The Matrix

Think of this film through the lens of the Hero's Journey, a term coined by Joseph Campbell (read more here). Think about this quote and apply it to The Matrix. Discuss how Neo's journey is presented to us cinematically. Incorporate the use of special effects in this discussion.

"A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man."

Minimum: 2 paragraphs.

Invasion of the Body Snatchers

Choose a scene and discuss it through a feminist lens. Are women portrayed as equal to men? Are they merely eye candy? Are they portrayed as superior or inferior?

Minimum 2 paragraphs.

Pee Wee's Big Adventure

Choose your favorite 5 minute scene in the film and analyze it in 3 paragraphs.

Fight the Power!

Choose one director we've studied over the past year and a half and discuss his influence on Spike Lee's Do the Right Thing. I want you to discuss this in 2 paragraphs. In your third paragraph, I want to hear your reaction to this film, especially the editing. What do you think Lee is trying to say? Do you think he was successful? How did the film make you feel?

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."

Early in his essay, Ebert claims that "the film has not aged well." Do you agree or disagree? Give me a paragraph that tells me why.

Bigger Than Life

In at least 2 paragraphs, discuss the use of color and the use of light in this film. Choose a topic you would like to explore regarding the film and how Nicholas Ray presents this topic cinematically.

Due: Monday, February 11, 2013

Last Train Home

Discuss in 3 paragraphs the relationships you see between Last Train Home and The Story of Qiu Ju and Beijing Bicycle. If you have watched any other Chinese films, you may add them for a little extra credit. I want you to discuss cinematically differences and similarities in how cities, migrant workers, the countryside, relationships (between parent/child, neighbors, etc.), or any other topic you are interested in exploring. Discuss how these topics are presented cinematically through at least 3 of the cinematic techniques we've covered in this course.

Due: Friday, February 8, 2013

Beijing Bicycle

Wang Xiaoshuai's film Beijing Bicycle is ultimately a film about the effects of "modernization" in China. I'd like you to read this essay and discuss the film's narrative and what you feel is the implied meaning of the film as a whole. Choose one scene and analyze the scene fully and cinematically and tell me why you chose the scene and what is the scene's relationship to the film as a whole.

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 the city are represented cinematically. In your last paragraph, tell me if you liked the film and what you liked best about it. Include also any films or filmmakers you would compare it to. I will give extra credit to anyone who watches another Fifth Generation film and writes one paragraph on their film of choice.

High Noon and HUAC

As I stated in class, High Noon is an allegory for what was going on in the United States at the time regarding the House Un-American Activities Committee (HUAC). You might want to read through this short article on HUAC (and anything else you find as well)...

http://go.galegroup.com/ps/i.do?id=GALE%7CCX3048900288&v=2.1&u=nysl_we_bcsd&it=r&p=GVRL&sw=w

Discuss in 2 paragraphs how Fred Zinneman portrays this allegory cinematically through the story of Will Kane and his quest to enlist help to crush Miller and his gang.

Also, in one paragraph, discuss the use of time and how Zinneman portrays time passage cinematically in his film.

Due: January 3

The Searchers & the American Indian Portrayal on Film

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, discuss how the American Indian has been portrayed in film as you learned in Reel Injun. Feel free to write more than I've asked. This is a huge subject. Extra credit goes to those who comment on a classmates' comment or comments.

DUE: Friday, December 14

Mean Streets

Discuss CINEMATICALLY the themes of redemption and religion in Mean Streets.

Due: Monday, December 10

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 antihero. It is a film that draws from many genres: the Western, horror, noir, and was also influenced by the films of the Italians (DeSica, Rosselini, Fellini).

Discuss, in at least two paragraphs, the themes of isolation and/or the antihero and how Scorsese's film is influenced by the different genres and by the Italians.

Due: Friday, November 30. Along with pages 1-6 of your Independent Study!

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 next month. Be thorough--at least 3 paragraphs.

Due: Monday, November 19.

La Strada

Roger Ebert, in his Great Films essay on La Strada, says:

"It is Quinn's performance that holds up best, because it is the simplest. Zamano 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 hearty paragraphs.

Due: Monday, October 29

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, 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 me many details and examples. Think about what the director is trying to say IMPLICITLY. Tie both films in with each other. Discuss similarities 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: Friday, October 19

Ringu

Remember how to look at a film through a feminist lens? Choose a five-minute scene in Ringu and examine the role of woman and how they are portrayed in your selected scene and the film as a whole. Be sure to discuss this topic CINEMATICALLY. How does the director show us? Do this in 3 well developed paragraphs. You might want to look up essays by such big names as Tania Modleski, Laura Mulvey, and Molly Haskell--extra credit for reference to any of their essays. You must state the title of the essay and use at least one quote. I have some books in the library that could help you with this.

DUE: Monday, October 8

Horror Mise-en-Scene

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 colors 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 2 well-developed paragraphs.

Video Contest--Dues Oct. 14

Dr. Kresse just sent this link to me. It's a video contest for anti-bullying. It doesn't look like it would be too hard for any of you to do and the grand prize is $2000. Here's the link.

The Passion of Joan of Arc

This response is due Friday, September 28. You get extra credit if you write your own response and also respond to someone else's quote (agreeing or disagreeing).

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 miss-en-scene.

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-up 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.