Category: Film studies

FILMS WE WATCHED: Pick the film you liked the most!
Blackboard Jungle (1955)
To Sir, With Love (1967)
Dead Poet’s Society (1989)
Sources done in class:
(Smith) Whatt Media Classes Really Want To Discuss pdf
(Walker (2010)) Blackboard Jungle: Delinquency, Desegregation, and the Cultural Politics of Brown- https://scholarship.law.slu.edu/cgi/viewcontent.cgi?article=1166&context=faculty
(Beyerbach (2005)) THE SOCIAL FOUNDATIONS CLASSROOM: Themes in Sixty Years of Teachers in Film: Fast Times, Dangerous Minds, Stand on Me.
( Bulman (2015) Movies/Society) Hollywood goes to high school cinema , schools, and american culture pdf.
A film analysis is not a review or summary of the plot, it should go deeper into analysis and reaction. It should discuss the issues raised by the film, address the film’s importance and purpose, state reactions to the content and quality of the film, and connect it to ideas and material presented in class.
ASSIGNMENT: Guided by the list of topics below, students will submit Film Viewing Reports on 4 different feature-length films viewed in class, choosing a different topic for each response. These brief papers (750-1000 words) should demonstrate students independent critical thinking skills and ability to apply various interpretive lenses as introduced in course texts. (5 points each / 20 points total)
Film is history, it is a primary source that can be analyzed and interpreted, and the film does not have to be about an historical event.  Your task is to select a film from that we have viewed thus far and  write an analysis of that film connecting it to ideas and course readings discussed in class. Please note that beyond identifying your topic of writing as listed below, it is REQUIRED that you cite a minimum of 2 different sources from the course readings per Film Viewing Report.
A film analysis is not a review or summary of the plot, it should go deeper into analysis and reaction. It should discuss the issues raised by the film, address the film’s importance and purpose, state reactions to the content and quality of the film, and connect it to ideas and material presented in class.
TOPICS TO FRAME YOUR FILM VIEWING REPORT:
A. Cinematography refers to the art of making motion pictures. Taking a formalist and/or expressive approach, respond to the film by identifying and analyzing significant aesthetic elements and/or artistic choices. For example, where is the camera, and why does that matter? A high-angle shot (when the camera is up high, looking down on a character) is likely to have a very different effect than a low-angle shot, just as the impact of a close-up differs from that of a long shot. If you are interested, https://www.bhphotovideo.com/explora/video/tips-and-solutions/filmmaking-101-camera-shot-types. but your paper can also discuss props, costumes, and/or sets in addition to or in lieu of camera techniques. You cannot possibly write about every single aesthetic element, so focus on what stands out to you as a viewer.
B. According to Smith (2011), movies typically feature “at least one central character who is our emissary to the world of the film” (p. 40). Taking a formalist and/or expressive approach, focus on a single character’s role and/or the actor’s performance. What makes this character so central to the film and/or your response to it?
C. Taking a sociological approach, identify and analyze how concepts like gender, race, class, and sexuality (or intersections thereof) operate within the film. You may choose to focus on one particular scene, compare or contrast several scenes, or write about a character or characters throughout the whole film.
D. Taking a sociological and/or philosophical approach, explain what the film suggests about relationships between or among teachers, students, or administrators and/or the roles these figures play. You may wish to cite Bulman if their frameworks shape your thinking.
E. What does the film suggest about the relationship(s) between school and society? Use a historical and/or philosophical approach to analyze the purpose of education as displayed in the film.
F. Citing a reputable news source, connect the film to a current event or issue related to education. In other words, by taking a mimetic approach, you can explain the film’s relevance by analyzing its representation of enduring, real-world ideas.
G. Take a historical and/or philosophical approach by focusing on the institution of school within the film. What is the curriculum like? What about the teaching style(s)? What do you notice about the classroom(s) and the building? How can you make sense of these sorts of observations with the help of what you know about American schools throughout history?
H. From an archetypal approach, consider this film in terms of the genre of schools on screen, noting whether it is an example of repetition or variation. Support your argument with key details from the film and strong connections to one additional film–whether viewed in this class or on your own. In addition to citing the additional film, you may wish to cite Smith and/or Tarancón.
This is an opportunity to capture your immediate and unique reactions to the films on our syllabus while at the same time flexing your critical thinking skills.
Given the relatively limited length of these papers (750-1000 words, inclusive of cover page and references, if needed), you are not expected to provide a comprehensive treatment of each film. The  topics will help you focus your critical gaze and support your analysis with carefully selected evidence rather than summary.
Being able to supply such evidence requires taking notes during each film, which is what participation looks like on those days. Bulman (2015) explains how he worked inductively while studying his set of films: he watched them and took note of what stood out to him as a sociologist. You can follow his lead by going into a particular film without a topic in mind, or you can work deductively by selecting a topic for the week and taking notes accordingly. Feel free to try both of these methods.
CRITICAL QUESTIONS TO GUIDE YOUR REPORT
You should also consider the following responses alongside your topic selection in your film viewing report.
Describe the film in general terms. What subjects does it cover?
Describe the plot and setting. What issues does it raise? What do you see as the main purpose of the film?
What are the major theme(s) of the film?
Evaluate the film for quality and interest. Comment on the screenplay, acting, direction, production values and music. Are any literary techniques such as symbolism, character development and foreshadowing used? Would a young person be interested in this film?
Relate the film to class discussions, readings, notes or knowledge. Is the film historically (or factually) accurate and realistic? Does it contradict or support anything you have learned?
Summarize briefly emphasizing the strengths and weaknesses of the film.
FILM VIEWING REPORT REQUIREMENTS:
All papers must be typed, double spaced with a 12 pt. Font and have correct APA formatting.
All pages must have appropriately sized margins.
All papers have identified a topic area and must contain information detailed in the CRITICAL QUESTIONS section of these guidelines.
All papers should be written about one or more films viewed prior to the submission date of the Film Viewing report.
All papers must be 750-1000 words in length

