For this project you’ll recreate a scene from a film of your choice in order to experience first-hand how and why filmmakers’ creative choices about mise-en-scene, cinematography, editing, and sound shape the final film. Then, you’ll write a short essay discussing the filmmaker’s choices. I will pay extra for the film making. I will just add it as a powerpoint slide for the film making fee but you don’t need to have powerpoint.
final cut pro is used to make the video, write a summary that use a video game as base and use remediarion, transmedia and gamigication thoery to make the narrative video. (I used screen recording tool to record the gameplay of Roblox, Use apple final cut pro to edit the footages, use voice memos to record audios and edited in adobe audition)
Referring as necessary to the attached article, “Spectatorship and Academic Film Studies,” write a reaction to the movie “Sleep Dealer” using spectatorship theory. How did you receive the film from your own personal subject position (i.e., your immigration status, gender, race, age, sexual orientation, class position, etc.) What part(s) of the film did you take a dominant, negotiated, or oppositional stance towards? You may use the following Wikipedia article as a reference. https://en.m.wikipedia.org/wiki/Sleep_Dealer
Identify one urban site / location that features significantly in the mise-en-scène and/or storyline of four or more films. Films may be fiction or documentary films (but not documentary films about the site itself or purely animated films). They must also be accessible enough that you can copy stills or sequences. All four films should work with the same associations of your chosen urban site/location, but films all need not affirm the associations. For example, three films may affirm the idea of “community” (keyword) at a soccer stadium (location), while the fourth makes fun of this idea. If you cannot find four films that feature your site, you may use three films that feature your selected site and two others about a clearly contrasting or clearly related urban site. This urban site may be in a country other than the United States. Thus, if you end up with a paper about films that use the Brooklyn Bridge, you can use three films that work around a particular keyword associated with the Brooklyn Bridge, and then use two additional films, not set in the United States, that feature a different bridge, e.g. the Bridge of Sighs in Venice, that you briefly introduce and either clearly contrast or clearly related to the Brooklyn Bridge. But again, you can always just use four films about your initial site choice. Describe your selected site in terms of its history, function, and social/public associations. In the final sentence of your first paragraph present the proposition (thesis) of your paper. While the early sections of P1 should, as previously, give specific background on the site that help illuminate how it suggests a certain keyword, the P1 proposition should make some claim about how your selected site is used in films set in cities. It can, for example, posit a claim about how the use of that site has changed over time; or, for example, it can deliver a statement about how the site is implicated in the use of one or more related keywords. (Again, the keywords must be related.) But these are just two possibilities. Write or assemble your final project in order to explore or argue for your proposition. To score well on this assignment, among the other requirements set forth above, you must discuss and clearly demonstrate expertise in at least four separate films connected with your location. As previously, the paragraphs should present how the location, via a scene in the film, amplifies a certain idea, or keyword, that is important in the filmYou must also attach at least three stills (not part of the five-six pages), as an addendum to the paper to support your proposition. Ideally, you will refer to the stills in the paper, but points will not be subtracted if you do not. please do not use skyscraper as a location. I attached 2 samples paper below
Please will i get the soft copy to edit and add things if i need to add thanks. TITLE DECLARATION ACKNOWLEDGMENTS ABSTRACT INTRODUCTION CONTEXTUAL ANALYSIS LITERATURE REVIEW CRITICAL DISCUSSION CONCLUSIONS REFERENCES. Use the passive writing style (write in the third person past tense). Don’t use the first person (e.g. I, We, My etc). The RESEARCH PROBLEM/ ISSUE TO BE RESOLVED The Dissertation should be written in a third person My dissertation focuses on the use of special effects in silent movies, the technicalities, uniqueness. The technique adopted in using special effect to make silent movies will be the focus of this dissertation. Hence, the research problem/issues to be resolved is divided as follows; The Nature of Silent Movies Special Effect in Silent Movies – Definition, Distinction from Filming without Special Effects Advantages and Disadvantages of Using Special Effect in Silent Movies Types of Special Effect in Film Used During Silent Period. ARGUMENTS Effectiveness of special effects in silent movies Whether the use of special effects in silent movies requires special expertise as opposed to filming without special effect Whether Special Effect is useful in Silent Movies If truly special effects were made use of back in the early years. In developing the above arguments, the following will be used; Ten silent films with special effects to mention Méliès, G. (Director). (1902) A trip to the moon. Griffith, . (Director). (1915) Birth of a nation. Keaton, B. (Director). (1924) Sherlock, Jr. Niblo, F. Brabin, C. Cohn, . (Directors) (1925) Ben Hur. Murnau, FW.