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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. 

Choose one meaningful example of how Casablanca employs the continuity style of Classical Hollywood. Include the timecode of the moment you discuss and use the vocabulary you developed in analyzing film form. Showing your attention to the film’s historical context via the reading material will benefit your response. Use at least 250 words to explain your response. Your lecture defined the star images of Humphrey Bogart and Ingrid Bergman. Choose a specific moment from Casablanca that exemplifies one of their star personalities and describe why and how using the film's timecode and at least two full sentences.

Choose one meaningful example of how Across 110th Street exemplifies Post-Classical Hollywood style, storytelling, and/or representation in a way that shows attention to the film’s historical context via the lecture. Include the timecode of the moment you discuss and use the vocabulary you developed in analyzing film form during the earlier modules. Use at least 250 words to explain your response. What is an aspect of Across 110th Street that would not have been done in Classical Hollywood? Employ your knowledge of Hollywood history from recent modules to support your answer and incorporate a timecode from Across 110th Street that exemplifies the differences you highlight. Use at least two full sentences to explain your answer.

Please write a response paper of 700-800 words in which you present a critical reading of one film of your choice that we studied in this class so far. Also called a précis, this is an opportunity for you to write a brief, clearly-focused short essay to present a well thought- out, structured argument and analysis in concise style.

Compare Spider-Man: Into the Spider-Verse with one of the three other periods of Hollywood history we've covered. Using a timecode, select a scene from the film and explain how this scene shows differences from Silent Hollywood, Classical Hollywood, or Post-Classical Hollywood. Complete your answer using at least 250 words and show your knowledge of these periods as presented in readings. What does Spider-Man: Into the Spider-Verse assume you already know about its intellectual property going into the film? Discuss a specific scene using the film’s timecode to support your answer. Use at least two full sentences to explain your response.