Movies

Requirements and Specific Marking Criteria 1.Propose a persuasive thesis (main argument) and corroborate it with logical reasoning and textual evidence; ? 2.Present and explicate the key ideas in the reading(s) specified by the prompt; 3.Compose a critical prose with a coherent rhetorical structure; ? 4.In case you choose the option 2, offer an original film analysis that addresses not only its narrative elements (i.e. story and characters), but also its formal elements and mise en scène (i.e. the way the story is narrated through camerawork, lighting, staging, sound, and editing); ?   analysis-driven essay by applying one of the theoretical or philosophical strands on the aesthetic mode and/or sensibility, test its feasibility via an analysis of a particular film. If you wish to include in your discussion a film that has been shown and discussed in class, make sure that your choice of films includes at least one of the following that has not been discussed in depth during seminars. This is both to show your understanding of the theory in question, and to demonstrate your capability to employ it in a textual analysis of a film. Mode: the tragic (depth of feeling)? Film: Ashes of Time

Requirements and Specific Marking Criteria 1.Propose a persuasive thesis (main argument) and corroborate it with logical reasoning and textual evidence; ? 2.Present and explicate the key ideas in the reading(s) specified by the prompt; 3.Compose a critical prose with a coherent rhetorical structure; ? 4.In case you choose the option 2, offer an original film analysis that addresses not only its narrative elements (i.e. story and characters), but also its formal elements and mise en scène (i.e. the way the story is narrated through camerawork, lighting, staging, sound, and editing); ?   analysis-driven essay by applying one of the theoretical or philosophical strands on the aesthetic mode and/or sensibility, test its feasibility via an analysis of a particular film. If you wish to include in your discussion a film that has been shown and discussed in class, make sure that your choice of films includes at least one of the following that has not been discussed in depth during seminars. This is both to show your understanding of the theory in question, and to demonstrate your capability to employ it in a textual analysis of a film. Mode: the tragic (depth of feeling)? Film: Ashes of Time

Requirements and Specific Marking Criteria 1.Propose a persuasive thesis (main argument) and corroborate it with logical reasoning and textual evidence; ? 2.Present and explicate the key ideas in the reading(s) specified by the prompt; 3.Compose a critical prose with a coherent rhetorical structure; ? 4.In case you choose the option 2, offer an original film analysis that addresses not only its narrative elements (i.e. story and characters), but also its formal elements and mise en scène (i.e. the way the story is narrated through camerawork, lighting, staging, sound, and editing); ?   analysis-driven essay by applying one of the theoretical or philosophical strands on the aesthetic mode and/or sensibility, test its feasibility via an analysis of a particular film. If you wish to include in your discussion a film that has been shown and discussed in class, make sure that your choice of films includes at least one of the following that has not been discussed in depth during seminars. This is both to show your understanding of the theory in question, and to demonstrate your capability to employ it in a textual analysis of a film. Mode: the tragic (depth of feeling)? Film: Ashes of Time

1. Please share your reactions to Orson Welles’ Citizen Kane in relation to the concepts of Individualism and Collectivism. 2. What is the effect of telling the story of Charles Foster Kane from so many different angles and perspectives? 3. What is the primary conflict in the narrative, or are there more than one? 4. Why is Charles Foster Kane conceived so differently compared to the protagonists in the earlier movies you watched? 5. What is the significance of viewing the protagonist as a unique individual motivated by his own set of personal desires and ambitions? 6. What aspects of melodrama can be seen in this film? 7. Where does your sympathy lie in the film, and why? 8. To the degree that the film is about self-fulfillment, how easy does it appear for that goal to be achieved? What is involved? What are the impediments?

