Oll credit course proposal form



Download 86.62 Kb.
Date conversion29.03.2017
Size86.62 Kb.

OLL CREDIT COURSE PROPOSAL FORM





Office use only

School BoS

Literatures, Languages &Cultures

Date of Meeting

20th April 2011

SCQF level

7

Credit points

10

Contact teaching (hrs)

22

Proposed by

Martine Pierquin (Office of Lifelong Learning)



1. Course title:
AUTEURS OF INDIAN CINEMA
2. Tutor name(s):

Piyush Roy


3. Tutor qualifications:

MSc (with Distinction) Film Studies

MA (with Distinction) International Journalism

PGDACM (Post-graduate Diploma in Advertising & Communications Management), BA (Hons.) Economics
Mumbai-based senior journalist, writer and film critic with 10 years of work experience in reporting on films, music and television

4. Rationale

This is the first Open Studies course to focus on Indian cinema’s auteur directors. 2011-2012 marks the centenary year of Indian cinema. It’s been 100 years since filmmaker Dadasaheb Phalke made the first Indian feature film, a silent mythological costume drama titled Raja Harishchandra (King Harishchandra, 1913).

Through the works of 10 filmmakers – V Shantaram, Bimal Roy, Guru Dutt, Satyajit Ray, Raj Kapoor, Shyam Benegal, Gulzar, Adoor Gopalkrishnan, Aparna Sen and Mani Ratnam – the course will introduce students to path breaking, influential art house and popular Indian filmmakers from its most influential regional language cinemas and Bollywood. It will simultaneously traverse a journey of highlight movie moments from Indian cinema’s talkie era (1930s) to the present. The course will effectively complement courses in world cinema and auteur appreciation studies.

5. Course aims & objectives

Aim(s)


  • To develop a critical understanding of critically acclaimed Indian auteur cinema through an analysis of the works of its most influential and path breaking filmmakers and other relatively lesser known directors.

Objectives

  • To appreciate film as an art form

  • To familiarise students with key Indian film directors




  • To explore the socio-cultural, political and regional resonances in the work of specific auteurs



6. Intended learning outcomes

By the end of this course, students should be able to:




  • Critically appreciate Indian auteur cinema and its historical developements

  • Identify narrative diversities within Indian cinema

  • Recognise the influence within Indian cinema of important global cinema movements (realism, neo-realism, expressionism, etc.)


7. Transferable skills

Art appreciation skills; critical thinking and participation in class discussion


8. Contents

Week 1: V Shantaram (Hindi & Marathi cinema)

Praised by Charlie Chaplin for his iconic social tragedy, the Marathi film Manoos (Man, 1939), V Shantaram made his first film in 1927, beginning an illustrious career of 50 plus films as a filmmaker, director and actor spanning six decades up to the 1980s. Starting as an actor in the films of the silent era, he was one of the first Indian filmmakers to realise and exploit the use of the film medium as an instrument of social change.


Week 2: Bimal Roy (Hindi cinema)

One of the most acclaimed Hindi film directors of all time, Bimal Roy’s romantic-realist melodramas successfully balanced art house cinema’s realism imperatives with the please all demands of commercial cinema to pioneer Indian cinema’s own brand of neo-realism in the 1950s-60s. Constantly tackling social issues while still remaining entertaining, his films stood out for their strong women characters.


Week 3: Guru Dutt (Hindi cinema)

Often referred to as India’s Orson Welles, he is perhaps the only director from Bollywood’s golden era of cinema (1950s-1960s) whose every film is considered a classic today. His Pyaasa (The Thirsting, 1957) and Kaagaz Ke Phool (Paper Flowers, 1959) have become a must see in most ‘Greatest Films of All Time’ listings (Time 2005, 2002 Sight & Sound Critics’ & Directors’ Poll).


Week 4: Satyajit Ray (Bengali & Hindi cinema)

A fiction writer, publisher, illustrator, graphic designer and film critic, Ray directed 37 films, after his spectacular debut with the Apu Trilogy in the 1950s. Reverberating with humanism and universality, Ray’s work has been celebrated for its unique mix of deceptive simplicity and deep underlying complexity.

Week 5: Raj Kapoor (Hindi cinema)

Bollywood’s most flamboyant story teller, Raj Kapoor remains Indian cinema’s greatest and most admired showman for his grandiose socialistic critiques, cinematic experiments and seminal involvement in the music making of his films that are still remembered for their soulful melodies.


Week 6: Shyam Benegal (Hindi, Urdu, Kannada & Marathi cinema)

A prolific Indian director and screenwriter, Benegal is credited for pioneering the second wave of realism in Indian cinema in the 1970s, heralded by the success of his four landmark ‘song less’ films – Ankur (1973), Nishant (1975), Manthan (1976) and Bhumika (1977).