(Director). (1926) Faust. Fritz, L.(Director). (1927) Metropolis. Gance, A. (Director). (1927) Napoleon. Hitchcock, A. (Director). (1927) The Lodger. Vertov, D. (Director). (1929) Man with a movie camera. Chaplin, C.(Director). (1931) City Lights. Four silent films with special effects to analyse and study in greater details. Breakdown of chapters Chapter 1: Nature of Silent Movies – Technicalities required in using Special Effect for the Production of Silent Movies Special Effect in Silent Movies – The Definition, Uses, Distinction from Films without Special Effects Types of Special Effect in Film Used During Silent Period Chapter 2: Méliès, G. (Director). (1902) A trip to the moon. And other movies and tricks. Chapter 3: Murnau, FW.(Director). (1926) Faust. Chapter 4: Fritz, L.(Director). (1927) Metropolis. Chapter 5: Vertov, D. (Director). (1929) Man with a movie camera. Chapter 6: Conclusion and Recommendation TITLE The title should inform the reader simply and concisely what your study is about. It is important that the title is self-explanatory; and that you avoid irrelevant and misleading words. The title should not exceed 12 to 15 words. It is important to the project and is often forgotten. A good title will sum up the research in one concise sentence. Keep it short and to the point. At the very minimum the title should include details of the variables and the nature of the main expected relationships between them and work around this. ABSTRACT The abstract is one paragraph that summarises your study. For an empirical study, its length should be no more than 150 words. Type the abstract itself in a single paragraph in block format indented on either side. Type all numbers (except those that begin a sentence) as Arabic numerals (Arabic numerals are our traditional numbers 1, 2, 3 etc..). The abstract like the title, should be self-explanatory and self-contained. The abstract should include (a) the aim of the study, (b) a summary of the method, (c) a synopsis of where you intend to take the reader. Do not include in the abstract any information that is not included in the main body of the report. It is a summary of all of the other sections. It also should be self-contained and the idea is that the reader should not have to read the whole dissertation in order to be able to read the abstract. Therefore, you should not use abbreviations and terminology which are only explained in the dissertation. Also, as you will not know what you have done until you have finished the study it is a good idea to leave writing this until the end. It will take more than one attempt to write the abstract in order to include all of the relevant information within the word count. Remember to re-draft it and refine it. INTRODUCTION The introduction orients the reader to the research. It should answer a number of basic questions: ? What previous research led you to your project? ? What are your research aims? ? What is the specific rationale for your research? CONTEXTUAL ANALYSIS The purpose of this section is to extend the rationale for your research. This can be achieved by referring to previous research and theories in the area and how your research follows on from previous research. Many students provide a good review but do not work on their rationale. Frequently this is a forgotten part of an undergraduate thesis. The rationale builds the argument for you research, explaining why your research is important, how it fits in with previous research, and how it will be conducted. Think of this section as a funnel, starting off broad, providing an introduction to the area, providing relevant theory and research and narrowing down your focus to your proposed research. This section is a general introduction to the area of interest. Make sure not to make it too general as this can make the introduction longer and thus affect the word count. Make sure not to go off on tangents. It takes time to write this section and to decide what to include and what not to, so don’t expect to get the contextual analysis perfect the first time. It will require redrafts. A good method to decide whether the research or theory is relevant it to ask whether the research you are discussing helps in explaining the rationale for the study. If ‘No’ then you should consider omitting it. Next, show the reader that the contribution is a potentially interesting or important one. Why have people paid attention to this issue? Why is the new issue one that people should pay attention to? Does an error in previous research really undermine conclusions that previous investigators have drawn? Remember, the purpose of the introduction is to interest the reader in your research; the reader will either be motivated to continue