Little Big Man

Watch one of the following clips from Little Big Man and descriptively discuss (in detail) at least 3 elements of mise-en-scene and how these elements present the implied meaning of the scene and how this scene relates to the film's meaning as a whole.

Clip 1
http://www.tcm.com/mediaroom/video/297790/Little-Big-Man-Movie-Clip-Good-Day-To-Die.html

Clip 2
http://www.tcm.com/mediaroom/video/297788/Little-Big-Man-Movie-Clip-Gunfighter-Period.html

The Searchers

Think about the portrayal of the American Indian and the portrayal of the whites in The Searchers. Discuss in a hearty paragraph how John Ford cinematically portrays each group. Then think specifically about Ethan and Scar and use your second paragraph to discuss how Ford cinematically portrays each of them specifically. In your last paragraph (number 3), discuss how the American Indian has been portrayed in films after watching Reel Injun on YouTube. Feel free to write as much as you want--this is a huge subject. Extra credit goes to those who comment on a classmate's comment or comments.

Reel Injun on YouTube:

http://www.youtube.com/watch?v=sQcvy53iywQ part 1

http://www.youtube.com/watch?v=_xzXGh0c0ig part 2

http://www.youtube.com/watch?v=XBw03-2k34E part 3

http://www.youtube.com/watch?v=htR_g5nitBM part 4

Due: Friday, December 6

Stagecoach

In your textbook, Looking at Movies, by Richard Barsam, Barsam goes into a detailed analysis of the construction of Stagecoach's narrative. In your response, pick TWO aspects of narrative that Barsam talks about that you think were particularly effective in the film and discuss cinematically how they worked to make Stagecoach such a successful film. Don't forget to use examples from the film to support your response!!!

Due: Wednesday, November 27

Mean Streets

Choose a five-minute scene and discuss the themes of redemption and religion in Mean Streets.

DUE: November 22

Taxi Driver

Taxi Driver is a film about many things, but overall it is about the theme of isolation and focuses on one particular loner in a big city who can be construed as an anti-hero. It is a film that draws from many genres: the Western, horror, film noir, and was also influenced by the films of the Italians (DeSica, Rosselini, Fellini).

Discuss cinematically, in at least two paragraphs, the themes of isolation and/or the anti-hero and how Scorsese's film is influenced by the different genres and by the Italians. You might find Ebert's original review and his Great Movies essay on the film helpful.

Due: Friday, November 22

Amarcord

This should be easy. Choose a scene in the film (any scene!) and analyze it in depth. Be sure to discuss its sociocultural influences, why you chose the scene, and how the scene relates to the film as a whole. Your response should be thoughtful and along the lines of what you'll do in January. Be thorough--at least 3 paragraphs.

La Strada

Roger Ebert, in his Great Films essay on La Strada, states:

"It is Quinn's performance that holds up best, because it is the simplest. Zampano is not much more intelligent than Gelsomina. Life has made him a brute and an outcast, with one dumb trick (breaking a chain by expanding his chest muscles), and a memorized line of patter that was perhaps supplied to him by a circus owner years before. His tragedy is that he loves Gelsomina and does not know it, and that is the central tragedy for many of Fellini's characters: They are always turning away from the warmth and safety of those who understand them, to seek restlessly in the barren world."

Fellini has given us a film about outcasts. How do the roles of these outcasts reflect on each other? Do you see any signs of redemption? Choose a character and examine how that character redeems him or herself and how that character is cinematically presented as an outcast by society. Be mindful of all of Fellini's symbolism! Do this in at least 3 paragraphs.

Due: Monday, October 28.

Tying it all together...

Think about the three films we've watched so far in this unit--Let the Right One In, Ringu, and The Shining--and choose 2 to use in your essay. Choose one of these two prompts:

• Examine all aspects of mise-en-scene (lighting, composition, set design, properties, etc.). This would include colors as well. Discuss the concept of "monster" through the mise-en-scene in each film. This exercise will help to prepare you for your Independent Study and your Oral Presentation. Examine CLOSELY and offer many details and examples. Think about what the director is trying to say IMPLICITLY. Tie both films in with each other. Discuss similiarities and differences in the mise-en-scene in both films. Please do this in 4 well-developed paragraphs.