Struggling with where to start this assignment? Follow this guide to tackle your assignment easily!

Step 1: Choose Your Film and Topic

For your Film Viewing Report, you need to choose one of the films we’ve already watched in class, such as Blackboard Jungle (1955), To Sir, With Love (1967), or Dead Poet’s Society (1989). You will analyze the film through a specific lens based on one of the topics provided (cinematography, character analysis, sociology, etc.). Here’s how you can break it down:

• Pick your topic: Focus on one of the following topics that interests you and fits the film you’ve selected:
  • Cinematography (analyze the film’s aesthetic and artistic choices)
  • Character analysis (focus on a central character and their role)
  • Sociology (explore race, class, gender, sexuality, etc.)
  • Teacher-student relationships (sociological or philosophical approach)
  • School and society (historical or philosophical approach)
  • Relevance to a current event (mimetic approach)
  • School curriculum and teaching styles (historical or philosophical approach)
  • Archetypal approach (compare genres and films)

Step 2: Watch the Film and Take Notes

• Pay attention to key details related to your chosen topic. For example, if you’re focusing on cinematography, note camera angles, shots, lighting, and other aesthetic elements that stand out. If you’re analyzing a character, observe their behavior, decisions, and how the actor portrays them.
• Be active and reflective: Consider how the film raises significant issues and how it relates to the topics covered in class, such as themes of race, class, and education.

Step 3: Start Writing Your Analysis

Here’s how to structure your Film Viewing Report:

1. Introduction:
   • Introduce the film you’ve selected (e.g., Blackboard Jungle).
   • Briefly mention the central topic you will analyze (e.g., cinematography, character, or sociology).
   • Provide a sentence or two on what your approach will be (e.g., focusing on the cinematography or how gender and class are portrayed in the film).
2. Body:
   • Film Summary (Brief): Briefly describe the film’s plot and setting but avoid summarizing too much. This is an analysis, not a review, so focus on what the film is addressing.
   • Analyze Using Your Chosen Topic:
     • Cinematography: Discuss the camera work, lighting, and aesthetic choices, and explain how they affect the viewer’s emotional connection to the story.
     • Character Analysis: Dive into a character’s role in the story. What makes this character central? How does the actor’s performance shape the film’s impact?
     • Sociology (Race, Gender, Class, etc.): Analyze how these issues are represented in the film. Pick specific scenes or characters to illustrate how the film engages with these themes.
     • Teacher-Student Relationships: Discuss how the relationship between educators and students is portrayed in the film and how it connects to the broader educational or societal issues.
     • School and Society: Examine how the film depicts the purpose of education, and reflect on its relevance to the historical context.
     • Relevance to Current Events: Identify a real-world issue and draw parallels between it and the film’s portrayal of education.
     • School Curriculum and Teaching Styles: Discuss what you notice about the school setting, teaching methods, and curriculum, and compare them to historical or modern educational practices.
     • Archetypal Approach: Compare the film with another film or genre, and analyze whether it conforms to or challenges traditional school movie tropes.
3. Connection to Course Readings:
   • Cite at least 2 sources from the course readings (Smith, Walker, Beyerbach, or Bulman). For example, you might cite Smith (2011) to discuss the role of central characters or Walker (2010) for sociological aspects of race and class.
   • Integrate these readings seamlessly into your analysis to strengthen your argument and provide evidence for your points.
4. Reactions to the Film:
   • Share your personal reactions to the film. Did it challenge your views? Did you find certain parts of the film particularly striking or thought-provoking?
   • Evaluate the film’s quality: Was the acting compelling? Did the direction effectively convey its message? Was the film relevant to the educational issues it sought to address?
5. Conclusion:
   • Summarize your analysis and reinforce your main points. Why is this film significant, and how does it contribute to our understanding of education or society?
   • Mention any strengths or weaknesses of the film, and make a final comment on its relevance to contemporary education or societal issues.