Video/Film Review CriteriaThe quality of your paper depends on the level of organization you implement. Never underestimate the importance of well-structured outline, regardless of the type of paper you have to write. Outlines help you focus on the subject and contribute to a logical flow.Here’s how to organize your video/film review:Introduction (title, release date, background information)Summary of the video/filmOpinion (supported with examples and facts from the video/film)Conclusion (announcing whether the filmmaker was successful in his/her purpose, re-state your evidence, explain how the video/film was helpful for providing a deeper understanding of a course topic) INCLUDE 3 THINGS YOU LEARNED OR “TOOK AWAY” FROM THE FILM(S)Video/Film Review ElementsThe title of the film/documentary– just because your headline features the name of the video/film it doesn’t mean you shoulskip mentioning it in the text. Always name the feature you’ve watched in the introductory paragraph. This may seem like a stupid thing to point out, but it’s one of the most common mistakes that students make.Summary– the whole point of the review is to summarize the video/film for people who haven’t watched it yet. To make this as effective as possible, always assume that your professor hasn’t seen it either (as mentioned above). Why is this important? You won’t leave out some important details thinking he/she watched it already so they won’t bother. As a reviewer, your job is to explain what happened in the video/film and express whether the filmmaker failed or succeeded. Again, saying you liked or disliked it isn’t a viable comment. Your opinion has to be supported by specific reasons and examples from the feature itselfSignificance to the class– How does the content of the video/film fit into your course topic? Including 3 things you learned while viewing.Checklist / Outline for a Good Video/Film ReviewIntroduction (title, topic, release date, background information)Accuracy of depictionUse of sources in the filmYour opinionConclusionDid I include 3 things that I learned?Mistakes to AvoidNot focusing on the video/film – strive to avoid writing about unnecessary details or introducing irrelevant information Inserting yourself – you’re the one who’s writing the review. The paper reflects your understanding and opinion of the video/film you’ve seen and there is no need to write in first person all the time: I noticed this…, I saw that…, I liked this…, I disliked that…, Giving out your opinion without mentioning any reason why you think that wayTalking about irrelevanciesWriting a review without a structureWriting generalities such as great acting, cool effects, a good video, it was bad,…  Writing a review without substance or analysis of the video/film** Assignment adapt from: https://edusson.com/blog/how-to-write-movie-review (Links to an external site.)

Your paper should be organized around a thesis statement that focuses on how your chosen feature-length film both aligns with and expands upon your chosen genre. Consider using the Ashford Writing Center Thesis Generator (Links to an external site.) to help develop your thesis. Review the Week 2 sample paper, which provides an example of a well-developed analysis as well as insight on composition. In your paper, Explain genre theory and, using Chapter 3 of the text as a reference, describe the conventions and attributes of the genre you have selected which is the DRAMA. Identify the feature-length film, “If Beale Street Could Talk” in which fits the selected genre and briefly summarize the movie. As you develop this summary, remember the differences between a film’s story and a film’s plot and be sure to highlight specific genre elements. Interpret at least two genre conventions exhibited in your chosen feature-length film that help classify it in the selected genre. Be sure to provide a specific example of each convention (e.g., a particular scene or plot component). Provide an example of a third convention from your chosen feature-length film and explain how this convention expands the boundaries of the specified genre. The Genre and Genre Theory paper Must be 900 to 1200 words in length and formatted according to APA style as outlined in the Ashford Writing Center’s APA Style (Links to an external site.) Must include a separate title page with the following: Title of paper Student’s name Course name and number Instructor’s name Date submitted

The assignment asks you to consider the scene in isolation from the rest of the film. You may watch the entire film if you wish, but you will be graded on the precision with which you are able to describe the sequence and the quality of your ideas about its possible meanings. Your task, then, is twofold: 1) to describe what you see as clearly as possible (you do not need to use filmic terms); and 2) to explain what it might mean (literally, thematically and symbolically).

write a little essay on why is american psycho a good movie to work with. why is it a good movie?

Please respond to this week’s screenings, readings, and lecture materials in an organized post that cites specific details from the programs and articles under discussion. You do not have to talk about all the texts for this week but should actively engage two (2) screenings (choose from East Side/West Side, “No Hiding Place”; The Mary Tyler Moore Show, “Love is All Around”; All in the Family, “Lionel Steps Out”) and at least one (1) reading (Aniko Bodroghkozy’s “Negotiating Civil Rights in Primetime” AND/OR Jane Feuer’s “The MTM Style”) – please write about the texts that you find most interesting or compelling. Below are a few questions that you may opt to address (though you are welcome to reply in any way that makes sense and about other topics not posed here): How does East Side/West Side (1963) differ in its tone, narrative conceits, or aesthetic sensibilities from the 1950s programs from last week and/or “relevance sitcoms” from the early 1970s? How does Bodroghkozy discuss the program as either approaching or failing to meet FCC chairman Minow’s mandate to “elevate” TV programming? What are some of the limitations, possibilities, and social consequences inherent in trends toward “relevance” programming during the 1960s and 1970s? How do our authors locate contradictions within the political logics of both 1960s social dramas and 1970s “relevance sitcoms”? Where in the episodes does the messaging seem most pronounced and/or most confused/convoluted? Which characters do these programs narratively privilege (with whom are we, as viewers, emotionally and or/ideologically aligned) and why/how so? How does this identification (or lack thereof) affect the episodes’ social/political discourse? How do All in the Family and The Mary Tyler Moore Show reflect (or not) the branding conceits of their respective production companies, Tandem Productions and MTM Enterprises? How do the aesthetic and narrative logics of these two episodes speak to their modes of political address? Which viewers do the shows seem to target and why/how?

Is Marriage Story a mainstream film? What do we mean by mainstream? Can alternative type of cinema become mainstream thanks to production/distribution? Please follow the topic to write a essay, and please use APA style to cite the sources properly.