New film courses onsale at Hackney Picturehouse- The Coen Brothers and The Deep South on Screen!

Picturehouse Education run regular courses on various aspects of film culture and theory at  Hackney Picturehouse. We work with freelance film lecturers and industry bodies to deliver a wide variety of film education events.  For more information or to be added to the Adult Education mailing list please contact the Picturehouse Education Team, or check out the upcoming courses and book online at the  film courses and classes page on the website or on our blog Byrne at / 07918 745 267Elinor Walpole at / 07967 047 401Follow us on Twitter @PHEducation THE COEN BROTHERSSix week course Tuesday evenings 7-9pm from 23 April- 28 May 2013.Course leader: Phil DyasTickets are £70 / £65 concessions / £60 Members for the full course. Book online for the full course here.Or you can book each week individually for £12 /£11 concessions / £10 members.  Click on each week’s title for links to individual session tickets.Rightly adored by critics and audiences alike the Coen Brothers have long been regarded by all right-thinking cinephiles as masters of the craft.Recent years have seen their stars rise to the extent that the release of new Coen Brothers film is a box-office event; quite the journey from the cult obscurity of BLOOD SIMPLE and BARTON FINK. The Coens’ films are steeped in cinematic history to say nothing of intellectual complexity and allusion – despite the resistance of the men themselves to talk about the meaning of their work.This course will delve into the world of Coen cinema from hula hoops to bowling balls troubled academics and murderous travelling salesmen. And remember there’s nothing more foolish than a man chasing after his hat. Week 1 – MILLER’S CROSSING (Tuesday 23 April)Though the Coens’ first two films BLOOD SIMPLE and RAISING ARIZONA are modern classics in their own right reinterpreting classic tropes of Noir and Screwball Comedy respectively with the verve and energy associated with the Coens milieu it is arguably with MILLER’S CROSSING that they created their first true masterpiece.The film is replete with references to the classic Hollywood films that inspired them and takes place entirely with a ‘movie’ version of Gangster-run world so dense that most of the dialogue is indecipherable to a newcomer; the film moves fast and expects the audience to keep up. Week 1 will focus on decoding the film from within and without looking at the use of movie in-jokes the representation of masculinity and wondering why they took Rug Daniels’ hair. Week 2 – BARTON FINK (Tuesday 30 April)BARTON FINK was a film borne out of peculiar circumstances; suffering from writer’s block on the tangled web of plot on MILLER’S CROSSING the brothers came up with a unique solution – write a film about writer’s block in order to deal with it.The result is the Coens at their most deliberately obtuse and most engaging. Trying to unpick the meaning of BARTON FINK is a difficult prospect – but try we shall. What exactly is the Hotel Earle? And who or what is Charlie Meadows? BARTON FINK resists analysis but for hardy critic there is a wealth of symbolism to find. Week 3 – THE HUDSUCKER PROXY (Tuesday 7 May)Something of a flop on release THE HUDSUCKER PROXY remains one of the more contentious works in the Coens catalogue. The criticism levied at the film centred largely around the artificiality of the performances and the absence of genuine emotion within the narrative. Arguably however HUDSUCKER sits neatly beside MILLER’S CROSSING as a perfect synthesis of the brother’s interest in the cinema of the past encouraging viewers to engage with the narrative beyond the film but as a point of the continuum of the genre and of cinema itself. This week’s session will focus on the use of genre tropes and archetypes and the Coens’ use of symbolic imagery. Week 4 – THE BIG LEBOWSKI (Tuesday 14 May)The spinning plastic of the hula hoop transmutes to the tumbleweed of THE BIG LEBOWSKI in Week 4 once again finding the Coen Brothers at play within the established genre conventions of Film Noir. Lebowski finds the Coens on crowd-pleasing form and the film is perhaps the Coens’ most beloved by audiences.This week will focus on the status of the Coens within the film industry and their appeal to audiences as the Dude (or his Dudeness or uh Duder or El Duderino if you’re not into the whole brevity thing) transcends the bondage of film characterisation to become a bona-fide cultural icon. Week 5 – NO COUNTRY FOR OLD MEN (Tuesday 21 May)The latter part of the 00s saw the Coens finally recognised in mainstream culture after two decades in the wasteland of cult obscurity darlings of the critical left but largely ignored by the establishment. NO COUNTRY FOR OLD MEN the brother’s first outright adaptation after the misfiring remake of THE LADYKILLERS saw them on stripped-down and brutally efficient form after two broad comedies.The film rejects a great many conventions of modern Hollywood cinema and remains a brutally engaging watch five years after release. Soliciting a career-rejuvenating performance from Josh Brolin along with several other great roles – most notably an iconic turn from Javier Bardem as the psychotic Anton Chigurgh the film signalled a new era in Coen filmmaking where a new release became an industry event. This week will focus on the Coens’ use and subversions of classical narrative structures. Week 6 – A SERIOUS MAN (Tuesday 28 May)Though 2010 saw the release of the Coens’ most commercially successful film in TRUE GRIT Week 6 will focus not on the brothers at their biggest but at their smallest. A tiny almost experimental film