Step 4: Format Your Paper

• Length: Aim for 750-1000 words.
• APA Formatting:
  • Title page (if required by your instructor).
  • 12 pt. font, Times New Roman.
  • Double-spacing.
  • References page (if necessary).
  • Cite your sources properly in-text (e.g., Walker, 2010).

Step 5: Proofread and Submit

• Proofread your paper to ensure it is clear, concise, and free from grammatical errors.
• Verify APA citations for both in-text and reference list formatting.
• Submit your paper as per your instructor’s instructions.

By following this step-by-step guide, you’ll be able to craft a thoughtful and well-organized Film Viewing Report that demonstrates critical thinking, engagement with the course material, and an in-depth analysis of the film.

For this assignment, you will write an outline for your first 100-point photo essay and film analysis. The final paper will be three to four pages with five complete paragraphs (about 500 to 700 words). The outline will use the standard five-paragraph essay structure. Based on your knowledge of visual storytelling, you will use your knowledge of frames, rule of thirds, and other camera angles as you create a story using photos depicting how Candide’s response to Leibniz’s philosophy that this is “The best of all possible worlds” is seen from an ecocritical lens. The first one to two pages of the assignment will contain the photo essay, creating a storyline identifying images showing whether one can “cultivate gardens” in our world today to conquer environmental ills or whether this is not environmentally feasible, or even the best solution. Use .jpg images with citations below each image explaining where the source came from in MLA format. The following two to three pages will contain a five-paragraph essay explaining how these images explain whether one can truly “cultivate gardens”. Use the “Activist Archival Project,” Activist Archival Project – Writing Spaces, Links to an external site.as a guide to write a thesis. The introduction will explain the environmental concerns expressed in Candide and whether this ties into our world today. Use the following article as a guide to formulate a thesis: The body paragraphs will explain how the images work to serve as an explanation for your stance. You will focus on explaining how the camera shots and framing techniques from the images shown in the photos essay and in the scene, you select to analyze from the film help to create a full picture of each subpoint in your thesis proving your stance. You may take your own pictures or use images found online based on your research. Be mindful of how the eco concerns in the images tie into your stance in each body paragraph. Choose three images that will be explained in each body paragraph.
1) Watch the film Candide as follows:
(3) Leonard Bernstein’s “Candide” – BBC 1988 – YouTube. Links to an external site.
2) Read the following: Rules of Shot Composition in Film: A Definitive GuideLinks to an external site.
3) Watch the following video:
Visual Storytelling 101Links to an external site.
4) Create a clear thesis focusing on whether it is environmentally feasible to “cultivate our own gardens” and whether Candide’s view of Leibniz’s philosophy still resonates today based on your research you have conducted through an array of photos composed in an order of importance that will be used as the basis for the analysis in your paper.
5) Procure the images in a chronological order of importance, showcasing the main points in your paper. Images could be taken from your camera or a range from any of the following: National GeographicLinks to an external site., 900+ Best Environment ideas | scenery, beautiful nature, natureLinks to an external site.Links to an external site., or
6,702,200+ Environmental Issues Stock Photos, Pictures & Royalty-Free Images – iStock | Environmental issues protest, Environmental issues photos, Environmental issues peopleLinks to an external site.
6) Begin writing the five-paragraph essay at this point. Include a clear introduction that maps out the main points pertaining to Candide’s philosophy and your findings through the photo essay. The body paragraphs should break down the image using your knowledge of framing techniques to explain why the image proves each subpoint of your paper in connection to film’s images in Candide. Focus on specific scenes that stand out in connection the images you select. Cite from the video as follows: (Wolf minute: seconds) as Wolf uploaded the video. The conclusion should sum up how the images, visual techniques, and novel shown in the performance all work to serve your point.
Assignment Instructions
Instructions: Review the writing process. This is step two. Make sure to prewrite beforehand. Use a formal outline using MLA 9th ed. format. Type the assignment in Times New Roman 12-point font.
Categories to consider before writing when utilizing the images from the photos and film for analysis:
1. Rule of Thirds:
Dividing the frame into three equal horizontal and vertical sections, placing the main subject on one of the intersection points for a balanced composition.
2. Leading Lines:
Utilizing natural lines in the scene to guide the viewer’s gaze towards the main subject.
3. Symmetry:
Creating a balanced image by arranging elements in a mirrored pattern.
4. Depth:
Using elements in the foreground, middle ground, and background to create a sense of dimension in the image.
5. Negative Space:
Intentionally leaving large areas of empty space around the subject to emphasize it and create a minimalist aesthetic.
6. Filling the Frame:
Positioning the subject to occupy most of the frame, minimizing distractions.
7. Framing within a Frame:
Using natural elements like a doorway or window to create a frame around the main subject.
8. Audience: Will your audience relate to your writing style? How will they react to the images you have chosen to support your stance?
9. Concision: How will your writing avoid wordiness? Cross through phrasal verbs, redundant adjectives, prepositional phrases to make your writing concise. Use more formal, precise diction instead.
10. Tone: How will the images express your attitude toward the subject?
11. Setting: How does the location of the images selected to into Candide?
12. Dialogue: Will the dialogue in Candide chosen to be represented in your paper be relatable to the audience based on your stance?

