Expert Answers

A) EDITING= 25% Answer BOTH of the following questions on editing. Analyze one of the movies assigned for Week Twelve or Week Thirteen. 1 Identify which movie you are analyzing . Decide what the BEST description of the editing style is, and explain why you think so, using specific evidence and at least two examples of scenes, which you describe so the scene can be identified (describe and explain why this is an example of that style: classical cutting, thematic montage editing, realist editing, cutting to continuity.) 2- Identify which movie you are analyzing. Pick examples from the first 15 minutes of the film. Pick THREE of the following terms, and identify the shots where you saw the technique (describe the shot and give the minutes/time stamp). Explain why you think it’s that technique: jump cut, rhythmic editing, eyeline match, matching action, graphic match, cross-cutting, reverse angle shot, establishing shot, sequence shot, wipe/dissolve/fade, flash forward/flash back B) ACTING= 25% Answer BOTH of the following questions on acting, Analyze one of the movies assigned for Week Twelve or Thirteen. PICK A DIFFERENT MOVIE THAN THE ONE YOU ANALYZED FOR A) EDITING. 1- Analyze the acting of TWO of the actors (this term includes men and women) and Include Reader (Viewer) Response theory in your analysis. Do some online research on other films the actors you are discussing have been in, and what their roles were like in those films. Pick at least two other films. If you have seen one or more of the films, you can use them. What are their characters in this film like? How does this compare to other roles they have played? Do you think they have a broad or narrow range? Are or were they famous enough to be considered a star? How does this affect our expectations for the character? Explain why. 2- Pick several personality traits of the character, and discuss what techniques the actor uses to portray those traits. Choose the appropriate terms to describe their technique and acting from the following technical terms: expressionist, realist, high energy, low energy, close to the lens, broad range, narrow range, type cast, cast against type, persona, iconography. Discuss how they use this acting technique: facial expression, body language, tone of voice, etc. C) GENRE= 25% Pick ONE of the movies from Week 12 or 13. Identify which movie it is. It should NOT be a movie you did a Discussion Board on. Explain which genre best decribes it (Thriller, Puzzle Mystery, Police Procedural, Heist Movie, a combination of genres- which?) Explain what features make it that genre (or genres.) Support your answer with examples. Explain what genre stage it is in: Primitive, Classic, Revisionist, Parody. Support your answer and give examples. D) ANALYSIS= 25% 1- Analyze any one of the movies assigned for Week 12 or Week 13, using your own taste and expertise (reader response.) How good is this movie as a film? What are its strong and weak points, in terms of Photography, Mise-en-scene, Movement, Sound, Acting. (For example, the camerawork is amazing, but the acting is second-rate…) Why do you think so? Examples? How did you like it, and why? Who should go see it, and who should not? 2- How well does this film work as a mystery? How closely does it follow the rules? Which rules does it follow? Which rules does it break? Why do you think so? Explain your examples. Pick three rules that are most important for this particular mystery.

After watching the documentary, A Family Gathering, develop a historical question that the film raises in your mind. Next, read the relocation instructions and the excerpt from Farewell to Manzanar, look at the photographs (mostly by Dorothea Lange), and explore the various interviews, photographs, and artwork in the Densho Archives, all under "Primary Sources." 

FINAL PROJECT (due March 20):  we will discuss this in class over the quarter, but it requires you to imagine yourself as director/dramaturge for a contemporary production of Pirandello's Six Characters in Search of an Author.   The basis of the assignment is Pirandello’s Six Characters in Search of an Author. It is a play and the assignment asks you to reimagine yourself as the director of the play. So write as if you were directing the play. DO NOT CHANGE DIALOGUE FROM THE SCRIPT OF THE PLAY. I WILL ATTACH A PDF DOCUMENT OF THE RUBRIC FOR THE ASSIGNMENT. The assignment does not only have to be with words, it can include images of clothing, theatre set up, props, etc. that would pertain to the play and directing it. I will send the transcript of the play in a pdf form called “six”. Please address everything the rubric needs!