Week 7: Gulzar (Hindi cinema)

Noted Indian poet and lyricist, (Academy award and Grammy winner for ‘Jai ho’ in Slumdog Millionaire) filmmaker Gulzar is a pioneer in the ‘middle-of-the-road’ genre of cinema that came into vogue in Indian cinema in the 1970s.


Week 8: Adoor Gopalkrishnan (Malayalam cinema)

Adoor Gopalakrishnan’s first film Swayamvaram (1972) pioneered the new wave cinema movement in Kerala, revolutionising Malayalam cinema the way Ray’s Pather Panchali did for Bengali cinema. Ever since Adoor’s every film has made to major international festival screenings and honours making him the second most globally feted Indian director after Ray.


Week 9: Aparna Sen (Bengali, English & Hindi cinema)

One of India’s few women directors to have carved a niche following, Aparna started her film career as an actress in Satyajit Ray’s Sampatti. A great visual storyteller, Aparna has made her mark outside the stereotypical expectations of a female filmmaker.

Week 10: Mani Ratnam (Tamil & Hindi cinema)

Mani Ratnam is widely credited for having revolutionised the Tamil cinema industry (India’s second largest film industry after Bollywood). Known for his eye for technical details, Ratnam has introduced some of the best music directors (AR Rahman), cinematographers, art directors, dialogue writers and editors working in India cinema today.

Week 11: Unseen assessment & credit essay workshop.
9. Student intake

The course is aimed at students with an interest in world cinema in general and Indian cinema in particular. No prior knowledge of world cinema or Indian film history is required though references will be made to some of the founding tenets, narrative styles and concepts of film criticism and theory.


10. Organisation of teaching

Combination of lectures, slide shows, viewing of film clips and class discussion.




11. Assessment strategy
Two components:

  1. Assessment 1: unseen classroom assessment in the final week of the course, worth 25% of the total course mark

  2. Assessment 2: 2000 word essay (seen assessment) submitted after the course finishes, worth 75% of the total course mark.


12. Course Readings
Essential
Hogan, Patrick. 2008. Understanding Indian Movies: Culture, Cognition, and Cinematic Imagination. Texas: University of Texas Press
Hood, John, W. 2000.The Essential Mystery: Major Filmmakers of Indian Art Cinema. London: Sangam Books Ltd.

Recommended

Das Gupta, Chidananda. 2008. Seeing Is Believing. New Delhi: Viking

Cooper, Darius. 2000. The Cinema of Satyajit Ray. Cambridge: Cambridge University Press

Nowell-Smith, Geoffrey (Ed.). 1997. The Oxford History of World Cinema, New York, Oxford University Press.

Desai, Jigna and Kumar Dudrah, Rajinder. 2008. Bollywood Reader. Maidenhead: Open University Press

Dissanayake, Wimal and Sahai, Malti. 1998. Raj Kapoor’s Films Harmony of Desires. New Delhi: Vikas Publishing House Pvt. Ltd.,

Filmography

Dr Kotnis Ki Amar Kahani (The Immortal Story of Dr Kotnis, V Shantaram 1946)

Awara (The Vagabond, Raj Kapoor 1951)

Do Bigha Zameen (Two Acres Of Land, Bimal Roy 1953)

Do Ankhen Barah Haath (Two Eyes Twelve Hands, V Shantaram 1957)

Apu Trilogy (Satyajit Ray 1955-59)

Kaagaz Ke Phool (Paper Flowers 1958)

Bandini (The Lady Prisoner, Bimal Roy, 1963)

Mera Naam Joker (My Name Is Joker, Raj Kapoor 1971)

Ankur (The Birth, Shyam Benegal 1973)

Swayamvaram (Marriage Ceremony, Adoor Gopalkrishnan 1972)

Mausam (Seasons, Gulzar 1975)

Bhumika (The Role, Shyam Benegal 1977)

36 Chowringhee Lane (Aparna Sen, 1981)

Ijaazat (Permission, Gulzar, 1987)

Mathilukal (The Walls, Adoor Gopalkrishnan 1989)

Roja, Bombay, Dil Se (Mani Ratnam 1991-98)

Mr and Mrs Iyer (Aparna Sen 2002)

The Japanese Wife (Aparna Sen, 2010)

Web sources

http://en.wikipedia.org/wiki/Cinema_of_India


http://en.wikipedia.org/wiki/Parallel_Cinema


http://en.wikipedia.org/wiki/Bollywood

http://www.bfi.org.uk/features/imagineasia/guide/poll/india/

http://en.wikipedia.org/wiki/National_Film_Awards

http://www.webindia123.com/movie/moviespecial/directors/sathyjith1.htm

http://en.wikipedia.org/wiki/List_of_Indian_film_directors


Class handouts will be provided each week.
Course feedback & evaluation
The following procedures are applied to all OLL credit courses:

  • Course Organiser visits newly approved class at an early stage and provides the tutor with feedback on delivery.

  • Tutors are encouraged to discuss the course with students (collectively and individually), and act appropriately on responses.

