Week 1: Intro

• Robert Stam, Film Theory: An Introduction (Malden: Blackwell, 2000), pp.1-22.
• Janet Harbord, ‘Introduction’, The Evolution of Film: Rethinking Film Studies. Cambridge and Malden: Polity, 2007), pp. 1-13.

Week 2: Early Sociological Approaches: Cinema as Mass Culture

• The Oyster Princess
• Emilie Altenloh (2001) ‘A Sociology of the Cinema: the Audience’, Screen, 42 (3), Autumn, pp. 249-293.
• Robert Stam, Film Theory: An Introduction (Malden: Blackwell, 2000), pp.22-37.

Week 3: Formalism I

• Battleship Potemkin
• Sergei Eisenstein, ‘Beyond the Shot’ (1929), in Leo Braudy and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings (Oxford: Oxford University Press, 5th ed. 1999), pp. 15–25.
• Robert Stam, Film Theory: An Introduction (Malden: Blackwell, 2000), pp.37-64.

Week 4: Formalism II

• Syriana
• Robert Stam, Film Theory: An Introduction (Malden: Blackwell, 2000), pp.64-72, 145-150.
• Chuck Kleinhans, ‘Marxism and Film,’ in John Hill and Pamela Church Gibson, eds. The Oxford Guide to Film Studies (Oxford: Oxford University Press, 1998), pp.106-116.

Week 5: Realism I

• The Best Years Of Our Lives
• André Bazin, ‘The Myth of Total Cinema’ (1946), in Leo Braudy and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings (Oxford: Oxford University Press, 5th ed. 1999), pp. 199–203.
• Peter Matthews, ‘André Bazin – Divining the Real’, Sight and Sound, 9: 8 (August 1999), 22–25.

Week 6: Realism II

• My Summer of Love
• Nicholas Tredell, ed. ‘Touching the real: Bazin and Kracauer,’ in Cinemas of the Mind (Cambridge: Icon Books, 2002), pp.61-101.
• Robert Stam, Film Theory: An Introduction (Malden: Blackwell, 2000), pp.72-83.

Week 8: Authorship revisited

• Chinatown
• Andrew Sarris, ‘Notes on the Auteur Theory in 1962’, in Leo Braudy and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings (Oxford: Oxford University Press, 6th ed.), pp. 561–4.
• Robert Stam, Film Theory: An Introduction (Malden: Blackwell, 2000), pp.83–92, 123–30.

Week 9: Genre revisited

• Easy Rider
• Steven Neale, ‘Questions of genre,’ in Robert Stam and Toby Miller, eds. Film and Theory: An Anthology (London: Blackwell, 2000), pp. 157-179.
• Tom Ryall, ‘Genre and Hollywood,’ in John Hill and Pamela Church Gibson, eds. The Oxford Guide to Film Studies (Oxford: Oxford University Press, 1998), pp.327-341.
• Intro to Genre Theory

Week 10: Semiotics

• Pierrot le fou
• Peter Wollen, ‘The Semiology of Cinema (1969)’, in Signs and Meanings in the Cinema (London: BFI, 1998), pp. 79–107
• Robert Stam, Film Theory: An Introduction (Malden: Blackwell, 2000), pp. 102–23
• Anthony Easthope, ‘Classic Film Theory and Semiotics,’ in John Hill and Pamela Church Gibson, eds. The Oxford Guide to Film Studies (Oxford: Oxford University Press, 1998), pp. 51–8
• Semiotics for Beginners