Categories
Film studies

What is the “male gaze”?

Link to movie: https://nyafilmer.gg/movie/carrie-hd-16313
I’ve attached a file of the assigned reading.
It’s very important that you connect the assigned reading and cinematography to the assigned movie and the papers film analysis. My suggestion is to pick a quote from the reading exactly, then fit it to a scene or sequence in the movie as an example of cinematography and then explain how you arrived to that conclusion.
Below are instructions from the professor. Please follow them and the instructions I gave you exactly. This is not a review and you don’t have to explain the whole movie, just focus on the assigned reading and connect it to the movie with examples and explain your analysis.
INSTRUCTIONS
Watch: Carrie (De Palma, 1976)
Readings:
Laura Mulvey, “Visual Pleasure and Narrative Cinema” (handout)
Optional Prompt:
Write a 1-page response paper for Carrie, briefly outlining its main themes and exploring how its form and style support these themes. What is Mulvey’s theory about film? What is the “male gaze”? How does Carrie demonstrate these ideas and how does it subvert them?
Requirements:
This paper MUST engage this week’s assigned reading, providing you the opportunity to apply the tools learned in class to practice the analysis of film as an art form. This paper is not a review; your opinion about the quality of the film is not necessary or relevant. Concentrate on how the film workbcis, how does it generate desired effects?

Categories
Film studies

How does the style of the cinematography communicate what the film thinks about its characters and their situations?

Link to movie: https://nyafilmer.gg/movie/adoption-hd-84696
I’ve attached five pictures that is the assigned reading that covers CINEMATOGRAPHY. It’s very important that you connect the assigned reading and cinematography to the assigned movie and the papers film analysis. My suggestion is to pick a quote from the reading exactly, then fit it to a scene or sequence in the movie as an example of cinematography and then explain how you arrived to that conclusion.
Below are instructions from the professor. Please follow them and the instructions I gave you exactly. This is not a review and you don’t have to explain the whole movie, just focus on the assigned reading and connect it to the movie with examples and explain your analysis.
INSTRUCTIONS
Watch: Adoption (Meszaros, 1975)
Readings:
TEXTBOOK: Bordwell & Thompson, Film Art: Chapter 5: The Shot: Cinematography
Optional Prompt:
Write a 1-page response to Adoption. What is significant about this film’s cinematography? What effects are generated by this style? How does the style of the cinematography communicate what the film thinks about its characters and their situations? How does it reveal the overall theme?
Requirements:
This paper MUST engage this week’s assigned reading, providing you the opportunity to apply the tools learned in class to practice the analysis of film as an art form. This paper is not a review; your opinion about the quality of the film is not necessary or relevant. Concentrate on how the film workbcis, how does it generate desired effects?

Categories
Film studies

How does it reveal the overall theme?

Link to movie: https://nyafilmer.gg/movie/adoption-hd-84696
I’ve attached five pictures that is the assigned reading that covers CINEMATOGRAPHY. It’s very important that you connect the assigned reading and cinematography to the assigned movie and the papers film analysis. My suggestion is to pick a quote from the reading exactly, then fit it to a scene or sequence in the movie as an example of cinematography and then explain how you arrived to that conclusion.
Below are instructions from the professor. Please follow them and the instructions I gave you exactly. This is not a review and you don’t have to explain the whole movie, just focus on the assigned reading and connect it to the movie with examples and explain your analysis.
INSTRUCTIONS
Watch: Adoption (Meszaros, 1975)
Readings:
TEXTBOOK: Bordwell & Thompson, Film Art: Chapter 5: The Shot: Cinematography
Optional Prompt:
Write a 1-page response to Adoption. What is significant about this film’s cinematography? What effects are generated by this style? How does the style of the cinematography communicate what the film thinks about its characters and their situations? How does it reveal the overall theme?
Requirements:
This paper MUST engage this week’s assigned reading, providing you the opportunity to apply the tools learned in class to practice the analysis of film as an art form. This paper is not a review; your opinion about the quality of the film is not necessary or relevant. Concentrate on how the film workbcis, how does it generate desired effects?

