The Story of Qiu Ju

Think about the presentation of Qiu Ju and Meizi in the film. In one paragraph, discuss how both of these women are represented cinematically. In your next paragraph discuss how the countryside and teh city are represented cinematically. In your last paragraph, tell me what you learned and what you liked best about the film. Include also any films or filmmakers you would compare it to. I will give extra credit to anyone who watches another film of a fifth generation director and writes one paragraph on their film of choice.

Rebel Without a Cause

Please read Roger Ebert's Great Movies essay on Rebel Without a Cause. In 2 paragraphs, please discuss the following quote:

"Like its hero, Rebel Without a Cause desperately wants to say something and doesn't know what it is. If it did know, it would lose its fascination. More perhaps than it realized, it is a subversive document of its time."

Also, early in his essay, Ebert claims that "the film has not aged well." Do you agree or disagree? Give me one paragraph that tells me why (with evidence from the film).

Production Portfolio

Here is the link for Incoming. On the left hand side you will see other samples of assessments.

Trailer Advice

First, WATCH A LOT OF TRAILERS. As many as possible!

Trailer Techniques
1. Long shots to establish character, setting and the ‘dilemma’
2. Fades to black that suggest shifts in time
3. Transitions accompanied by booming SFX, building tension and placing significance on the text on screen – often white on black
4. Short shots and quick cuts of some of the most exciting moments from the film, the ‘events’ that lead to resolution but not necessarily in chronological order
5. Quiet music to establish story, menacing music to highlight villains, build to a crescendo
6. Sudden moments of quiet and silence between and after music and SFX, which have equal impact on mood and pace.

Besides these persuasive features however, the language on screen and in the voiceover can also establish the narrative. Words chosen can suggest key themes and summarize the plot in a grand way to suggest the plot is timeless and universal. Some clichéd examples are:
• They will find hope where they least expect it
• One man’s destiny…
• She will face her biggest challenge
• It will change their lives forever!

Plan your film trailer – Storyboard, Shot List. Ask yourself the following questions:
1. What clips should I include in order to give a really good sense of the film’s style, content and genre?
2. How will I create mood? What mood(s)?
3. How will I create pace? Can I vary pace to make it more interesting?
4.What is the plot of my film? What particular hooks can I create? How?
5. What should I leave out in order to maintain some sense of enigma which can only be resolved by watching the whole film?
6. At what point should I include the film’s title?
7. How can I design the trailer so that it draws attention to my technical role in the film’s production?

How will your trailer fit into the history of trailers? Will it be typical of a particular style? Will you challenge conventions?

http://www.microfilmmaker.com/tipstrick/Issue14/Edit_Trl.html

This Is Spinal Tap

Please write one paragraph (make it something you'd be proud of, please), and discuss how This Is Spinal Tap contributed to television shows today. Think about shows like The Office. Extra credit to anyone who adds their favorite Tap lyrics.

Grey Gardens

Read the following essay...http://documentary.net/direct-cinema-and-cinema-verite-guide-to-the-genres/ and use at least one quote in your response.

Discuss in at least two paragraphs how the Maysles cinematically depict Grey Gardens (the home) and Mrs. Beale and Edie. Mise-en-scene, shot types, lighting, etc. all play into how they are represented.

In a separate paragraph, give me your response to the film as a whole.

Due Friday, January 24.

Harlan County USA

Discuss in two paragraphs how filmmaker Barbara Kopple cinematically represents the miners, the coal executives, and the union leaders. Be sure to use specific cinematic elements in your discussion. What were your impressions of the film as a whole?

Due Wednesday, January 22.

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