Historical Annotated Bibliography Film review for the Film: Glory Information: I figured I would put up a model of what the Film Review should look like at the beginning of the paper as it seems that students often get confused by the idea of the bibliographic entry. With reviews they are unusual in that they start with a bibliographic entry for the object being reviewed. As for the actual Works Cited or Bibliography, it goes at the end of the paper as per normal. As for how many sources, in general I would suggest to have three or four. Moreover, they must be from a legitimate source such as EBSCOHost, JSTOR or books from the library - the use of wikipedia or similar websites is expressly forbidden. As for searching EBSCOHost, I would recommend especially looking for articles out of History Today, American History, American Heritage to name a few. As for how to cite the sources, please be sure to use either Turabian, University of Chicago or MLA styles of citation and Bibliography entries. Last but not least, please post a response to this thread letting me know how things are going with your Film Review. Examples: (top of page) North and South, Book 1. DVD, 561 Minutes. Warner Home Video, Burbank, CA, 1985. Spanning almost the entire 19th century, the made of TV miniseries North and South originally released in 1985 tells the story of ... blah blah blah.. so on and so forth... then just type up the rest of the assignment according to the Film Review Assignment Sheet in a regular flowing essay. (more rip roaring double-spaced essay action) (bottom of page) Step 1-March 25th, 2024 - Preliminary Bibliography Due Step 2-April 12th, 2024 - Preliminary Annotated Bibliography Due Step 3-April 22nd, 2024 - Final Assignment Due. STEP 1: Preliminary Bibliography on Glory the Preliminary Bibliography for the Film Review Glory is due. Send a list of your sources, properly cited, that you plan to use for your paper as well as CRAAP worksheets for any outside websites that are used. I am mostly looking to examine your sources to make sure that they are good - so avoid having nothing but websites - try to mix it up with books and EBSCO articles. IE: I expect the research for this paper to be more involved than just a few Google searches. Overall, I am looking for 3-5 sources, or more +++ in a proper citation style +++ and plan to have at least 1 or 2 commonalities between this Pre-Bib, Preliminary Annotated Bibliography, and the Final Bibliography that will be attached to your Film Review. STEP 2: Preliminary Annotated Bibliography MLA cited sources Two to four sentences describing the nature of source, what sort of information it contains, and how you plan to use it in your paper. EXAMPLE: Udall, Stewart L., Michael A. Bellesiles, Paula Mitchell Marks, and Gregory H. Nobles. “How the West Got Wild: American Media and Frontier Violence, A Roundtable.” Western Historical Quarterly 31, No. 3 (Autumn 2000): 277-295. This is a long form article coming of scholarly source and is the record of a roundtable of notable historians of the Old West. The historians in the article examined the issue of the level of violence present in the society of the Old West and generally came to the conclusion violent wasn’t nearly as common portrayed in popular culture. Information from this article will be used to refute the general level of violence portrayed in Tombstone – particularly the generalized violent depiction of the titled town. STEP 2: Final paper due

Look up a classic film.  (The film must be from before 1950) In this discussion post provide the title of the work you spent time with and give a detailed description of your experience of the work and of your interpretation of the work. 