OR

• Choose a five-minute scene in both films and examine the role of women and how they are portrayed in your selected scenes and in the films as a whole. Be sure to discuss this topic CINEMATICALLY. How does the director show us? Do this in 4 well-developed paragraphs.

DUE: Wednesday, October 16

Let the Right One In

I want you to think about the mise-en-scene in Let the Right One In. Examine all aspects of mise-en-scene: lighting, composition, set, properties, etc. This would include color as well. Discuss the concept of "monster" through the mise-en-scene of the film. This exercise will help prepare you for your Independent Study. Examine CLOSELY and offer me many details and examples. Think about what the director is trying to say IMPLICITLY. Please do this in at least 2 well-developed paragraphs.

Use whatever scenes you can find on YouTube or come into the Library and use my copy.

Due: Friday, 10/4.

The Passion of Joan of Arc

Full movie can be found here.

Please choose one essay prompt and write at least 2-3 well-developed paragraphs.

Essay #1 From Roger Ebert's essay on The Passion of Joan of Arc:

"There is not one single establishing shot in all of 'The Passion of Joan of Arc,' which is filmed entirely in closeups and medium shots, creating fearful intimacy between Joan and her tormentors. Nor are there easily read visual links between shots. In his brilliant shot-by-shot analysis of the film, David Bordwell of the University of Wisconsin concludes: 'Of the film's over 1,500 cuts, fewer than 30 carry a figure or object over from one shot to another, and fewer than 15 constitute genuine matches on action.'"

Many avant garde films also do not have matches on action or carryover shots. Compare The Passion of Joan of Arc to one of the avant garde films we watched in regards to editing and mise-en-scene. Use cinematic evidence to back up whatever you state.

Essay #2 From the Ib Monty article I gave you:

"When the film was released, the close-up technique was regarded as shocking. Dreyer defended his method by stating: 'The records give a shattering impression on the ways in which the trial was a conspiracy of the judges against the solitary Jeanne, bravely defending herself against men who displayed a devilish cunning to trap her in their net. This conspiracy could be conveyed on the screen only through the huge close-ups, that exposed, with merciless realism, the callous cynicism of the judges hidden behind hypocritical compassion--and on the other hand there had to be equally huge close-ups of Jeanne, whose pure features would reveal that she alone found strength in her faith in God.' As in all of Dreyer's major films the style grew out of the theme of the film. In La passion de Jeanne d'Arc Dreyer wanted 'to move the audience so that they would themselves feel the suffering that Jeanne endured.' It was by using close-ups that Dreyer could 'lead the audience all the way into the hearts and guts of Jeanne and the judges.'"

Agree or disagree with this quote. Use cinematic evidence to back up whatever you state.

Due: Wednesday, 10/2

Ringu

Remember how to look at a film through a feminist lens? Choose a five-minute scene in Ringu and examine the role of women and how they are portrayed in your selected scene and in the film as a whole. How does the director show us? Be sure to discuss this topic CINEMATICALLY. Back up all of your statements with evidence from the film. Your response should be 3 well-developed paragraphs. You must reference one of the big names (from feminist film criticism) such as Tania Modleski, Laura Mulvey, and Molly Haskell. You must state the title of the essay and use at least one quote. I have plenty of books in the library to help you with this.

Part one of Ringu can be found here. Part two is here.

Due: Wednesday, 9/24

Independent Study Rationales!

Everyone, please post your Independent Study rationale here in the comment section. If you feel like your rationale is not complete, please state that and perhaps a colleague (or I) could help you.

Due: Friday, 9/13

Avant Garde Cinema

Choose 3 of the films we watched in class and answer the following questions. Answer all questions for each film to create at least 3 hearty paragraphs.

Le Retour a la Raison
Entr'acte
Le Ballet Mecanique
Un Chien Andalou
Meshes of the Afternoon (this is the one with the Maya Deren interview)

What do you notice about the film's presentation of cinematic space? What do you see on screen? For example, lots of landscapes or closeups? Moving or statics camera?

How does the director's use of lighting help to create meaning?

Do you identify with the camera's lens? What does the director compel you to see? What is left to your imagination? What does the director leave out altogether? Describe the mise-en-scene and how it helps to create meaning in the film.

What implicit meaning do you find in the film?

If you can't get enough of the avante garde cinema, check out this site: http://www.ubu.com/film/.

