Drawing on relevant theory, analyse The Passenger using critical concepts of “space” and “place”.
“Sets of all levels of design intensity are coded for genre and culture. It is the intensity of the design that allows the reading to move away from the formulaic to the subversion of the codes themselves.” (Affron & Affron 1995: 37). Analyse this proposition in relation to one or two films.
Drawing on relevant primary sources, research the production design of one film or television series and write a critical account of its representation in the media.
Analyse architectural space and power relations in Parasite.
Discuss the representation of the cinematic house in relation to class and/or race in one or two films.
Examine the representation of landscape in one or two films.
“The representation of landscape is not only a matter of internal politics and national or class ideology but also an international, global phenomenon, intimately bound up with the discourses of imperialism.” (Mitchell 2002). Discuss landscape and imperialism in one or two films.
Analyse landscape, nature, and technology in Walkabout.
To what extent does Walkabout offer a critique of the “landscaping gaze”?
Is Berlin: Symphony of a Great City primarily a celebration or a critique of the city and urban modernity?
Examine the tension between technology and nature in Berlin: Symphony of a Great City and one other city symphony film.
Analyse the idea of the “urban uncanny” (Donald 1999) in two films.
Analyse gender and urban mobility in Cléo from 5 to 7 and one other film of the French New Wave.
Discuss gender and the representation of public and private space in one or two films.
Examine the narrative and aesthetic importance of walking and driving in one or two films.
Analyse the representation of New York City in Desperately Seeking Susan and one other romantic comedy.
Why is the romantic comedy a characteristically urban genre? Discuss the romantic comedy and the city with reference to two films.
In what ways might the media industries participate in gentrification? Answer with close reference to one or two films or television series.
Compare the representation of Hong Kong in Chungking Express with one other Hong Kong film.
Examine “traditional, national, multinational, and transnational organizations of space” (Marchetti 2000) in one or two films.
Analyse the dynamic tension between the global and the local in one or two films.
Drawing on relevant primary sources, write a critical account of the production of a specific television series and its engagement with its primary filming location over time.
What distinctive possibilities does the long-form television serial offer for the representation of the city? Discuss with reference to one television series.
Discuss the balance between “place as backdrop” and “place as narrative engine” (McNutt 2017) in relation to two television series.
How has the shift from “screen” to “display” (Casetti 2013) changed the spatial relationships between viewers and screens?
In what ways does digital technology challenge traditional concepts of screen space?
How has contemporary cinema engaged with the “smart city”? Answer with reference to one or two films.
Discuss the relationship between the material city and the digital city in one or two films.
Discuss the use of sound to create space or place in one or two films.
Analyse the representation of gender and technology in Her.
The word count does not include notes and bibliography.
You are not restricted to writing about the module films.
Successful essays will make use of relevant theoretical/critical material as well as demonstrating further research into the topic (using the recommended and further reading and beyond).
Remember to pay attention to cinematic form (mise-en-scene, cinematography, editing, sound, etc) where appropriate.
You may wish to provide illustrations. These should be placed in an appendix at the end of the essay (not integrated into it) and should be clearly organized (e.g. Fig. 1, Fig. 2, etc.)
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