Film studies

Lindsay Anderson is widely recognised as one of the few authentic geniuses of British cinema, a visionary film director unafraid to challenge convention, who left an indelible mark on British cinema (e.g. on Ken Loach and Mike Leigh). He was a true maverick in every sense of the word. His uncompromising artistic vision challenged storytelling to provoke thought and change. He tackled social issues and explored the human condition through his unique directorial style. His key feature films are This Sporting Life (1963), If…(1968), O Lucky Man! (1973) and his final film in 1993, Is That All There Is?



This course is running as part of City Lit's regular collaborations with the British Film Institute (BFI), who are screening a programme of films by Lindsay Anderson during May 2024. Please note that this course is taking place in the Cultureplex at City Lit, Keeley Street.

Hammer's vivid, full-bloodied horror films were met with popular acclaim and critical disapproval but are now recognised as constituting a major area in British popular cinema. Explore the films, their popular and critical reception, Hammer's distinctive approach to style, and the way in which the films offer an alternative to other, more restrained and respectable modes of British cinema.



This course will be delivered online. See the ‘What is the course about?’ section in course details for more information.

This comprehensive introductory course provides an overview of the main historical, technical and theoretical aspects of filmmaking and film analysis. In its exploration of aspects of film theory as it relates to film aesthetics and film history, the course develops certain ideas with rigour and depth.

This course will provide a brief introduction to the history of film spectatorship, tracing its origins in the silent era up to the present day. The course will explore a number of films in detail, includingThe Truman Show (Peter Weir 1998 US), Cinema Paradiso (Giuseppe Tornatore 1998 Italy), The Matrix (Wachowskis 1999 US) and others.

During the 1960s British cinema re-established itself as a leading producer of films, including realist, contemporary dramas such as Saturday Night and Sunday Morning (1960), and action and adventure fantasies with the popular James Bond films. This course explores these developments through a number of lines of approach and the way in which they contributed to a revitalised British cinema.



This course will be delivered online. See the ‘What is the course about?’ section in course details for more information.

Since cinema's earliest days, literature has provided movies with stories. But there is another way of looking at film: through its relationship with painting, the oldest of the art forms.



We’ll look at paintings by Friedrich, Titian, Hopper, Bacon, Delaroche and many more. We’ll view Red Desert, Pan’s Labyrinth, Easy Rider – looking at realism, surrealism and more.



As you can see, all of these are quite different! Let’s see how movies connect us to art history.



This course will be delivered online. See the ‘What is the course about?’ section in course details for more information.

Defining itself around themes such as realism, class and national identity, British cinema continues to find critical and popular acclaim, both domestically and internationally. This course explores British cinema, past and present, through a range of critical concepts and approaches, films - including both popular and art house - and filmmakers, and considers its function as a national cinema.



This course will be delivered online. See the ‘What is the course about?’ section in course details for more information.

Hitchcock was first recognised as a gifted filmmaker in the 1920s but the films he made between 1934 and 1938, the six 'chase thrillers', established his reputation and associated him with a particular type of film, one marked by a varying mix of suspense, comedy and romance. This course explores the two most celebrated of these, looking at their production, structure and critical reception.



This course will be delivered online. See the ‘What is the course about?’ section in course details for more information.

Come and join us at the Cultureplex Ciné-Club, where once a week, for 10 weeks, we will watch and discuss film. Each film will be introduced, placed in both its cinematic, cultural and historic context. In sharing our viewing in City Lit’s premier screening room, the Cultureplex, we will approximate the experience of watching film in the cinema, one that is intense and fully focussed in a way that other modes of viewing often are not. After the screening we will devote the rest of the class to a collective exploration of the film, led by the tutor, but involving everyone in a participatory discussion that will allow all to express their responses, their views, their thoughts on the film screened.

“The more beautiful everything is, the more it will hurt without you”—Gene Kelly as An American in Paris (1951) singing to Leslie Caron. Happy endings are hard won in fifties’ musicals and The End is where they were heading. MGM was the studio of musicals in the 1950s. During this decade other studios presented only occasional musicals. The musical was big business for Hollywood in the 1950s and so was the western, so bringing them together made sense. Annie Get Your Gun had been a big success for MGM so Warner Bros. decided to get a piece of the action with Calamity Jane (1953 David Butler with Doris Day). Judy Garland was sacked by MGM in 1951, then followed Joan Crawford to Warner Brothers where she staged a big comeback in, fittingly, A Star is Born (1954 George Cukor). Oklahoma (1955 Fred Zinnemann) and Carousel (1956 Henry King) from 20th Century Fox introduced Shirley Jones. And don’t forget Leonard Bernstein’s score for On the Waterfront (1954) that anticipated West Side Story (1961). (See related courses on Fifties Melodrama and Film Noir and 50 Films From the ‘50s: Hollywood’s Last Stand).

Film Noir was the term coined by French critics to describe a distinctive style in American cinema during the decade after the war. In the transitional 1950s, genres that had been Hollywood staples began to change, evolve, or fade away. Film Noir evolved because it was too vital, too useful, and just too enjoyable to fade away. Just as John Huston’s Maltese Falcon (1941) kick-started film noir in the forties, his Asphalt Jungle (1950) introduced a darker fifties’ noir. Or did noir begin and end with Orson Welles’ Citizen Kane (1941) and Touch of Evil (1958)? ((See related courses on Fifties Melodrama and Musicals and 50 Films From the ‘50s: Hollywood’s Last Stand).

Historical drama is one of the most popular movie genres. But how accurate is it, and is that important? We will look at a sample of films and TV shows set in the Tudor era of Henry VIII and Elizabeth I, to explore how the depiction of the past is presented on screen. Who are the heroes and villains, and do these depictions affect our understanding of real-life history? We’ll examine Elizabeth, The Other Boleyn Girl, Anonymous, Mary, Queen of Scots, A Man for All Seasons, and more.



This course will be delivered online. See the ‘What is the course about?’ section in course details for more information.