reading or just toss your dissertation aside. LITERATURE REVIEW Next you want to review the main theories, variables and research of interest. These should be those that are most relevant to your research. Assume in your review that the reader is familiar with the general area of research. The reader’s main interest is in what you have to contribute. They are interested in the previous literature only as it relates directly to your contribution. Make sure not to go off on tangents. A good review of the theories and research is one that is evaluative rather than just descriptive. Try to evaluate the research you review here. So when you describe a piece of research, also go on to evaluate said theories by mentioning other work which supports it with or which even contradicts it. Remember, you do not get marks for description – evaluate the literature, do not describe it. In addition, avoid repetition and redundancy. Furthermore, use the passive voice but avoid the use of personal pronouns (I, we, our, us, etc.). CRITICAL DISCUSSION Once you have told the reader what is already known, you must relate what still needs to be known, that is, what you intend to through your own rhetorical method. Tell the reader not only what you intend to contribute, but also what the nature of the contribution is. Does your research resolve an issue that has been unresolved in the past? Does it deal with issues that others have not thought about? Does it attempt to correct an error in previous research? Always think about the rationale for the research. The rationale explains why your research is important or interesting within the context of previous research and theory. This section is interpretive and predicated on your own analyses alongside previous research and theories. The focus of this section is the explanation and interpretation of your findings. As you complete each paragraph you should read over it and if it does not relate in some way to your findings then it is not appropriate for your discussion. This section foregrounds the relevance of your research. CONCLUSION The final section of your Dissertation is a concise restating of the main findings of your research and any important points that stemmed from your discussion. Don’t sensationalise the final paragraph or write any personal opinions based on your research just conclude the section based on the content mentioned here. It is worth noting how your work might create possible avenues for future research. Don’t pick ideas for future research from thin air. The suggestions for future research should stem from your findings and add to the literature for your area of interest. Remember to provide some rationale for this suggestion, why is it important and how does it stem from the current research. Also, discussion any applications or implications of your research. Does it have any real-life implications or applications? REFERENCES Start the reference list on a new page in Harvard Referencing Style. The reference section provides a complete list of the sources you cite in your dissertation. The reference list should be in alphabetical order in terms of the first author. Remember, to cite secondary sources, refer to both sources in the text, but include in the references section only the source that you actually used. What is referencing and why is it necessary? Referencing is a standard method of acknowledging the sources of information you have consulted. Anything – words, figures, theories, ideas, facts – originating from another source and used in your assignment must be referenced (. acknowledged) ? To avoid plagiarism ? So that the reader can verify quotations What is plagiarism? Plagiarism is defined by the College as the act of presenting the work, written or otherwise, of any other person, including another learner or institution, as your own. The only way to use another person’s work without committing plagiarism is to fully and precisely reference the original author(s) in your own work. APPENDICES In your appendices you need to include the following: ? Copies of questionnaires if used (and if not breaking any copyright laws) ? Transcripts of any interviews carried out. The Acknowledgments page Acknowledgements should not be extensive, should be in proportion to the assistance received, and should be generous in relation to help received from outside the College, ., clinics, schools, or libraries. Page numbering Pages should be numbered consecutively, except the cover page. Number all pages in Arabic numerals in the upper-right hand corner (Arabic numerals are our traditional numbers 1, 2, 3 etc..). The number should appear at least 1 inch from the right-hand edge of the page, in the space between the top edge of the paper and the first line of text. If a page must be inserted or removed after numbering is completed, renumber the pages; do not number inserted pages with, for example, 6a or make other repairs. There is no requirement for headers or footers. Ensure that the page numbers on the contents page tally with the numbers on the pages that they are referring to. Numbering of tables and figures Tables are numbered consecutively in the order in which they are first mentioned in