Follow the following format as closely as possible. Each paragraph should include at least five to six complete sentences.
I. Introduction.
A. Topic sentence- The topic sentence should draw your reader in and indicate the mindfulness of your critique of Candide’s portrayal of environmental issues.
B. Give background context about Voltaire’s work, Candide. introduce the performance based on the novel and your interpretation of the effectiveness of framing techniques used to emphasize this topic.
C. Introduce Leibniz’s philosophy that “this is the best of all possible worlds” and explain whether the examination of Leibniz’s philosophy held by Pangloss and Candide’s disdain of it still resonates in our world today. Briefly identify each image used in the photo essay in connection to these points in a chronological order of importance.
D. Thesis: Posit an activist’s stance based on whether it is feasible to cultivate our gardens as shown by Candide in response to Leibniz’s philosophy based on the images you have selected in the photo essay that relate to our world today.
II. First Body Paragraph.
A. Topic sentence-Transition from the last paragraph. Connect the main idea in the last paragraph to the present.
B. Explain how Candide’s perspective of Leibniz’s philosophy is shown early on in the film.
C. Identify a scene to analyze. Cite as follows: (Wolf minute: seconds)
E. Explain how the first image proves that the environment ideals in Candide still resonate today. Describe the image and framing techniques that can be used to emphasize your stance.
F. Conclude by summing up the main point.

III. Second Body Paragraph.
A. Topic sentence-Transition from the last paragraph. Connect the main idea in the last paragraph to the present.
B. Explain whether you believe Candide’s concept of “cultivating gardens” is feasible in our world today.
C. Identify a scene from the video on Candide to cite as follows: (Wolf minute: seconds)
D. Explain how the second photo selected ties into the scene selected. Describe specific framing techniques in the film and photo.
E. Conclude by summing up the main point in connection to the thesis.
IV. Third Body Paragraph.
A. Topic sentence-Transition from the last paragraph. Connect the main idea in the last paragraph to the present.
B. Identify how the third image selected presents the strongest message prompting activism in connection to how the environmental issues in Candide tie into our world today.
C. Cite an example from the article as follows: Activist Archival Project – Writing SpacesLinks to an external site. (Bates & Warren-Riley pg.)
D. Conclude by summing up the main point in connection to the thesis.

