Category: Film studies

Hello
PLEASE MAKE SURE IT’S JUST ONE PAGE NO MORE.
PLEASE FOLLOW THIS AND BASED THE ESSAY ON THIS
*critical thoughts regarding this film/play
CITE THIS AND CITE ATTACHED TOO
https://www.folger.edu/explore/shakespeares-works/a-midsummer-nights-dream/read/
FOLLOW INSTRUCTIONS
*Always introduce the text and its author fully before you discuss it. This is part of the in-text citation.
*Be specific and include quotations, in MLA style, to make your points.
*Write in the third person and don’t state the obvious, that we read or watched a text, for instance.
*Use the spell check before submitting.
You do NOT need to document your texts at the end of your post.

please watch the below clip from The Lord of the Rings of the transformation of a human(old) being (Sméagol) into a digital/physical effects creature (i.e., a hybrid creature cobbling together physical makeup transformation with digital enhancement, and live-action performance) called Gollum * to briefly describe his transformation using the author’s theories and commentary as a guide, as well as your own ideas (one page, single spaced will be fine).
Especially make note of how, or in what way(s), this digital creature transforms from human-like to “creature-like”…Is the transformation especially stark, drastic, or extreme? How so?… As the creature transforms into something that is less human-like, are there vestiges of “the human” that remain? Do these vestiges of humanity which remain more physical traces we can see in the creature’s appearance, or are they more behavioral (personality) traces? Or are they both? (Please explain how and why)…Do you feel these transforming, or transformed, humanoid (digital) creatures are more disturbing (or frightening) than the digital creature “hordes” which we watched and discussed the previous two weeks? If you do, please explain why.
* = This creature’s name, Gollum, is a very particular reference to the Jewish folk creature called a Golem…if you are interested, research that creature on your own, as it is a fascinating historical character originating from 16th century Prague’s local Jewish culture, and perhaps even further back into Jewish, Kabbalistic mysticism.

Discuss using examples from gangster films with which Warner Bros. has been associated during and after the studio system era.
Films to include in essay:
– The Departed (2006)
– The Public Enemy (1931)
– Goodfellas (1990)
Some References:
– Thomajan, Dale (1996) ‘Poetry without a poet: Warner Bros. pre-code’, in Film Comment, volume 32, issue. 2, March / April, 70, 70-3
– Gledhill, Christine (2007) ‘The Gangster Film’, in The Cinema Book, 3rd edition, ed. by Cook, Pam and Bernink, Mieke, London: BFI, 279-2865
– Maltby, Richard (2003) ‘The Public Enemy’, in Senses of Cinema, December, Issue 29,
– Kuhn, Annette (1999) ‘Warner Bros’ in The Cinema Book, 3rd edition, ed. by Cook, Pam and Bernink, Mieke, London: BFI, 26-30
– Black, Gregory D. (1989) ‘Hollywood Censored: The Production Code Administration and the Hollywood Film Industry,1930-1940’, in Film History,Vol. 3, No. 3,167-189

summarize the important aspects of each chapter A Short History of The Movies 11th edition, By Gerald Mast and Bruce Kawin. This week is Chapter 17 pages 585-604 one full page single space and typed (Times New Roman font #12, narrow margins all around). attached is a sample of how the paper needs to be written no gaps one full page from top to bottom single spaced and narrow margins please follow please and thank you.