the text and are identified by the word Table and its Arabic numeral flush left at the top of the table. Can be double-spaced or single-spaced but be consistent and begin the table title flush left, capitalizing the initial letters of the principal words, and italicizing the title. If the title is longer than one line, double-space between lines, and begin subsequent lines flush left under the first line. Centre column heads and subheads over the appropriate columns within the table, capitalizing only the initial letter of the first word of each heading (do not capitalize the second part of a hyphenated word unless it is a proper noun). Figures are also numbered consecutively in the order in which they are first mentioned in the text. Use the word Figure and an Arabic numeral. Each figure must have a title that includes the figure number. Remember that the title of a table appears over the table, and the title of a figure appears under the figure. Paragraphs and Indentation Indent the first line of every paragraph. For consistency, use the tab key, which should be set at five to seven spaces or ½ in. Type the remaining lines of the dissertation to a uniform left-hand margin. The only exceptions to these requirements are the abstract, titles and headings, table titles, and figure captions (titles). Margins Leave uniform margins of at least 1 in. ( cm) at the top, bottom, left, and right of every page. In most word-processing programs, 1 in. is the default setting for margins. Uppercase and Lowercase Letters Type the following parts of your dissertation in uppercase and lowercase (capitalize the first letter of important words): Most headings; Table titles; some elements of the reference list (see examples above). Headings Your dissertation should use from one to five levels of headings. For most pieces of work, three or four levels of heading are sufficient. Three levels: Centred Uppercase and Lowercase Heading Flush Left, Italicized, Uppercase and Lowercase Side Heading Indented, italicized, lowercase paragraph heading ending with a period. Four levels: Centred Uppercase and Lowercase Heading Centred, Italicized, Uppercase, and Lowercase Heading Flush Left, Italicized, Uppercase and Lowercase Side Heading Indented, italicized, lowercase paragraph heading ending with a period. Spacing and punctuation Space once after all punctuation. Exception: Do not space after internal periods in abbreviations (., .A.) or around colons in ratios.
MOVE – GIRL WITH THE DRAGON TATTOO a) how the film is reflective of certain aspects of the society/culture in which it was created. b) how the film utilizes the fundamentals of filmic structure, cinematography, production design, sound, and performance to a particular aesthetic and thematic end. Please note that this will require in-depth research and multiple viewings of the film. It is not simply a collection of your own personal observations. One should be able to view your monograph and gain a deeper understanding of the film, its “cinematic language,” and its complex relationship with the society in which it was created.
Flashback to 1999, nearly the end of the century and the beginning of a new millennium. You have been selected to serve as a judge at the Cannes Film Festival. This year’s festival organizers have decided to add a number of new award categories, one being the “best American film of the 20th century.” In your role as judge, you are required to write an argument for and a defense of the film you have selected to be among those in the running for the best film of the 20th century. On June 16, 1998, the American Film Institute announced their prestigious list of the 100 greatest films of the 20th Century. Now, you have been asked to choose from ONE of the following 26. (Except for #1, the films are not in order): OUR FILM IS ROBERT MULLIGAN’S 1962 CINEMA CLASSIC TO KILL A MOCKINGBIRD. Research: To prepare for this project, you must view one of the films listed above and then find numerous secondary sources about the film to support and illustrate your opinion and to explain why this is one of the best American movies of the 20thcentury. Like your documented essay in English 121, this research paper should arise out of opinions validated by critical analysis and substantiated by evidence. In other words, it is a lengthy, formal development of a thesis statement, supported principally by such traditional sources as books and articles in newspapers, magazines and journals, found in print and on-line, as well as by such non-traditional sources as interviews, videos and television programs. Sources (8 minimum) Primary: (1) the film you select Secondary: (7 minumum) Required: Original New York Times film review At least two critical articles about the film from scholarly journals. Suggested: Books (print or E-books) about the film Video documentaries about the film Interviews in print or online Biographical/autobiographical articles by or about the screenwriter, director, producer, leading actors, etc. regarding the film Film reviews If the film was based on a novel or play, one critical article about the original source Podcasts by film experts discussing the film Do not use blogs unless the