V. Conclusion
A. Topic sentence-Transition from the last paragraph. Connect the main idea in the last paragraph to the present.
B. Map out how the analytical points from the film and images proved your point.
C. How can we work in our communities to promote environmental awareness? Call to action.

Struggling with where to start this assignment? Follow this guide to tackle your assignment easily!

Step-by-Step Guide for Writing Your Photo Essay and Film Analysis

1. Understanding the Assignment: First, review the instructions to fully understand the scope of the project. You are required to create a photo essay and film analysis based on Candide’s response to Leibniz’s philosophy, specifically the idea that “this is the best of all possible worlds.” Your analysis will explore environmental concerns as seen through the lens of Candide’s world and how it translates to today’s ecological issues. Make sure to focus on the concepts of visual storytelling, framing techniques, and how the images and film scenes support your thesis.
2. Research and Preparation: Begin by watching the required film and reading the articles. Watch Leonard Bernstein’s Candide on YouTube (1988 version) and read through the resources on shot composition in film and visual storytelling. Familiarize yourself with eco-critical theory and how it connects to Candide’s philosophy of cultivating gardens. This research will help you in crafting a thoughtful, grounded thesis.
3. Create Your Thesis: Based on your research, come up with a clear thesis statement. Your thesis should argue whether it is environmentally feasible to “cultivate our own gardens” today. Consider Candide’s disillusionment with Leibniz’s philosophy and use images to show whether this philosophy is still relevant.

   Example thesis: “While Candide’s idea of cultivating gardens offers a hopeful vision of ecological improvement, today’s environmental crises make this ideal seem less feasible, as seen through the photo essay’s depiction of deforestation, pollution, and climate change.”

4. Select Images for Your Photo Essay: Choose images that visually represent environmental issues like deforestation, pollution, or resource depletion, and use them to tell a story that either supports or critiques Candide’s view of Leibniz’s philosophy. Each image should be linked to one of your thesis points. For example, if you’re discussing the limitations of cultivating gardens, you might show images of barren, polluted landscapes.

   Remember to use MLA citations for each image, whether it’s from an online source or taken yourself.

5. Outline Your Paper: Once you have your thesis and images, create an outline based on the five-paragraph essay structure. Here’s a breakdown of how each section should look:

   I. Introduction

   • Introduce the film, Candide, and briefly explain Leibniz’s philosophy.
   • State your thesis (argument about cultivating gardens and its relevance today).
   • Mention the images you will analyze in connection to Candide’s philosophy.

   II. First Body Paragraph:

   • Start with a topic sentence that introduces your first main point.
   • Explain how Candide’s perspective on Leibniz’s philosophy is represented early in the film.
   • Select a specific scene (cite as: Wolf minute: seconds) and explain how it connects to your first image.
   • Analyze the framing techniques in the scene and how the image reflects your point.
   • Conclude by summing up the main point.

   III. Second Body Paragraph:

   • Transition smoothly from the first body paragraph.
   • Discuss the feasibility of cultivating gardens today.
   • Cite another scene from the video and connect it to your second image.
   • Explain how framing techniques in the image and film scene strengthen your argument.
   • Conclude by emphasizing how this paragraph supports your thesis.

   IV. Third Body Paragraph:

   • Identify the third image and explain its message.
   • Discuss the strongest environmental activism message presented in this image.
   • Cite supporting information from the Activist Archival Project or other resources.
   • Conclude by summarizing how this image reinforces the thesis.

   V. Conclusion:

   • Connect the final paragraph to the earlier body paragraphs.
   • Summarize how the film scenes and images you selected demonstrate your thesis.
   • End with a call to action, suggesting how communities can promote environmental awareness and change.
6. Write the Essay: Follow the structure of your outline to write your paper. Ensure each paragraph has 5-6 complete sentences. Be sure to support your argument with specific examples from both the film and your selected images, using framing techniques to explain how these elements reinforce your points.
7. Cite Your Sources: Use MLA format for citations, including both in-text citations and a works cited page. Make sure to cite the film scenes properly (Wolf minute: seconds) and provide full citations for your images.
8. Review and Edit: After writing your first draft, take the time to review your work. Look for areas where you can improve clarity or strengthen your argument. Ensure that your images and film analysis are cohesive and directly support your thesis.

By following these steps, you will be able to create a thoughtful and well-structured photo essay and film analysis. Keep focused on the environmental issues, the framing techniques, and the philosophical inquiry about cultivating gardens, and you’ll be on track to crafting a strong, engaging paper.