Hide Assignment Information
Instructions
FILM ESSAY PAPER TWO
General Instructions
For each of the two papers, you will be responsible for watching a film, writing a 3 to 5 page essay in which you respond to prompts (see below), and then providing a list of “My Criteria for Quality in Film.”
THE PROCESS:
Make any and all arrangements necessary to view the films and write about them: Some of the films may be available for streaming via Netflix or another online content provider; others may be available for checkout from your local public library, while others may need to be rented. You are better off watching these films on the largest possible screen, and at the highest possible resolution.
Make Time to Complete the Assignment: Each paper requires you to watch a film IN ADDITION to the ones you will be watching for the week’s discussion, so be sure to leave yourself enough time to: watch the film, think, write a first draft, edit and revise.
Turn your assignments in by their respective due dates to the correct assignment folder in LEO.
THE CONTENT:
These assignments are reaction papers, not plot summaries or research papers. Write what you have to say about the film, not what others have said, but know how the film was made The papers will be graded based on:
a) Evidence that you are reading and viewing the course content, comparisons to other relevant films you have seen (in class and as a movie watcher); use of the film vocabulary introduced in class and college-level writing skills (spelling, punctuation, and grammar).
b) Clear presentation of your opinions and reasonable explanations and justifications to support those opinions: In a 100-level course, you would perhaps be asked to write about what you watched on the screen. In a 200-level course, you are being asked to say what you think about what you watched. In this 300-level course, you should explain why you think the way you do about the film, and then justify your opinions with explanations (using references found in the weekly content in the LEO classroom).
Be sure to correctly spell the names listed in the credits of directors, actors, screenwriters, and other people (to avoid “points” being taken off of the final grade for that paper).
These papers are about your observations, insights and evaluations not only what you can learn by reading up on the film or the filmmaker. Do not just repeat what you find online. Think carefully before you write, be creative and apply what you have been learning in this course.
Second Paper Assignment: Film Two
This is essentially the same assignment as Paper One BUT about a film produced between 1970 and 2000.
Part 1: View a feature film made between 1970 – 2000 you have not seen before (or will see later in this class) by a great director or featuring a great actor or actress.
Just as you did in the first paper, comment on the specific film you saw. Pay particular attention to the screenplay, camerawork (cinematography) the editing (montage) and the sound (including music). for this paper, also address special effects. Again, as you did in the first paper, talk about what you like and what you dislike? Why do you like the things you like, and why do you dislike the things you dislike? Is the film a good film, or is it not?
Part 2: Now that you have commented on the specific film you viewed, see if you can draw some general conclusions about the work of the director and one of the main actors or actresses. Be sure to comment on the overall impression you had of the film, including how you see it as an example of the its genre and time period. Remember, this is film review based on your opinions and insights: do not repeat what you have learned by reading up on the film or the filmmaker.
Part 3: Go back to the “My Criteria for Quality in Film” page. Based on your viewing of this week’s film, add four new general conclusions. These statements should be numbered (5) through (8). Be sure to include all of the criteria you created for Paper One.

