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

M Streaming

Here is M with English subtitles...

http://www.youtube.com/watch?v=nM0w1dTNAH0

Filmsound.org Article on M

Here is the article to go with question 10 on your M screening sheet...

http://filmsound.org/articles/langsm.htm

Battleship Potemkin

"The film has a collective hero; the Russian masses—the mutineers on the Potemkin, the people of Odessa, the sailors who mutiny on the other ships—who rebel against Tsarist oppression.

Despite the film's documentary look, it was very carefully constructed on every level, from the distribution of line, mass, and light in individual shots to the perfectly balanced five-act structure of the overall film. The most remarkable feature of the film's construction, however, is the montage editing.

Eisenstein's theory of montage—based on the Marxist dialectic, which involves the collision of thesis and antithesis to produce a synthesis incorporating features of both—deals with the juxtaposition of shots, and attractions (e.g. lighting, camera angle, or subject movement) within shots, to create meaning. Rather than the smooth linkage of shots favored by many of his contemporaries (e.g. V. I. Pudovkin and D. W. Griffith). Eisenstein was interested in the collision and dialectical synthesis of contradictory shots as a way to shock and agitate the audience."

Think about the above quote (from the essay by Clyde Kelly Dunagan in the handout I gave you). In 2 paragraphs, discuss (CINEMATICALLY) if and how Eisenstein's theory works. Be sure to use the cinematic vocabulary you have learned. If you need to, use your glossary in Looking at Movies.

In paragraph 3, discuss a film you have seen that uses discontinuity editing or at the very least seems influenced by Eisenstein's method. Discuss the film CINEMATICALLY as you would discuss a film we watch in class.

Due: Monday, December 10 before class (ON TIME)

Man With a Movie Camera

Watch the film...

http://www.archive.org/details/ChelovekskinoapparatomManWithAMovieCamera

Your Looking at Movies textbook has a nice quote about Vertov and his film on page 428.

Vertov shows us how to frame reality and movement: through the human eye and the camera eye, or through windows and shutters. But to confound us, he also shows us--through such devices as the freeze-frame, split screen, stop-action, slow motion, and fast motion--how the cinematographer and editor can transform the movements of life into something that is unpredictable. He not only proves that the camera has a life of its own, but also reminds us of the editor, who is putting all of this footage together. Reality may be in the control of the artist, his camera, and its tricks, but it also finds definition within the editor's presentation and, ultimately, the viewer's perception.

In your first well-developed paragraph, please discuss this quote in relation to a five minute piece ofMan With a Movie Camera. Be sure to describe shots cinematically, as if I've never seen the film before. Discuss elements of editing, such as the juxtaposition of shots, rhythm, montage, etc.

In your second well-developed paragraph, discuss this quote in relation to a film of your choice. Try to be as specific as possible in your descriptions and speak cinematically when you discuss the film. If you'd like to come into the library during a free period to watch a clip of a film I have that you've seen, please see me. Remember: the earlier the better.

Due: Monday, December 1

Bride of Frankenstein

Joseph Lanza, in his essay, states:

"While demystifying the horror, Whale does, however, manage to weave more subversion into this Hays-era production than in any of his other films. The slant on sacrilege (already present in Frankenstein) is here augmented ad absurdum."

Think cinematically about this quote and discuss it in 3 well-developed paragraphs. I want to hear about SPECIFIC influences on this film from German Expressionism, as well as any sociocultural influences. ALL DISCUSSIONS SHOULD BE CINEMATIC. This means choosing a scene to analyze! It also means using your vocabulary to tell me exactly what is on the screen and what the director is trying to imply to the viewer.

Take your time and have fun with this one.

Due: Tuesday, November 13.

Metropolis

R. L. Rutsky, in the handout on Metropolis that I gave you last week, states: "Metropolis is...a film that is jammed almost to the point of incoherence with ideas, references, allusions, and visualizations: from Oedipal triangles to Christian symbols, from futuristic modern architecture to Gothic cathedrals, from mythical figures and biblical quotations to the latest technological marvels."

Choose a theme you see in Metropolis and one 5 minute scene in the film and ANALYZE it using your chosen theme. Analyze mise-en-scene (lighting, costume, shot composition, etc.) and cinematography of the scene. In 3 well developed paragraphs, be sure to analyze deeply and DESCRIPTIVELY. I want an image in my mind when I read your response.

Due: Friday, November 9