity. Standard UoL penalty applies for late submission. This is an anonymous assessment. Assessment Schedule (When) :Semester 1 | 2500 words | 60 |
Aims |
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To provide students with a detailed knowledge of the German cinema since 1990 and its social and institutional context; To sensitise students to debates about the return of popular-genre and star-led cinema in the German film industry since 1990 and the rise of so-called 'heritage' cinema; To sensitise students to films as historical texts which emerge from and engage with the context of their production; To sensitise students to film as an aesthetic artefact determined on the one hand by particular conditions of production (i.e. the studio system) and produced on the other according to cinematic conventions of film language, genre etc. |
Learning Outcomes |
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(LO1) Students will gain an understanding of the ongoing development of film within the social, institutional and commercial context of the German film industry of the 1990s. |
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(LO2) Students will demonstrate a good understanding of the critical debates surrounding the return of genre cinema and popular film-making in the German film industry in the 1990s and they will be able to relate these to debates about German film-making before 1990. |
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(LO3) Students will demonstrate a critical understanding of the work of some of the most important film directors to have emerged in since 1990 and the relation of their work to traditions of German film-making and international trends |
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(LO4) Students will demonstrate a critical grasp of a range of visual, textual and other historical material, an ability to extract and synthesise information and to express arguments cogently in writing. |
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(S1) Communication (oral, written and visual) - Presentation skills – oral |
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(S2) Communication (oral, written and visual) - Presentation skills - written |
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(S3) Communication (oral, written and visual) - Media analysis |
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(S4) Critical thinking and problem solving - Critical analysis |
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(S5) Research skills - All Information skills |
Teaching and Learning Strategies |
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Teaching Method 1 - Seminar |
Syllabus |
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Topics covered during the module may include: The film industry in East and West Germany before 1990; debates about the representation of German history in film, heritage cinema etc; The treatment of German division and unification in contemporary film: films will include von Trotta Das Versprechen (The Promise, 1995) and Haussman Herr Lehmann (Berlin Blues, 2003); Memories of National Socialism and the rise of heritage film: films will include Faerberboeck, Aimee und Jaguar (Aimee and Jaguar, 1999), Der Untergang (Downfall, 2004) and Link, Nirgendwo in Afrika (Nowhere in Afrika, 2001); Baader-Meinhof legacies: films will include Schloendorff, Die Stille nach dem Schuss (The Legends of Rita, 2000) and Petzold, Die innere Sicherheit (The State I am in, 2000); Towards a new realism? Films will include Koehler, Bungalow (2002), Dresen, Halbe Treppe (Grill Point, 2002); There is an opportunity in the closing weeks of the module to cover films from a list provided by the tutor. |
Recommended Texts |
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Reading lists are managed at readinglists.liverpool.ac.uk. Click here to access the reading lists for this module. |