This assignment is an opportunity for you to showcase the knowledge you have acquired in this course as well as your strengths in research, critical thinking, and articulate, concise writing. Choose a topic that you are interested in and craft an essay of about 1000-12000 words in which you present a central argument and close analytical reading of one or two primary sources. Your essay should be based on research you have done about your chosen topic, and you are welcome to study and write about any of the films we are examining in this class. Your paper should present a clear thesis and sufficient proof to substantiate your argument. You must engage at least one secondary source in your analysis and textual reading. Early Hong Kong Cinema Session 1 (Wednesday, April 3): Introduction to the Course and An Overview of Hong Kong History, Culture, and Cinema Stephen Bordwell, “All Too Extravagant: Too Gratuitously Wild - Hong Kong and/as/or Hollywood” in Planet Hong Kong: Popular Cinema and the Art of Entertainment. 1-16. Esther Yau, “Introduction: Hong Kong Cinema in a Borderless World” in At Full Speed: Hong Kong Cinema in a Borderless World. Session 2 (Wednesday, April 10): Early Hong Kong Cinema: The Shanghai “Hangover” Lisa Odham Stokes and Rachel Braaten, eds. Preface, Chronology, and Introduction in Historical Dictionary of Hong Kong Cinema. xi-14. Stephen Teo, “Early Hong Kong Cinema: The Shanghai Hangover” in Hong Kong Cinema: The Extra Dimensions. 3-28. Emilie Yueh-yu Yeh, “Translating Yingxi - Chinese Film Genealogy and Early Cinema in Hong Kong” in Early Film Culture in Hong Kong, Taiwan, and Republican China. 19-50. Film: Center Stage ??? directed by Stanley Kwan ???, 1991. II. Wuxia, Kung Fu, and Hong Kong Martial Arts Cinema Session 3 (Wednesday, April 17): The Wuxia Films of the 1970’s: King Hu, Lo Wei, and Bruce Lee David Bordwell, “Motion Emotion: The Art of the Action Movie” in Planet Hong Kong. 127- 156. Stephen Teo, Introduction in Chinese Martial Arts Cinema: The Wuxia Tradition. 1-16. Stephen Teo, “The Martial Arts Film in Chinese Cinema: Historicism and the National” in Art, Politics, and Commerce in Chinese Cinema. 99-109. Stephen Teo, “The Rise of Kung Fu: From Wong Fei-Hong to Bruce Lee” in Chinese Martial Arts Cinema. Stephen Teo, “The Wuxia Films of King Hu” in Chinese Martial Arts Cinema.115-142. Man-Fung Yip, “In the Realm of the Senses: Sensory Realism, Speed, and Hong Kong Martial Arts Cinema” in Cinema Journal. 76-97. Films: A Touch of Zen ?? directed by King Hu ???, 1971 and Fist of Fury ??? (aka The Chinese Connection) directed by Lo Wei ??, 1972.Session 4 (Wednesday, April 24): Bruce Lee and Jackie Chan: Transnational Stardom and Identity David Bordwell, “Local Heroes: Bruce Lee and Jackie Chan” in Planet Hong Kong.17-38. M.T. Kato, “Burning Asia: Bruce Lee’s Kinetic Narrative of Decolonization” in Modern Chinese Literature and Culture. Yvonne Tasker, “Fists of Fury: Discourses of Race and Masculinity in the Martial Arts Cinema” in Asian Cinemas: A Reader and Guide. 437-456. Paul Bowman, “Spectres of Bruce Lee” in Beyond Bruce Lee. 162-172. Kin-Yan Szeto, “Jackie Chan’s Cosmopolitical Consciousness and Comic Displacement” in Modern Chinese Literature and Culture. 229-261. Raechel Dumas, “Kung Fu Production for Global Consumption: The Depoliticization of Kung Fu in Stephen Chow’s Kung Fu Hustle.” Films: Enter the Dragon ???? directed by Robert Clouse (1973) and Drunken Master ?? directed by Yuen Woo-ping ??? (1978). Optional additional film: Kung Fu Hustle ?? directed by Stephen Chow ???, 2004. III. The Hong Kong New Wave: Entertainment, Aesthetics, and Reinvention Session 5 (Wednesday, May 1): The “Accented Cinema” of Tsui Hark and the Politics of Disappearance Ackbar Abbas, “The New Hong Kong Cinema and the ‘Déjà Disparu’” in Hong Kong: Culture and the Politics of Disappearance. Law Kar, “An Overview of Hong Kong’s New Wave Cinema” in At Full Speed. Tony Williams, “Under ‘Western Eyes’: The Personal Odyssey of Huang Fei-Hong in Once Upon a Time in China in Asian Cinemas. Tan See Kam, “Tsui Hark: Accented Cinema” in Hong Kong Cinema and Sinophone Transnationalisms. Tan See Kam, “Shanghai and Peking Blues: Fiction as Imagined History” in Tsui Hark’s Peking Opera Blues. 103-118. Craig Reid, “Interview with Tsui Hark” in Film Quarterly. Films: Peking Opera Blues ???(1986) and Once Upon a Time in China ??? (1991) directed by Tsui Hark ???. Session 6 (Wednesday, May 8): The Crisis Cinema of John Woo and its Global Influence Tony Williams, “Space, Place, and Spectacle: The Crisis Cinema of John Woo” in Cinema Journal. Kenneth Hall, “Style and Structure in The Killer” in John Woo’s The Killer. 23-43. Kenneth Hall, “Woo’s Inheritors: The Killer as Influence” in John Woo’s The Killer. 56-71. Jinsoo An, “The Killer: Cult Film and Transcultural (Mis)reading” in At Full Speed. 95-114. Robert Hanke, "John Woo's Cinema of Hyperkinetic Violence - A Better Tomorrow to Face/Off" Films: A Better Tomorrow ???? (1986) and The Killer ???? (1989) directed by John Woo ???. Session 7 (Wednesday, May 15): Constructing Identity from the Margins: The Woman Director Ann Hui ??? Ka-Fai Yau, “Looking Back at Ann Hui’s Cinema of the Political” in Modern Chinese Literature and Culture. 117-150. Mirana Szeto, “Ann Hui at the Margin of Mainstream Hong Kong Cinema” in Hong Kong Screenscapes. Patricia Erens, “Crossing Borders: Time, Memory, and the Construction of Identity in Song of the Exile” in Cinema Journal, 43-59. Esther Cheung et al, “Interview with Ann Hui – On the Edge of the Mainstream” in Hong Kong Screenscapes. Films: Boat People ???? (1982) and Song of the Exile (1990) directed by Ann Hui ?? ?. Optional Additional Film: A Simple Life ?? (2011) Session 8 (Wednesday, May 22): The Poetics of Hong Kong New Wave Cinema: Wong Kar-wai ??? Esther Cheung, “Do We Hear the City? Voices of the Stranger in Hong Kong Cinema” in Hong Kong Screenscapes. Gary Bettinson, “Wong Kar-wai and the Poetics of Hong Kong Cinema” in The Sensuous Cinema of Wong Kar-wai. Olivia Khoo, “Love in Ruins: Spectral Bodies in Wong Kar-wai’s In the Mood for Love” in Embodied Modernities: Corporeality, Representation, and Chinese Cultures. Ewa Mazierska and Laura Rascaroli, “Trapped in the Present: Time in the Films of Wong Kar- wai” in Film Criticism. View at least two of the following Films: Chungking Express ???? (1994), In the Mood for Love ???? (2000), and 2046 (2004) directed by Wong Kar-wai ???. IV. Contemporary Queerscapes in Postcolonial Hong Kong Session 9 (Wednesday, May 29): LGBTQ+ Cinema in Hong Kong, Before and After 1997 Natalia Sui-hung Chan, “Queering Body and Sexuality: Leslie Cheung’s Gender Representation in Hong Kong Popular Cultre” in As Normal as Possible. 133-149. Hugo Cordova Quero, “Queer(N)Asian Im/Migrants’ Connectedness; An Inter-Contextual Decolonial Reading of Wong Kar-Wai’s Happy Together.” Marc Siegel, “The Intimate Spaces of Wong Kar-wai in At Full Speed. Films: Happy Together ???? (1997) directed by Wong Kar-wai ??? and All About Love ???? directed by Ann Hui (2010). Session 10 (Wednesday, June 5): Postcolonial Identity and Struggle in Hong Kong from 1997 to Today: The Ghostly Cinema of Fruit Chan ?? Esther Cheung, “In Search of the Ghostly in Context: Fruit Chan’s Made in Hong Kong” Vivian Lee, “Ghostly Returns: The Politics of Horror in Hong Kong Cinema.” Chia-rong Wu, “Hong Kong Identity in Question: Fruit Chan’s Uncanny Narrative and (Post) 97 Complex” in American Journal of Chinese Studies, 43-56. Wendy Gan, “Re-imagining Hong Kong–China from the Sidelines: Fruit Chan’s Little Cheung and Durian Durian” in Hong Kong Screenscapes. Films: Made in Hong Kong ???? (1997) and Little Cheung (1999) directed by Fruit Chan ?? (2004). Optional Additional Film: The Midnight After ??????????? ?????? VAN (2014)