If you want to look more into Jonas Mekas, go here: http://jonasmekas.com/diary/

Due: Monday, 9/16

Louise Brooks

Please take time to watch this video (in lieu of writing a blog response!) so that you know a little more about Louise Brooks.

Breathless

Read this article. Choose a scene in Breathless and respond to the following quote. Be sure to write at least 2 paragraphs. Respond to each others' posts. Here's the quote:

"This basic sequence of events is the minimal thread of continuity that holds the filmic narrative together. However, causal development and character motivation in the traditional sense are relatively loose. While the film does not reject narrative conventions as a whole, it goes a long way towards weakening the tight-knit structure and explanatory mechanisms affiliated with dominant narrative. The film's visual construction works even more aggressively against conventional film style. It systematically departs from the aesthetic guidelines and rules defined by continuity editing, relying variously on long-take sequences (often shot with hand-held camera) and jump cutting."

Due: Wednesday, May 22

The 400 Blows

I hope you all have read the essay by Marilyn Fabe. If you haven't, go away from your computer right now and take 15 minutes to read the essay.

OK. Now, take a look at this quote from Truffaut in a 1966 interview:

"Before I met Rossellini, I wanted to make films of course, but it seemed impossible. A dream. He made it all seem easy. He has a powerful gift for simplification. He told me, it isn't hard to write a screenplay, you only have to look at the reality around you...The 400 Blows owes a great deal to Rossellini...[H]e showed me that things must be close to life."

Think about this quote and respond to it, using at least one scene from The 400 Blows. Feel free to include evidence from Rome Open City to back up any statements you make regarding Rossellini's filmmaking style. Write at least 2 well-developed paragraphs (be sure to write cinematically) and use at least one quote from the Marilyn Fabe essay.

DUE: WEDNESDAY, MAY 15

Annotated Bibliography

This Friday (5/10) your annotated bibliography is due. Every resource you used for your script must be included, including the films you use in the script. Basically, you are going to give a sentence or two describing the source and another sentence or two stating why you used it. If you need further assistance with annotated bibliographies, go to the Purdue OWL (Online Writing Lab) site.

White Heat

In at least 3 hearty paragraphs, discuss White Heat, as well as the characteristics of the gangster genre and its role as an art form. In your discussion, bring in another gangster film if you've seen one on your own (The Godfather, Goodfellas, etc.). Your discussion should be in relation to the Warshow article I handed out on Wednesday and the idea of the gangster as an individual. I want to see 2 quotes from the article in your discussion. Use your film textbook for more information on the gangster genre.

Bringing Up Baby

Think about the film's mise-en-scene. Choose a scene in the film and discuss the mise-en-scene (costumes, set, lighting, props, etc.) and its relation to the scene and the film as a whole. Use at least 2 hearty paragraphs for your discussion.

And please post your favorite line from the film.

Watch Scorsese's Jefferson Lecture LIVE on April 1

Be sure to look for me in the audience!

http://www.neh.gov/news/press-release/2013-03-28

Video Contest

http://www.cnu.org/highways/videocontest

This is worth looking into. If you are serious about doing it, spend time over break on your pre-production...

Bicycle Thieves

Analyze a scene from Bicycle Thieves. Be sure to read the handouts I've given you. You can access the film in parts on YouTube, starting here. Be sure to click the CC (closed captioning) on the player to get the subtitles.

Choose a 5 minute scene and analyze it completely. Remember that you need to mention why you chose the scene and this scene's relation to the film as a whole. In addition, pay close attention to: mise-en-scene, lighting, camera angles, shot types, etc. Here is a list of items to pay attention to when you write your 750 words (minimum) (and when you do your oral presentation):

• How well do I understand how meaning is constructed through the use of film language in this extract?
• How well do I understand the extract's relationship to the film as a whole?
• How well do I understand the influences of the film's genre?
• How well can I place the film and this extract in a broader socio-cultural context?
• How insightful is my analysis of the director's intention?
• How coherent, incisive, insightful, and detailed is my evaluative interpretation of this extract?

Here is a list of "vocab" you should use:

• narrative
• direction
• cinematography
• mise-en-scene
• lighting (which is often, but not always, considered part of mise-en-scene)
• camera movement
• editing
• sound (diegetic and non-diegetic)

Be sure your paper is AT LEAST 750 words. Watch the clip a number of times. Let your ideas flow. Spend time with this. If you don't, your presentation next year will suffer. It will be difficult if you don't practice. If you do what I ask, that will be an easy assessment for you!