Discuss the use of cinematic codes in the movie:
(when Harry met sally)
Your essay should be clearly structured, and your arguments should be supported by examples from the film, as well as by references to your academic sources.
Only use these 3 academic sources
Kuhn, A. and Westwell, G. (2012) Oxford Dictionary of Film Studies, Oxford, OUP, pp.354-355 File
Evans, P.W. (1998) ‘Meg Ryan, Megastar’, in Evans, P.W. and Deleyto, C. Terms of Endearment: Hollywood Romantic Comedy of the 1980s and 1990s, Edinburgh, Edinburgh University Press, pp. 188-207 File
Corrigan, T. and White, P. (2015) The Film Experience: An Introduction, Boston, MacMillan Education, pp. 327-8 File
It should be 1500 words

This assignment is intended to help you learn to do the following:
Analyze the fictional and dramatic elements of a film.
Evaluate the editing function of a film.
Critique the sound effects in a film.
Critique acting in a film.
Evaluate the theme(s) of a film.
Analyze why and how certain film making techniques are used in a film.
Analyze the contexts of a film.
Apply different approaches in film analysis.
Overview
Start by choosing a film to watch from the list your professor provided. In this final analysis, you will discuss major techniques supporting the theme, make an allusion (reference) to another film, and comment on a historical or cultural relevance to the film. Chapter 12 in the textbook discusses the basic approach to analyzing a film as a whole.
Paper Guidelines
Write a 1,000- to 1,250-word essay that follows APA guidelines. Word count excludes title page and references. Use the following guidelines to structure your paper.
Title Page:
Your name, date, title of film (italicized)
Year when the film was produced
Director, writer, cinematographer
2 to 3 major stars in the film and their characters’ names
Introduction: Your introduction paragraph will focus on a theme present in the film you chose. You may use the following formula for your thesis statement: “[Name of Film] shows that…”
Body: Your body paragraphs will be used to support your thesis. In 4 to 5 paragraphs:
Analyze how the theme is present throughout the film by explaining its relevance in the film as a whole.
Show how several filmic elements contribute to the theme (such as angles, lighting, color, music, dialogue, motif, etc. See the boldface terms in each chapter or the book’s glossary). Refer to at least 2 credible sources about the film and/or cinematographic contexts surrounding the theme; the bibliography at the end of each chapter has some research suggestions, and you are welcome to contact a librarian at the Franklin Library for assistance, as well.
Write a full analysis of one shot relevant to the theme (e.g., shot type, proxemics, angle, lighting, composition, motif, etc.).
Provide at least one allusion to another film. Explain its relevance to the theme in at least one paragraph.
Remember to cite your sources and films cited both in-text and at the end of the document.
Conclusion: Conclude by stating your overall appreciation of the film, including:
Why it was artful or worthwhile to watch for the theme and techniques.
Why it is socially relevant.
Why it is historically relevant.
Why it is enjoyable to watch (or why not).
References: Include all references used, cited, and formatted, according to APA guidelines.

From the movie of your choosing, select 2 specific sections. State the movie you choose. State what minute in the movie these sections are and then walk through the steps of camera work. What type of shots were used, what angles? Describe each section in detail and then conclude with how the cinematographer conveyed the message. Do you think it could have been done differently? If yes, how?
E.T. (1982)

From the movie of your choosing, select 2 specific sections. State the movie you choose. State what minute in the movie these sections are and then walk through the steps of camera work. What type of shots were used, what angles? Describe each section in detail and then conclude with how the cinematographer conveyed the message. Do you think it could have been done differently? If yes, how?
E.T. (1982)

Benedict Anderson discussed the idea of the nation as an imagined community and says that it is imagined “as acommunity, because, regardless of the actual inequality and exploitation that may prevail in each, the nation is always conceived as a deep, horizontal comradeship.” In what ways does Hindi cinema critique this imagined community? Answer by paying attention to the codes of melodrama as well as the understanding of other ideological aspects connected to the idea of the nation (gender, religion, etc.). Draw from the articles I have attached to respond to this prompt about the film Deewar(1975). Write this prompt in the context of the film Deewar (1975)

