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Watch Casablanca In no fewer than and in complete sentences analyze the work. 1) The Story and the Roles 2) Musical Performances 3) Staging 4) Type/Historical period 5) Context 6) Personal experience. What is  your experience of the work once having analyzed it for the above qualities? How do you interpret and understand it? In depth answer using 1-5 answers

Response Paper For this assignment, you will write a response paper of 700-800 words in which you present a  critical-analytical reading of one text or film. Also called a précis, this is an opportunity for you  to write a brief, clearly-focused short paper to present a well thought-out, structured argument in  concise style. You may choose to focus on any one of cinematic texts we studied in this course,  and you should engage the ideas in at least one secondary source of scholarship. In your film  analysis, do your best to shed light on a film’s key themes, aesthetic elements, cultural context,  and/or cinematic strategies. 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 ???.

Assignment: Write a seven-page, double-spaced essay that describes and evaluates the editing in the film "Oppenheimer" This is a film analysis essay that should be supplemented by research material. The essay should include (Not necessarily in this order): 1)- A brief description of the film’s genre, plot, and themes. 2)- Background information on the film’s editor(s) and director. 3)- A description of the overall use of editing in the film. • What is the film’s editing style? • How does the editing help to tell the story? • Does the editing articulate a particular artistic vision? • Is the editing effective? 4)- A detailed description and breakdown of the editing in the Climax Sence • Clearly list and define the Narrative Beats and describe how they are cinematically articulated through shot design, blocking, and/or editing • Provide a Dramatic Intensity Chart and a Visual Intensity Chart of the visual and dramatic structures of the scene that are clearly labeled with the corresponding Narrative Beats. • Discuss how the shot selection and orchestration articulate the dramatic arc and climax in the scene and reveal its underlying dramatic subtext.

I have uploaded two pdf documents; one of the documents depicts the prompt of the assignment and the directions to complete the assignment. The second google document provides help in answering the question efficiently and fully. Although I have included this second document, you will still need to change the wording and do a bit of more research on the series to answer what the prompt asks for in a full and complete way. 

For each prompt (a prompt can be a term, phrase, or concept) given below, please write: a) The definition of the term/phrase/concept, as it pertains to the topics covered in this course. (4 sentences minimum) (1.5 point) b) Name an example that illustrates the term/phrase/concept. All of your examples for this assignment must be either TV examples or social media examples. (0.5 point) c) How the example relates to the term/phrase/concept. Make sure to link your example to ideas/arguments made by the author of the term/phrase/concept. (6 sentences minimum) (2 points) 1. CHOOSE ONE: the "diva," “black lady,” OR "angry black woman" stereotype (author: Kimberly Springer) 2. CHOOSE ONE: “signifyin’ as performativity” (author: André Brock) OR #BlackLivesMatter (authors: Amanda D. Clark et al.) 3. #SayHerName (authors: Aaminah Norris and Nalya Rodriguez in De Kosnik and Feldman [eds.], #identity)

Report on 1-2 historic films by El Teatro Campesino in the UCSB online collection. (I will provide link for this).Your report should include the title and date of the video. You should also describe the videos’ content and if possible connect it to ideas from lecture or readings.

Watch one or more episodes of a recent television series centering on Native American characters, such as: Reservation Dogs (on Hulu) Echo (on Disney+) Outer Range (on Amazon Prime Video) Dark Winds (on AMC+ or you can start a 7-Day Free Trial of AMC+ on Amazon Prime Video) Rutherford Falls (on Peacock) Prey (on Hulu) (this is a feature-length film but it premiered on Hulu so we will count it as television). If you have none of the above streaming services, you can access an episode of Reservation Dogs, an episode of Dark Winds, and an episode of Rutherford Falls from this Google Drive folder.Links to an external site. Write a 2-to-3-page, double-spaced essay about how the series either reinforces or breaks the media stereotypes of Native Americans discussed in three (3) of the readings assigned in this module (you can choose from Bataille, Churchill, Bird, George, Hersey, or Canote).  Alternative Prompt If you have neither access to streaming services and also cannot access the Google Drive folder with episodes of the listed series, then you can answer this alternative prompt: Write about #NODAPL, the hashtag and the movement. What was it about? Cite the Chubb, Estes, and the Garzo-Montalvo readings in explaining the purpose and impact of #NODAPL.

Research the proportion of two (2) of the following: women, African Americans, Native Americans, Hispanic Americans, Asian Americans, and openly gay or lesbian members of Congress. Reflect on what these patterns say about the nature of representation. Why do you think some groups tend to be underrepresented in Congress? Why do you see a trend in which more women and minorities are being represented? Do you think the underrepresentation of women and minorities affects Congress's business? How might we, the citizens, as a people, address this situation and strive towards equal representation? Make sure to cite sources used.

For every module in this course (starting with Module 3), you may opt to write a 1-page (double-spaced) paper in response to the recorded interviews that Gail has conducted with current or former graduate students (the interviewees are: Julia Havard, Caleb Luna, Aaminah Norris, Marcelo Garzo-Montalvo, José Ramón Lizárraga and Arturo Cortez, and Miyoko Conley). In each paper, write down any honest reactions you had to the interview: what the interview made you think about, how it made you feel, what questions it raised in your mind, what it made you curious about, if it answered any questions for you, if it made you look up anything you didn’t know about before, if you agreed or disagreed or were excited or troubled by anything that was said. As long as you use respectful language in your paper, feel free to write about any type of response that you had. Extra credit response papers are not mandatory, they are optional. For each extra credit response paper that you submit, you will receive up to 2 points. You may submit multiple response papers--there are 6 interviews in the course, so you can earn up to 12 points of extra credit total. KEEP IN MIND THAT THERE ARE TWO INTERVIEWS IN MODULE 3 (Julia Havard’s and Caleb Luna’s). Please combine all of your extra credit papers into one document (make sure it is in either .doc, .docx, or .pdf format) and submit that single document at one time (probably at the end of the course).

Watch the movie 'High Noon' and answer the following questions. When you watch, keep track of the time stamp, which is when something in the movie happened. TIME STAMP IS IMPORTANT The Western genre - the classic Western - is set up in The Great Train Robbery. It's basically all white people, not very gritty or dirty, the violence is not realistic and it's easy to see good versus bad. The MODERN WESTERN contains people of color, is more gritty and dirty, the bad and good people are more ambiguous and the "good" people don't always win. In between there's the TRANSITION WESTERN, which has elements of both. The movie takes place in what is considered real time. That means the amount of time that passes in the movie is the same length as the movie. It is quite rare for films to be in real time. Part of that time element is high lighted by clocks being seen often in the film. 1. High Noon is a transition Western.. Provide a few examples in the plot (you don't have to provide time stamps for each instance something happens, but one, such as "The sheriff acts like THIS in the movie, including in the first scene TIME STAMP). Also, provide elements that make up a classic Western and a modern Western. 2. The film often is considered both anti-American and pro-American. Provide at least five total examples (it can be two of one and three of the other) in the film (include the last climactic moment in the final minute). Then watch this video https://www.youtube.com/watch?v=SR9nIMOrqy4 (YOU NEED TO WATCH THE MOVIE BEFORE WATCHING THIS VIDEO) and comment on whether you agree or not with John Wayne's thoughts. 3. Provide three examples of three shots during the movie you like the most and why? Time stamp them. 4. Talk about real time versus movie time and provide examples of why you like or do not like the use of real time. 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?