Not offered in 1996. 16.7 2nd and 3rd years To be advised. 111-105. No more than four hours of lectures, tutorials, seminars and film screenings a week. Students completing this subject should be able to:

• explain the aesthetic, social and critical imaginaries which gave rise to new forms of subjective and objective realism in Italian, French, German and other European films in the silent era and after WWII;
• recognise developments in film interpretation provoked by the ambiguity, existential crisis and fascination with the feminine evident in the films of the French New Wave, Italian neo-realism, New German Cinema and women directors like Dulac, Duras, Akerman, Sanders & Bruckner.

A study of peak moments in European art cinema from the new subjective modes of Surrealism & Expressionism in the 1920s, to the poetic realism of the 1930s and the post WWII cinema of existential crisis, modernist ambiguity and sexual fascination. The reinvention of film criticism in the Bazinian embrace of cinema as an art form. Written work which may comprise class papers, essays or take-home examinations totalling 5,000 words. Bordwell D Narration in the Fiction Film University of Wisconsin Press Madison 1985 Bordwell D Making Meaning: Inference and Rhetoric in the Interpretation of Cinema Harvard University Press Cambridge Massachusetts and London 1989 Caughie J (ed) Theories of Authorship BFI London 1981