Film: Point Break (1991/dir. Kathryn Bigelow/2 hrs. 2 min./Tubi)
Key terms
· Persistence of vision: The tendency for one image to persist or linger on our retina as the next image enters our perception, contributing to the illusion of motion pictures.
· Frame: the smallest compositional unit of a reel of film: a single photographic image; also, the boundaries of the image.
· Identification: A mode of engagement with film content; something in the film reminds us of our own experience, and we tend to identify with the relevant character and his or her situation.
· Idealization: A mode of engagement with film content; something in the film resonates with our dreams and aspirations: if only our lives were quite like this!
· Shot: A continuously exposed, uninterrupted, or unedited piece of film of any length; a basic unit of film structure with discernible start and end points.
· Form: The visual and aural shape of a film. Form embraces all aspects of a film’s construction that can be isolated and discussed: the elements of narrative, mise-en-scène (the “look of the scene”), camerawork, sound, and editing.
· Classical Hollywood: The so-called “studio era,” roughly from the advent of sound through World War II. Distinguished by an approach to filmmaking that strove for an “invisible style” that allowed viewers to become absorbed by the world of the film.
· Film Noir: A French term for a style originating with American crime films of the 1940s and 1950s, characterized by deep shadows, night scenes, shady characters, and plots involving elaborate schemes and betrayals.
· Motif: Repeated images, lines of dialogue, or musical themes that are significant to a film’s meaning.
· Flashback: A scene that interrupts the chronological flow of story events by referring to an earlier time.
· Flash forward: A scene that interrupts the chronological flow of story events by skipping ahead to a later time.
· Exposition: The presentation of narrative information that provides context for the story and plot, including character development and the establishment of setting and/or location.
· Closure: The resolution of narrative questions and/or problems.
· Deus ex machina: The introduction of a contrived event to solve the problems set in motion in the story.
· A and B stories: A narrative formula that prioritizes one of the narratives while simultaneously tracking a second narrative.
· Ellipses: The omission of significant chunks of story time in the on-screen plot.
· Nondiagetic: A term used to denote material within a film that comes from outside the world of the story.
· Intertitle: A piece of text inserted into the film to cue the audience to the passage of time. Intertitles might also provide dialogue (in silent films), prologue, or epilogue copy.
· Metonymy: A type of metaphor in which a thing is represented through one of its attributes. Most often this rhetorical form uses a part to signify the whole, e.g., “the crown” to signify royalty.
· CGI: (computer-generated imagery) Images that are not photographically produced but are created on a computer.
· Props: Short for property, an object placed in the set. Props may play a significant part in the action.
· Blocking: The choreographed positioning of actors and camera(s).
· Three-point lighting: A balanced lighting scheme that employs three points of illumination: a bright light that directs our eyes to the subject (key light), a balancing (less intense) fill light that softens the shadows created by the key light, and a backlight behind the subject to add highlights.
· Chiascuro: Dramatic high-contrast lighting that exploits gradations and variations of light and dark in an image.
· Long shot: A shot that includes the entire person and background or a shot where the subject appears relatively small. Variations include the extreme long shot and the medium long shot, a shot of a person from the subject’s knees up or a shot where the subject is slightly smaller than a medium shot.
· Medium shot: A shot of a person from the waist up, or a shot where the scale of the subject is of moderate size.
· Canted shot: A shot made by tilting the camera at an angle on the subject.
· Establishing shot: Also known as master shot, it is a shot that orients the audience for the scene that follows.
· Off-screen space: The space in a scene that the audience cannot see but knows to contain someone or something of importance to the story.
· Tracking shot: A shot produced with a camera that moves smoothly alongside, behind, or ahead of the action.
· Long take: A single continuous shot of unusually long duration.
· Subjective point of view shot: A shot that simulates what a character sees.
· Pan: A lateral camera movement along an imaginary horizontal axis.
· Tilt: An upward camera movement along an imaginary vertical axis.
· Deep focus: Describes a shot where both the foreground and background planes are in sharp focus.
· Racking focus: Describes a shot where the focus shifts among foreground, middle ground, and/or background planes.
· Speed of motion: A camera-based special effect that makes the action on screen move at unrealistic speeds (fast, slow, or briefly paused, or stopped). Speed-of-motion effects are created by filming action at faster or slower speeds and then projecting the images at standard speed.
· Cut: The place where one shot ends and another begins; a direct transition from one shot to the next.
· Graphic match: Also known as a cut on form, it is a way of connecting two or more shots through repeated shapes or patterns.
· Non-diegetic insert: An image inserted into a scene that comes from outside the world of the story.
· Overlapping editing: The repeated presentation of a plot event, expanding its on-screen duration and underscoring its significance.
· Elliptical editing: Editing that allows an action to consume less screen time by transitioning between shots that suggest the passage of time.
· Montage sequence: A series of brief shots that summarizes a section of the story.
· Fade: A transitional device in which a shot slowly darkens and disappears (fade-out) or lightens and appears (fade-in).
· Dissolve: A transitional device in which one shot disappears as another appears.
· Screen direction:
· Iris: A transitional device in which the image contracts or expands within a small circle.
· Wipe: A transitional device where one image appears to be pushed aside by the next.
· Establishing shot: Also known as master shot, it is a shot that orients the audience for the scene that follows.
· Shot/reverse shot: An editing pattern that cuts between two characters in conversation.
· Eyeline match: An editing pattern that cuts between a character looking and the object of his or her gaze.
· Crosscutting: The process of cutting back and forth between two or more parallel actions; also known as parallel editing.
· Jump cut: A cut that seems to suggest a glitch or skip in the film.
· Diegetic sound: Sound that originates from within the story.
· Nondiegetic sound: Music, words, or effects from outside the story world that shape our experience of the film but do not originate within scenes.
· Sound bridge: A sound that connects two scenes. It could be a sound that carries over from one scene to the next or a sound from the second scene that is heard before the first scene ends.
· Non-simultaneous sound: Sound from the past or the future within the story world.
· Internal diegetic sound: A character’s thoughts and memories, heard but not spoken aloud.
· Line reading: The way in which an actor says the words from the scriipt; also called line delivery.
· Score: A nondiegetic musical accompaniment written specifically for a film.
· Fourth wall: The imaginary wall or barrier between the audience and the characters that creates the illusion of a separate story world.
· Dubbing: The process of rerecording dialogue and synchronizing it with shots; also known as looping.
· Voice-over narration: Lines spoken by a narrator that are nondiegetic.
· Musical motif: A brief and recurring pattern of notes.
· Foley artist: A member of the sound design team who creates sounds in a studio using various props.
· Sound cue: A musical theme or sound effect that signals the arrival of a character or the performance of an action.