Instructions
Film Essay Paper One
General Instructions
For each of the two papers, you will be responsible for watching a film, writing a 3 to 5 page essay in which you respond to prompts (see below), and then providing a list of “My Criteria for Quality in Film.”
THE PROCESS:
Make any and all arrangements necessary to view the films and write about them: Some of the films may be available for streaming via Netflix or another online content provider; others may be available for checkout from your local public library, while others may need to be rented. You are better off watching these films on the largest possible screen, and at the highest possible resolution.
Make Time to Complete the Assignment: Each paper requires you to watch a film IN ADDITION to the ones you will be watching for the week’s discussion, so be sure to leave yourself enough time to: watch the film, think, write a first draft, edit and revise.
Turn your assignments in by their respective due dates to the correct assignment folder in LEO.
THE CONTENT:
These assignments are reaction papers, not plot summaries or research papers. Write what you have to say about the film, not what others have said, but know how the film was made The papers will be graded based on:
a) Evidence that you are reading and viewing the course content, comparisons to other relevant films you have seen (in class and as a movie watcher); use of the film vocabulary introduced in class and college-level writing skills (spelling, punctuation, and grammar).
b) Clear presentation of your opinions and reasonable explanations and justifications to support those opinions: In a 100-level course, you would perhaps be asked to write about what you watched on the screen. In a 200-level course, you are being asked to say what you think about what you watched. In this 300-level course, you should explain why you think the way you do about the film, and then justify your opinions with explanations (using references found in the weekly content in the LEO classroom).
Be sure to correctly spell the names listed in the credits of directors, actors, screenwriters, and other people (to avoid “points” being taken off of the final grade for that paper).
These papers are about your observations, insights and evaluations not only what you can learn by reading up on the film or the filmmaker. Do not just repeat what you find online. Think carefully before you write, be creative and apply what you have been learning in this course.
First Paper Assignment: Film One (F1)
Part 1: View a feature film made between 1940 – 1970 you have not seen before (or will see later in this class) by a great director. Many directors were active both before and after 1970 so make sure you see a pre-1970 FEATURE fiction film.
Suggestion: American directors such as Frank Capra, George Cukor, John Ford, George Stevens, Preston Sturges, Billy Wilder, or William Wyler. Foreign directors such as Ingmar Bergman (Swedish), Luis Buñuel (Spanish), Claude Chabrol (French), Federico Fellini (Italian), Akira Kurosawa (Japanese), Lina Wertmuller (German) or the British team known as “The Archers” made up of Michael Powell and Emeric Pressburger. For other possibilities, try: this. Comment on the specific film you saw in terms of its genre and the quality of the film itself. Pay attention to the camerawork (cinematography) the editing (montage) and the sound (including music). What did you like and what did you dislike? Why do you like the things you like, and why do you dislike the things you dislike? Finally, is the film successful in creating a work of fiction using the craft of filmmaking and considering when it was made? (Note: This is not the same question as whether or not you liked it. It is entirely possible to like a film that you are aware is not very good.)
Part 2: Draw some general conclusions about the work of the director and one of the main actors or actresses. For example let us say you watched the 1962 film Lawrence of Arabia. Did you like David Lean as a filmmaker? Explain your answer. Did you like Peter O’Toole in the role of Larwrence? Why, or why not?
End with your overall impression of the film, including how you see it as an example of the its genre and time period.
PARTS ONE AND TWO SHOULD BE PRESENTED AS A SINGLE ESSAY!
Part 3: On a separate page, insert the heading “My Criteria for Quality in Film.” Under that heading, propose four general statements indicative of your personal taste in movies. These statements should be numbered (1) through (4), and they should be written as complete sentences or a short paragraph. For example, if you commented in your essay that you liked the acting because it was realistic and you liked the scriipt because it had a happy ending, you could propose these two statements as criteria for quality: “(1) Excellent movies feature realistic acting. (2) A movie is more likely to be good if it ends happily.” Think about and then explain what words such as good, excellent, and effective actually mean. Be sure to save your “My Criteria” page to your hard drive—you will be resubmitting an expanded version of it with for the second paper later in this course.
Due Date
Nov 12, 2023 11:59 PM
Hide Rubrics
Rubric Name: Paper 1: Rubric
Criteria
Excellent
Good
Satisfactory
Weak
Criterion Score
ORGANIZATION Is the essay clearly structured following the assignment guidelines? Is each area fully developed and equally supported? Does the structure follow a logical sequence?
20 points
The essay is clearly organized, with equally supported and fully developed areas of the assignment. Essay possesses a clear, logical structure.
15 points
The essay is generally organized and clear. Each area is developed, but one or more areas may require more support and/or exploration.
10 points
The essay is loosely organized. One or more areas are underdeveloped and/or lacking support.
5 points
There is no clear structure in the essay. The writing exhibits repetition or irrelevant areas. One or more areas is underdeveloped or missing.
Score of ORGANIZATION Is the essay clearly structured following the assignment guidelines? Is each area fully developed and equally supported? Does the structure follow a logical sequence?,/ 20
EVIDENCE/ANALYSIS Does the essay offer substantial and specific evidences/analyses from film to support claims?
20 points
The essay has plentiful, detailed, and substantial relevant evidence from the film chosen for analysis to support claims.
15 points
The essay offers substantial
evidence/analyses to support the argument.
10 points
The essay offers evidence/analysis, but is could be more complete or relevant.
5 points
The essay heavily relies upon opinions/preferences rather than on analysis supported by specific evidence from the film.
Score of EVIDENCE/ANALYSIS Does the essay offer substantial and specific evidences/analyses from film to support claims?,/ 20
RESEARCH Does the essay illustrate a clear understanding of techniques of cinematography, sound, and editing? Does it engage with the appropriate course readings and lectures?
20 points
The essay represents exceptionally thorough and careful work. Each of the techniques is fully addressed and illustrates a clear grasp of the concepts. Distinct references to course materials are present in the work and are appropriately utilized
15 points
The essay represents a more than adequate amount of work. Each of the techniques is addressed and illustrates an understanding of the concepts. Relevant course material are referenced and they illustrate an understanding of the techniques.
10 points
The paper represents a minimum, but still adequate amount of work. Each technique is addressed, but not done so in a comprehensive manner. Relevant course material is referenced, but illustrates only a basic understanding of the techniques.
5 points
The paper is seriously deficient in terms of the quantity of work it represents. One or more analysis of technique is lacking or absent. A basic understanding of the techniques is not apparent in this writing.
Score of RESEARCH Does the essay illustrate a clear understanding of techniques of cinematography, sound, and editing? Does it engage with the appropriate course readings and lectures?,/ 20
TERMINOLOGY/STYLE Does the essay use proper film terminology? Is the essay free from typographical and grammatical error?
20 points
The paper is free from mechanical defects and shows a sense of personal style, too. Discussion is coherent and film terminology excellently used.
15 points
The paper is largely free of mechanical errors. Film terminology is used appropriately.
10 points
The paper contains some errors in grammar, syntax and/or spelling. Some film terminology, but lacks clarity.
5 points
There are significant lapses in grammar, syntax, spelling and/or presentation.
Film terminology is only slightly used or used incorrectly.
Score of TERMINOLOGY/STYLE Does the essay use proper film terminology? Is the essay free from typographical and grammatical error?,/ 20
OVERALL How does the essay measure up to college standards and work to be expected by this point in the course?
20 points
The paper is superior in quality.
15 points
The paper represents solid, credible, and very good work.
10 points
The paper represents solid, credible, and very good work.
5 points
The paper is significantly
below what we expect in a college course.
Score of OVERALL How does the essay measure up to college standards and work to be expected by this point in the course?,/ 20
Grammar
Excellent
Good
Satisfactory
Weak
Criterion Score
Grammar
25 points
All sentences are well constructed and have varied structure and length. The author makes no errors in grammar, mechanics, and/or spelling
18.75 points
Most sentences are well constructed and have varied structure and length. The author makes a few errors in grammar, mechanics, and/or spelling, but they do not interfere with understanding
12.5 points
Most sentences are well constructed, but they have a similar structure and/or length. The author makes several errors in grammar, mechanics, and/or spelling that interfere with understanding.
6.25 points
Sentences sound awkward, are distractingly repetitive, or are difficult to understand. The author makes numerous errors in grammar, mechanics, and/or spelling that interfere with understanding
Score of Grammar,/ 25

