How are these films similar, and in what ways might they be different?
Apply the analytic tools presented in Bordwell and Thompson’s chapter on
“The Significance of Film Form.” And finally conclude what symptomatic meaning, or symptomatic meanings, can be drawn from
these films?
You must cite material from the textbook. Be sure that you accurately
apply the Chicago Manual of Style (see Diana Hacker's handbook). I also encourage the use of outside resources (e.g., books,
scholarly journals), however, refrain from using the internet as a
resource.
I've created a general outline for the papers. You must attach the
filled-in outline to your paper. Go to the
outline.
Take Home Exam Two
Write a 2 to 3 page paper on the prompt below.
Discuss the “Men in Black” sequence in Operation Homecoming: Writing the Wartime Experience (Richard Robbins, 2007). Address some of the questions below:
How does the mise-en-scene effect the meaning of the sequence?
How does the composition effect the meaning of the sequence?
How does the voice-over correspond to the visual material?
Does the reconstruction of events with animation impinge the ‘truth-value’ of the sequence?
Take Home Exam Three
The paper is due on the day of the
FINAL.
Write a 2 to 3 page paper on ONE of the prompts below.
Apply Laura Mulvey's ideas about the male gaze and the female
form to the selected clip from Alfred Hitchcock's The Birds.
In what ways does Larry Clark's Kids conform to the tradition of Realism?
Would
André Bazin characterize Clark's film as a Realist film? If so,
why?
If not, why?
X
Lionsgate will not allow the selected clip to be posted on YouTube.
Manthia Diawara says at the conclusion of his essay that cinema
should
“question the passive role of the spectator in the dominant film
culture.
One of the roles of black independent cinema, therefore, must be to
increase
spectator awareness of the impossibility of an uncritical acceptance of
Hollywood
products.”1 In what ways might Baadasssss
fulfill Diawara’s assertion?
How do Mario and Melvin Van Peebles challenge representations of black
(male)
characters?
____________
1. Manthia Diawara, “Black Spectatorship: Problems of Identification
and
Resistance,” in Leo Braudy and Marshall Cohen
eds., Film Theory and Criticism: Introductory
Readings
Fifth Edition (New York: Oxford
University Press, 1999), 853.