source is a credentialed expert in the field of film. Requirements: All papers must be typed in 12 point type and double spaced. ALL information taken from outside sources must be documented according to MLA format. REMEMBER: This is a RESEARCH paper, so your main purpose is to demonstrate that you have done research by using and acknowledging your sources. If you plagiarize, I promise I will catch you, and you will receive an F on the paper and an F for the course. It is not worth the risk. THE FINAL PAPER MUST INCLUDE: Title page Formal outline Minimum of seven full pages of text Works cited list denoting the research gleaned from at least eight sources (including at least two journal articles and the original New York Times review) At least 15 in-text parenthetical citations in MLA format reflecting each of the sources on the works cited list PAPERS NOT MEETING ALL OF THESE REQUIREMENTS WILL NOT BE ACCEPTED. For general information and brief summaries of these films, see . This is NOT a source but is only a database for general information. In order to do this assignment, you must watch the 1962 Robert Mulligan classic To Kill a Mockingbird. I will be uploading the Works Cited page with all of the sources already provided and in MLA Format. These sources are mandatory as they have already been approved. There a total of 14 sources in the Works Cited, however, we must have a minimum of 15 in text citations in the paper. I will also be uploading a sample research paper and what aspects of the film should be talked about. The sample paper is how the assignment should be and turn out since it has all of the requirements from the title page, the formal outline, and the paper.
Students will analyze some aspect of human experience within a culture, focusing on at least one source of diversity (e.g., age, disability, ethnicity, gender, language, race, religion, sexual orientation, social class, or other) and will compose for a specific purpose, occasion, and audience through the Capstone Paper (DIW-C2/SMW-1).
This week, you learned about direct cinema and documentary filmmaking, reading an article about the legacy of direct cinema and several interviews with Frederick Wiseman, as well as watching one of Wiseman’s influential direct cinema/observational documentaries (High School) and a contemporary film (While We’re Young) whose plot involves documentary filmmaking. For this blog, please complete both of the following: 1. After reading Wiseman’s interviews and watching High School, characterize him as a filmmaker by identifying his apparent moral imperative ranking (using the same self, subject, profession, audience components that our previous assignment involved). Distinguish between what he says he does from the impressions the film makes on you. In other words, do his stated priorities seem to line up with the finished product that you watched? Be specific by citing evidence from his interviews and the film itself. Pay particular attention to aspects of the film that are indicative of the direct cinema style. 2. After watching While We’re Young and reading Bruzzi’s article, “The Legacy of Direct Cinema,” respond to the way in which While We’re Young offers alternative approaches to documentary storytelling. How does the film involve the ideals of documentary “purity” that Bruzzi discusses? Cite characters, scenes, or other parts of While We’re Young that express the debate about what documentaries are and do, or about documentary ethics, and how those correspond to the issues raised in Bruzzi’s article. they have to login through George Mason University nshifera – username Addisabeba1992%% – Pass the log in is a two step process that I have to authenticate from my phone, so let the writer know to contact me before logging in
Imagine that you are a part of the development team for a possible film adaptation of the novel. *(the novel in here is the great expectations novel) Create a pitch for the film adaptation, which will be submitted to both major and smaller, independent motion picture companies. Your pitch must be professional in appearance, and well organized and include the following content: • Basic plot outline, including setting, (time and place) and characters. • Casting notes. Visually present your casting choices for your film adaptation. o Accompany each image with an explanation for your casting choices. • Costuming notes. Visually present the most important costume of each of your major characters. o Accompany each picture with an explanation of the effect you will be creating with this costume, the source of the inspiration, and comments about the fabrics and colours. • Music notes. Explain what you want the musical director to achieve in writing the score in terms of overall emotional impact. o List which particular scenes will be emphasized by powerful music and state what emotion will be aroused by this music. • Proposed movie poster, featuring the name of your film, the names of the actors that you envision in the key roles, and suitable artwork and descriptions of the plot. o Your poster should reflect your main theme(s)and conflict(s) and be visually compelling. • References section must include image citation/list