Due: Monday, April 8, 2013

Rome Open City

Analyze a scene from Rome Open City. Be sure to read the handouts I've given you.

Choose a 5 minute scene and analyze it completely. Remember that you need to mention why you chose the scene and this scene's relation to the film as a whole. In addition, pay close attention to: mise-en-scene, lighting, camera angles, shot types, etc. Here is a list of items to pay attention to when you write your 750 words (minimum) (and when you do your oral presentation):

• How well do I understand how meaning is constructed through the use of film language in this extract?
• How well do I understand the extract's relationship to the film as a whole?
• How well do I understand the influences of the film's genre?
• How well can I place the film and this extract in a broader socio-cultural context?
• How insightful is my analysis of the director's intention?
• How coherent, incisive, insightful, and detailed is my evaluative interpretation of this extract?

Here is a list of "vocab" you should use:

• narrative
• direction
• cinematography
• mise-en-scene
• lighting (which is often, but not always, considered part of mise-en-scene)
• camera movement
• editing
• sound (diegetic and non-diegetic)

Be sure your paper is AT LEAST 750 words. Watch the clip a number of times. Let your ideas flow. Spend time with this. If you don't, your presentation next year will suffer. It will be difficult if you don't practice. If you do what I ask, that will be an easy assessment for you!

Due: Monday, April 8, 2013

Independent Study

Fourth quarter we will be working on a practice Independent Study. DO NOT FALL BEHIND WITH THIS. I want you to begin thinking about 2 films from separate cultures (like French/American, Italian/French, etc.) that represent an overarching theme. We are going to practice at the Standard Level. Here is what the IB says about the process...


Independent study
Weighting: 25%
This component is based on part 2 of the course (film theory and history), but also draws to some extent
on part 1 (textual analysis). The aim of the independent study is to encourage students to engage in some depth with a cinematic tradition that is unfamiliar to their own culture.

Students must produce a script for a complete short documentary production exploring an aspect of film
theory or film history, based on the study of films from more than one country. The documentary should be targeted at an audience of film students in the 14 to 18 years age range. Among the topics students may choose to investigate are:
• genre
• theme
• direction
• use ofsound
• colour
• editing
• lighting.
The topic should be discussed primarily in cinematic terms. The prime voice of the documentary must clearly be that of the student, who will also act as the narrator, onscreen host and/or voice-over. Students must ensure that any comments or ideas they attribute to celebrities or others, such as experts, are fully supported by detailed references in the annotated list of sources.

EXAMPLE IDEAS

• A study of the development of horror films through cinematic techniques (or their reflections of cultural fears). At SL the study could be of Nosferatu and Mary Shelley’s Frankenstein.
• A study of cinematic representation of adolescence (and/or childhood). At SL the study could be of Cinema Paradiso and Boyz in the Hood

I want everyone to post an overarching theme and the two films they will study.

Excellent Opportunity

The University of Illinois is offering a summer camp for the first time this June called Media University. I think some of you should apply. It is two weeks and runs from June 17 through June 28. It is about $2000 for the two weeks, but there are scholarships available (need and merit based).

Here is the link: http://experience.media.illinois.edu/mediauniversity/

I am happy to help anyone who wants to apply. I spent last summer in Champaign-Urbana and I loved it. The University of Illinois is a massive campus. The first Web browser was developed there.

Jean Renoir Project

In the style of Jean Renoir, make a 2-3 minute film that shows a conversation between two people. The conversation should be made up—scripted—but can be about whatever you want. The video should contain elements such as a kinetic camera, off screen presence, subject moving off/on camera, etc. You and your partner need to work this all out together. It would be best to find 2 actors and try to get your shots done in one day. This might mean getting your shots done on a Saturday or after school.

Due: Wednesday, March 6, 2013

Rififi

Examine Rififi through a feminist lens. Use at least one quote from a feminist film theory essay (either the Laura Mulvey essay or Anneke Smelik's essay. Read the film by analyzing one five-minute scene. Be sure to discuss the film's meaning as a whole (through the feminist lens) and the scene's relation to that meaning. Why did you choose the scene? I also want you to mention your favorite part of the movie and what cinematic techniques you learned you could use in your own productions. Minimum of 2 paragraphs

Due: Tuesday, February 19, 2013