Final Project Stage Two For the Final Project, you will select at least one film that represents your career or career goals.  For example, if you are working toward a cybersecurity degree or already working in an IT field, you could choose a film that relates to Artificial Intelligence, such as A.I., Her, or M3gan.  If you are a business major, a film such as The Big Short, Wolf of Wall Street, How to Succeed in Business Without Even Trying, or Moneyball.  Your project can either be a paper or a presentation (such as a narrated PowerPoint or video essay).   This is both an analysis and research essay.  You will examine the film(s) and discuss how it relates to your field: how accurate is it, does it present a positive or negative view, does it offer insights into the field?   How does the film use the production elements we have discussed (direction, cinematography, production design, sound, editing, and acting) to convey its theme?  Research reviews and analysis of the film to see how others view it.  Include articles and analysis from people in the field as well as outside of the field. The Final Project is broken up into three stages: Stage One – due at the end of Week Three Stage Two – due at the end of Week Five Stage Three – due at the end of Week Seven Submit a Draft/Outline of your project.  It does not have to be a complete project, but it should set out your thesis, research, and structure of the final project. 

Need a good looking presentation to present on the Coppola family and more specifically on god father 1 &2. Would like to brainstorm ideas before completed so that way the PowerPoint is not too long and mainly discussing ideas

Watch Singin' in the Rain. It is available at the Swank video database. THERE ARE THREE MAIN TYPES OF MUSICALS. The REVUE is a movie that's mostly songs and dances and no story. The NON-INTEGRATED MUSICAL is one where there is a story - and there are songs - but the songs don't usually further the story. The INTEGRATED MUSICAL means the songs are part of the plot. Often, musicals can be more than one of these three, but they usually are more of one than the other two. Watch the movie and answer the following questions, or do the following items. When you watch, keep track of the time stamp, which is when something in the movie happened. 1. This film is widely considered an integrated musical, but it's not entirely. Provide two examples of songs that are not integrated. But also provide two songs that are integrated. Just put time stamp when the song starts and the title - or at least what you think the title is. 2. The film shows problems with trying to put sound into film. Provide three examples and time stamp when they begin and what they are. 3. Provide three examples of three shots during the movie you like the most and why? Time stamp them. 4. Compare this to a film you like or have seen - provide a few similarities or differences. Discussion 1. Do you think this film would be popular with today's audiences? Why or why not? How could it be more popular with today's audiences? What was the main reason - or what were the main reasons - you liked or didn't like the film?

Choose one meaningful example of how Sherlock, Jr., as a silent film, employs purely visual communication. Show attention to the film’s historical context via the lecture and reading material via this example. Include the timecode of the moment you discuss and use relevant vocabulary you developed in analyzing film form during the earlier modules.