Categories
Film studies

Write a 1-page response paper for carrie, briefly outlining its main themes and exploring how its form and style support these themes.

Link to movie: https://nyafilmer.gg/movie/carrie-hd-16313
I’ve attached a file of the assigned reading.
It’s very important that you connect the assigned reading and cinematography to the assigned movie and the papers film analysis. My suggestion is to pick a quote from the reading exactly, then fit it to a scene or sequence in the movie as an example of cinematography and then explain how you arrived to that conclusion.
Below are instructions from the professor. Please follow them and the instructions I gave you exactly. This is not a review and you don’t have to explain the whole movie, just focus on the assigned reading and connect it to the movie with examples and explain your analysis.
INSTRUCTIONS
Watch: Carrie (De Palma, 1976)
Readings:
Laura Mulvey, “Visual Pleasure and Narrative Cinema” (handout)
Optional Prompt:
Write a 1-page response paper for Carrie, briefly outlining its main themes and exploring how its form and style support these themes. What is Mulvey’s theory about film? What is the “male gaze”? How does Carrie demonstrate these ideas and how does it subvert them?
Requirements:
This paper MUST engage this week’s assigned reading, providing you the opportunity to apply the tools learned in class to practice the analysis of film as an art form. This paper is not a review; your opinion about the quality of the film is not necessary or relevant. Concentrate on how the film workbcis, how does it generate desired effects?

Categories
Film studies

Discuss the ways in which the film address ideas of desire, existentialism, reality and hope.

discuss the ways in which the film address ideas of desire, existentialism, reality and hope. Analyze the ways in which these themes are played out via characters, narrativbcie, and cinematography and time.

Categories
Film studies

Choose two films/tv shows that demonstrate a capacity to conform and challenge the expectations of the audience in accordance to an understanding of generic tropes.

Genre develops a contract with its audience and their expectations. Choose two films/tv shows that demonstrate a capacity to conform and challenge the expectations of the audience in accordance to an understanding of generic tropes.
Please ensure that citations have page numbers in the inline quotes. For the two films, ensure APA citation of the film.
Attached sources: Ryall, T (1970). The notion of genre. Screen, 11(2), 22-32.
Kitses, Jim (1969), “Authorship and genre : notes on the Western”. in Horizons west. ch. 1.
Leitch, Thomas (2004) “The Problem of the Crime Film”. Crime Films, Cambridge Cambridbcige University Press. pp. 1-17

Categories
Film studies

Discuss the ways in which the film address ideas of desire, existentialism, reality and hope.

discuss the ways in which the film address ideas of desire, existentialism, reality and hope. Analyze the ways in which these themes are played out via characters, narrativbcie, and cinematography and time.

Categories
Film studies

Discuss rey chow’s definition of “the sentimental” and give some examples of it in at least two of the films that we have watched so far this semester.

Respond to One Prompt(pick one)
1. Discuss Rey Chow’s definition of “the sentimental” and give some examples of it in at least two of the films that we have watched so far this semester.
2. Using the reading by Tiago de Luca and the interviews with Paul Schrader(https://www.youtube.com/watch?v=mFcCs8c2n6I), Abbas Kiarostami, and others(in the slow cinema pdf), describe some of the formal features, aesthetic ambitions, and ideological assumptions of “slow cinema,” while giving examples from at least two of the films we watched this semester.
film watched this semester:
1. Twilight Samurai (2002, Yamada Yōji, Link)
2. In the Mood for Love (2000, Wong Kar-wai, Kanopy/criterionchannel.com)
3. Painted Fire/Chihwaseon, 취화선 (2002, Im Kwon-taek)
4. Crouching Tiger, Hidden Dragon, 臥虎藏龍(2000, Ang Lee)
5. The Puppet master,戲夢人生 (1993, Hou Hsiao-hsien)
6. The Handmaiden 아가씨 (2016, Park Chan-wook)
7. Devils on the Doorstep,鬼子來了 (2000, Jiang Wen)
8. The River,河流 (1997, Tsai Ming-liang)
1. this is a slow cinema example
9. Nobody Knows, 誰も知らない(2004, Koreeda Hirokazu)
10. The Taste of Tea, 茶の味 (2004, Ishii Katsuhito)
Grading Rubric (50 points per response):
A (47-50): The answer is accurate and thoroughly supported by specific and detailed references to the film(s) and/or text(s). The writing is clear and generally correct, with only minor errors in grammar, spelling, or syntax.
A- (45-46): The answer has minor inaccuracies, or is basically correct but the writing is unclear in some places. The answer must still be supported by references to the film(s) and/or texts(s).
B+ (43-44): The answer has one significant error or omission, or is largely correct but not fully supported with references.
B (41-42): The answer is incomplete or partially in error, and not fully supported with references.
B- (40): The answer has multiple, significant errors or omissions, and is only partially supported by references.
C+ and Below (0-39): Answer is largely incorrect, reflecting a lack of knowledge of the film(s) and/or text(sbci), with few to no supporting references.