Analyze 2-3 of the most distinctive or significant aspects of sound design in Trois couleurs: Bleu/Three Colors: Blue). What are the most interesting or important ways that the film uses sound to convey significant narrative information and reinforce key themes?
Your analysis should:
analyze at least 1-2 specific scenes or sequences that illustrate and support your points about film sound.
incorporate at least 3 of the most salient terms or concepts related to sound that were discussed in class and/or covered in the textbook chapter on film sound (i.e., in The Film Experience).
Below are some of the terms covered in the textbook chapter on film sound:
melodrama
stereophonic sound
synchronous sound
asynchronous sound
parallel sound
contrapuntal sound
diegetic sound
nondiegetic sound
semidiegetic sound
direct sound
reflected sound
production sound mixer
postproduction sound
foley artist
room tone
walla
automated dialogue replacement (ADR)
sound editing
sound bridge
spotting
sound mixing
point of audition
overlapping dialogue
voice-off
voiceover
underscoring
narrative cueing
stinger
mickey-mousing
prerecorded music
sound montage
sound continuity

Evaluation rubric
Essays will be evaluated for their: accurate and effective use of relevant terms and concepts; ability to demonstrate understanding of key cinematic concepts and strategies through close formal analysis of specific images and techniques from course films; depth and detail of analyses.
A-range response= 36-40
B-range response= 32-35
C-range response= 28-31
D-range response= 24-27
F response = 0-23

Prompt:
Analyze the editing style of Ava DuVernay’s award-winning film, Selma. What are some of the most significant ways that DuVernay uses editing to enrich and layer our understanding of the film’s most important themes and meanings?
Tip: Be as specific as possible when discussing the film’s editing strategies. To that end, you will probably find it helpful to focus your analysis on the editing in a single (or at most two) specific sequence(s) that best conveys the film’s editing style and use of editing to shape our understanding of key themes and ideas. Although it is not required, you are permitted to consult the film during the exam itself.
Directions >>> Your analysis should incorporate at least FIVE of the terms below. Please type each term in ALL CAPS so that I can easily track them in the essay.
• editing
• storyboard
• cut
• crosscutting and parallel editing
• parallel editing
• classical continuity editing
• intensified continuity editing
• dialectical montage
• jump cut
• shock cut
• fade-out
• fade-in
• dissolve
• wipe
• verisimilitude
• continuity style
• establishing shot
• two-shot
• over-the-shoulder shot
• reestablishing shot
• insert
• 180-degree rule
• axis of action
• 30-degree rule
• shot/reverse shot
• eyeline match
• match on action
• graphic match
• reaction shot
• story time
• plot time
• screen time
• chronology
• flashback
• narrative
• narrative frequency
• flashforward
• narrative duration
• ellipsis
• cutaway
• overlapping editing
• pace
• average shot length
• long take
• sequence shot
• slow cinema
• rhythmic editing
• scene
• sequence
• segmentation
• disjunctive editing
• distanciation
• montage sequence
NOTE:
If you choose to talk about an image or sequence that was previously discussed in class, make sure that your analysis doesn’t just rehash the points we generated together in class. (That is, make sure you bring substantive new insights to the material).

Write a reflection paper based on the movie clip below.

3 page paper comparing Japanese concept “Kenkyo” to Japanese film “Tokyo Story”. Paper needs to include a clear statement of purpose in the first paragraph, one paragraph that explains the background of the film, one paragraph that explains the director of the film, and one paragraph with citation of the definition and example of “Kenkyo”. Choose two scenes from the film “Tokyo Story” that depict “Kenkyo” and include the timestamps and citations in your work.