Details of Assignments:
All assignments are considered short essays of at least 1-2 paragraphs. I need you to spell check and make sure your sentence structure is well constructed. Please DO NOT write in bullet points or cut and paste the questions and answer each one separately. The prompts are there to guide you so that you can write your short essay in an essay format.
Prompt:
We are talking about narrative and Genre. What is the genre of the movie you chose and why do you categorize it as such? Can you place it in more than one genre? Is this a genre you enjoy watching or did you chose a movie outside of your general preference? What makes this movie stand out? How is the narrative presented? (linear/non linear). Explain this. How is the narrative used to create suspense as well as interest?
Using the movie
Pulp Fiction (1994)

Assessment 1: Revision Journal (1000 words) due Monday 14th October, by 5pm (10%)
The revision journal consists of two entries at 500 words each, answering two questions (listed below). These exercises are designed to help you practice essential skills for Film Studies, which will help you with both your essay and the exam. Both entries should be written in prose, not as a series of points. In both parts, you should be aiming to produce a concise argument. Dr Mulvogue and/or your tutors will be available via appointment to discuss individual studies both before and after you submit your work. Late submissions will result in a loss of marks and in limited feedback, thus impeding achievement in both this assessment and the one to follow.
1. Analysis of a film sequence. Analyse either of the short sequences chosen from The Beaches of Agnès or Parasite (these sequences will be made available on Moodle). Discuss the way in which your chosen sequence utilises formal aspects addressed on the module such as editing, cinematography, mise-en-scène, and/or sound in order to further the narrative and themes (i.e. implicit ideas, social commentaries, etc.). You do not have to discuss every single feature of the sequence but should choose one or two elements to focus on in making your interpretation.
2. Analysis of film scholarship. Find a scholarly essay in an academic journal on a subject relevant to your sequence analysis (for example, if you chose The Beaches of Agnès, the article could be on the film itself, or on documentary form/aesthetics, authorship, feminist film practices, and so on). In your entry you should do the following: identify the essay’s argument, identify and evaluate the author’s method of supporting their argument. Do you agree with their conclusions? Why or why not? NOTE: You are expected to provide the full reference information according to Chicago Style guidelines.