Categories
Film studies

Choose two films/tv shows that demonstrate a capacity to conform and challenge the expectations of the audience in accordance to an understanding of generic tropes.

Genre develops a contract with its audience and their expectations. Choose two films/tv shows that demonstrate a capacity to conform and challenge the expectations of the audience in accordance to an understanding of generic tropes.
Please ensure that citations have page numbers in the inline quotes. For the two films, ensure APA citation of the film.
Attached sources: Ryall, T (1970). The notion of genre. Screen, 11(2), 22-32.
Kitses, Jim (1969), “Authorship and genre : notes on the Western”. in Horizons west. ch. 1.
Leitch, Thomas (2004) “The Problem of the Crime Film”. Crime Films, Cambridge Cambridbcige University Press. pp. 1-17

Categories
Film studies

Discuss rey chow’s definition of “the sentimental” and give some examples of it in at least two of the films that we have watched so far this semester.

Respond to One Prompt(pick one)
1. Discuss Rey Chow’s definition of “the sentimental” and give some examples of it in at least two of the films that we have watched so far this semester.
2. Using the reading by Tiago de Luca and the interviews with Paul Schrader(https://www.youtube.com/watch?v=mFcCs8c2n6I), Abbas Kiarostami, and others(in the slow cinema pdf), describe some of the formal features, aesthetic ambitions, and ideological assumptions of “slow cinema,” while giving examples from at least two of the films we watched this semester.
film watched this semester:
1. Twilight Samurai (2002, Yamada Yōji, Link)
2. In the Mood for Love (2000, Wong Kar-wai, Kanopy/criterionchannel.com)
3. Painted Fire/Chihwaseon, 취화선 (2002, Im Kwon-taek)
4. Crouching Tiger, Hidden Dragon, 臥虎藏龍(2000, Ang Lee)
5. The Puppet master,戲夢人生 (1993, Hou Hsiao-hsien)
6. The Handmaiden 아가씨 (2016, Park Chan-wook)
7. Devils on the Doorstep,鬼子來了 (2000, Jiang Wen)
8. The River,河流 (1997, Tsai Ming-liang)
1. this is a slow cinema example
9. Nobody Knows, 誰も知らない(2004, Koreeda Hirokazu)
10. The Taste of Tea, 茶の味 (2004, Ishii Katsuhito)
Grading Rubric (50 points per response):
A (47-50): The answer is accurate and thoroughly supported by specific and detailed references to the film(s) and/or text(s). The writing is clear and generally correct, with only minor errors in grammar, spelling, or syntax.
A- (45-46): The answer has minor inaccuracies, or is basically correct but the writing is unclear in some places. The answer must still be supported by references to the film(s) and/or texts(s).
B+ (43-44): The answer has one significant error or omission, or is largely correct but not fully supported with references.
B (41-42): The answer is incomplete or partially in error, and not fully supported with references.
B- (40): The answer has multiple, significant errors or omissions, and is only partially supported by references.
C+ and Below (0-39): Answer is largely incorrect, reflecting a lack of knowledge of the film(s) and/or text(sbci), with few to no supporting references.