in the vein of BARTON FINK A SERIOUS MANdeals with religion and the nature of the universe in the smallest ways possible but finds complexity in the tiniest moments that comprise a life.Week 6 will consider the world of the Coens at the beginning of the 2010s looking at what if anything defines their work at they enter the middle of their third decade as a filmmaking duo. And also whether the unannounced visitor is a dybbuk. About the Course leader:Phil Dyas studied Literature and Film at the University of York University of California San Diego and received a Masters in Film Studies at the University of East Anglia. He is currently head of Film Studies at Dunraven School in South London where he also teaches Media Studies and runs several filmmaking programmes for young people.He also works as a freelance screenwriter and film and television critic; some of his recent articles can be found in Media Magazine. THE DEEP SOUTH ON SCREENSix week course Thursday evenings 7-9pm from 2 May – 6 June 2013.Course leader: Chris LloydTickets are £70 / £65 concessions / £60 Members for the full course. Book online for the full course here.Or you can book each week individually for £12 /£11 concessions / £10 members. Click on each week’s title for links to individual session tickets. This six-week course seeks to provide several thematic frameworks through which we can understand how the American Deep South has been depicted in cinema. Each week we will look at a pair of films that tackle similar themes or investigate related concepts such as race place history and gender. In doing so this course will sketch out a broad vision of the South in its filmic representations throughout history from the early twentieth century to the recent twenty-first. Clips from both will be screened as we discuss various stylistic theoretical historical and cultural elements that contribute to the film’s depiction of the region. WEEK 1: Slavery and Southern History (Thursday 2 May)To begin we will look at one of (if not the) most famous incarnations of the South on screen. In analysing this classic film we see early twentieth century ideas of what historically constituted the South. We pair this film with a contemporary one from a European director to provide a counterpoint and comparison both intellectually and visually.Films: GONE WITH THE WIND (1939) and MANDERLAY (2005) WEEK 2: Race (Thursday 9 May)Following on from depictions of slavery this week will look more closely at race in the South. The first example is a silent epic about the Civil War and more particularly race relations in the region. It is a definitive portrait of racism and intolerance in the South but it was a huge hit at the time. Paired with this is a highly different (yet strangely linked) film that deals with similar themes but through a highly contemporary lens.Films: BIRTH OF A NATION (1915) and BLACK SNAKE MOAN (2006) WEEK 3: Sex and Gender (Thursday 16 May) Last week’s investigation into the relationship between race and gender spills over into this session’s more close analysis of sex in the South. Steamy sultry sweaty and sensual: these traits that have constantly defined the South on screen. The stifling heat of the region (in all senses) is made manifest in this week’s examples in startling and intriguing ways.Films: A STREETCAR NAMED DESIRE (1951) and MONSTER’S BALL (2001) WEEK 4: Place (Thursday 23 May)Place is a long-contested but integral concept to the South constantly ‘rooting’ and ‘routeing’ the region. Film has contributed to this dialogue as these examples show. The rural South is documented and fleshed out in numerous ways in these films but no matter how we interpret them place roots and landscape remain central to the visions of the region.Films: DELIVERANCE (1972) and BALLAST (2008) WEEK 5: Crime and Punishment (Thursday 30 May) Here we pair two films that are from a similar time period and feature comparable narratives. In so doing however we will be able to tease out certain recurring motifs themes and plot constructions that can help us understand crime and punishment in the South both within the law and without. Themes from previous weeks will inevitably be central to this discussion.Films: IN THE HEAT OF THE NIGHT (1967) and MISSISSIPPI BURNING (1988) WEEK 6: Race II (Thursday 6 June)In the final week we return to race and race-relations. Here we look at two films that deal with the notion of help in various manifestations. In both white protagonists ‘help’ and stand up for black rights; only within a white narrative these films seem to say can African Americans gain agency. With nearly fifty years between them are we looking at the same South? How has cinema’s depiction of it changed if at all?Films: TO KILL A MOCKINGBIRD (1962) and THE HELP (2011)About the Course leader: Chris Lloyd is in the final stages of his PhD in the English and Comparative Literature department at Goldsmiths University of London. His thesis concentrates on the twenty-first century Deep South in literature and visual culture (photography film television). Chris has essays on Southern cinema Hurricane Katrina and Cormac McCarthy’s The Road due to be published in edited books in the near future.PREVIOUS COURSESEaling ComediesBBFC Classification and ControversyBBFC Let’s Talk about Sex (On Screen)Film NoirFairy Tales on FilmSaurian Saturday- a History of Dinosaurs in CinemaFrom JAWS to PROMETHEUS: The Rise and Rise of the Modern Movie BlockbusterHitchcock: The Man and His FilmsFrom Maverick to Mainstream: American Independent Cinema80s Action MoviesHow the West Was Changed: Sergio Leone’s ‘Dollars’ TrilogyA Critical and Contextual Introduction to Documentary”