  • Formal feedback is gathered from students via an online student survey. Results of these are analysed and provided for Course Organisers who may take appropriate action with the tutor.

UNIVERSITY OF EDINBURGH
COVER SHEET FOR A NEW OR REVISED COURSE

Section A


Course title

Auteurs of Indian Cinema



Course code

Teaching Unit (eg Department)

Open Studies, Office of Lifelog Learning


School

Literatures, Languages and Cultures



Collaborating Body eg Department or other Institution
N/A

UG

()





PG

()





New course ()




Revised course ()

Replacement course

()


Yes

No

If Replacement course, give details of course (s) which this course replaces

Name of Course


Code


Credit points

No. SCQF credit points

10

Level eg SCQF 7




Scheduled Teaching

No. Hours per week

No. of weeks

Scheduled class hours - include day, start and finish times and term
To be arranged by OLL

Contact Teaching

2

11


Other required attendance

no




Course operational with effect from (date)

2011/12




Any costs which may have to be met by students eg materials

N/A



Give details of any Prerequisite Course(s) no prerequisite

Name of Course (s)

N/A


Course Code (s)


Give details of programme(s) for which the course is mandatory

Name of Programme (s)

N/A


Programme Code(s)

Course(s) which cannot be taken with this course and counted towards a minimum qualifying curriculum

Name of Course (s)


Course Code (s)

Short description of course

Through the works of 10 filmmakers – V Shantaram, Bimal Roy, Guru Dutt, Satyajit Ray, Raj Kapoor, Shyam Benegal, Gulzar, Adoor Gopalkrishnan, Aparna Sen and Mani Ratnam – the course will introduce students to path breaking, influential art house and popular Indian filmmakers from its most influential regional language cinemas and Bollywood. It will simultaneously traverse a journey of highlight movie moments from Indian cinema’s talkie era (1930s) to the present. The course will effectively complement courses in world cinema and auteur appreciation studies

URL for supporting course documentation
n/a
Summary of Intended Learning Outcomes

  • Critically appreciate Indian auteur cinema and its historical developements

  • Identify narrative diversities within Indian cinema

  • Recognise the influence within Indian cinema of important global cinema movements (realism, neo-realism, expressionism, etc.)

  • Discuss the importance Indian directors, no matter how aesthetically diverse, place on music and lyrics



Components of Assessment

Two components:

  1. Assessment 1: unseen classroom assessment in the final week of the course, worth 25% of the total course mark

  2. Assessment 2: 2000 word essay (seen assessment) submitted after the course finishes, worth 75% of the total course mark.




Approval Track

Date

Authorised signature

Name

Designation

Approved by Teaching Unit or equivalent body eg department













Approved by Board of Studies (or equivalent body)













Noted/Approved by Faculty













Approved by UGSC/SPGSC



Registry Use

Date received

Date record created





UNIVERSITY OF EDINBURGH

COVER SHEET FOR A NEW OR REVISED COURSE

Section B


ALL COURSES

Course organiser, if known. If not known, give interim contact
Name: Martine Pierquin
Tel: 651 11 82 Email: m.pierquin@ed.ac.uk

Secretarial/administrative contact in Teaching Unit
Name: as above
Tel: Email:

If the course will appear in a departmental website, please give the URL




UNDERGRADUATE COURSES ONLY

Year in which the course is normally taken in a structured Honours programme ()

1




1 or 2




2




2 or 3




3




3 or 4




4




4 or 5




5



Year in which the course is normally taken in a modular or non Honours programme ()


1




1 or 2




2




2 or 3




3




3 or 4




4




4 or 5




5




1 or 2 or 3 or 4 or 5




Are class exams required ? ()

Yes




No







No. of exam papers required (eg how many papers will each student be required to answer)

No. exam papers



Duration





Class Exams








Degree Exams










When are the exams to be taken ()

1st attempt

May




June




Resit

June




Sept

Has a quota for the course been approved by Faculty? ()

Yes




No




If yes, what is the maximum number of students permitted?






LLC BoS 20 April 2011


: docs -> open
docs -> This romantic story is about two college students, Jenny and Oliver, who meet when Oliver visits the library to buy a book. Although Oliver’s family is poor and Jenny’s is rich, the two young people fall in love
docs -> Snow White Interactive Story
docs -> Frankenstein sfx questions By Stephen Jewell
docs -> -
docs -> It’s Your Story—Tell It!: A world of Girls Audience: This series is for Brownie Girl Scouts and is suitable for in-school and after-school troops. Purpose
open -> Gordon Brown The Open Group Certified Architect (Open ca) Program: Certification Package Level 2: Master Certified it architect October 03, 2008 Revision 3 Candidate Name
open -> School of Arts, Culture & Environment oll for-credit courses
open -> Seag etg 22 August 2013 Paper 1
open -> Sustainability & Environmental Advisory Group Engagement Task Gp (seag-etg)




The database is protected by copyright ©hestories.info 2017
send message

    Main page