{"id":321,"date":"2026-08-10T19:10:41","date_gmt":"2026-08-10T19:10:41","guid":{"rendered":"https:\/\/pressbooks.ccconline.org\/ppcc1\/?post_type=chapter&#038;p=321"},"modified":"2026-09-11T20:11:19","modified_gmt":"2026-09-11T20:11:19","slug":"assignment-and-study-resources","status":"publish","type":"chapter","link":"https:\/\/pressbooks.ccconline.org\/ppcc1\/chapter\/assignment-and-study-resources\/","title":{"raw":"Assignment and Study Resources","rendered":"Assignment and Study Resources"},"content":{"raw":"<h2 class=\"import-Normal\"><strong>Contents:<\/strong><\/h2>\r\n<ul>\r\n \t<li>Vocabulary lists<\/li>\r\n \t<li>Viewing worksheet<\/li>\r\n \t<li>Review<\/li>\r\n \t<li>Technical analysis of a scene<\/li>\r\n \t<li>Film Noir Critical Essay<\/li>\r\n \t<li>Comparative essay outline<\/li>\r\n \t<li>Comparative Essay<\/li>\r\n<\/ul>\r\n<h3 class=\"import-Normal\"><strong>Vocabulary list:<\/strong><\/h3>\r\n<p class=\"import-Normal\">Students will be able to define and use these common terms when writing about film. This is not a comprehensive list but contains the most commonly used terminology.<\/p>\r\n\r\n<h4 class=\"import-NormalWeb\"><strong>Chapter 2:<\/strong><\/h4>\r\n<ul>\r\n \t<li class=\"import-NormalWeb\">Shots<\/li>\r\n \t<li class=\"import-NormalWeb\">Frame<\/li>\r\n \t<li class=\"import-NormalWeb\">Editing<\/li>\r\n \t<li class=\"import-NormalWeb\">Close-up<\/li>\r\n \t<li class=\"import-NormalWeb\">Medium shot<\/li>\r\n \t<li class=\"import-NormalWeb\">Long shot<\/li>\r\n \t<li class=\"import-NormalWeb\">Low angle shot<\/li>\r\n \t<li class=\"import-NormalWeb\">High angle shot<\/li>\r\n \t<li class=\"import-NormalWeb\">Fade-ins<\/li>\r\n \t<li class=\"import-NormalWeb\">Fade-outs<\/li>\r\n \t<li class=\"import-NormalWeb\">Dissolves<\/li>\r\n \t<li class=\"import-NormalWeb\">Theme<\/li>\r\n \t<li class=\"import-NormalWeb\">Non-diegetic musical score<\/li>\r\n \t<li class=\"import-NormalWeb\">Mise-en-scene<\/li>\r\n \t<li class=\"import-NormalWeb\">Framing (composition)<\/li>\r\n \t<li class=\"import-NormalWeb\">Motifs<\/li>\r\n<\/ul>\r\n<h4 class=\"import-NormalWeb\"><strong>Chapter 3:<\/strong><\/h4>\r\n<ul>\r\n \t<li class=\"import-NormalWeb\">Director<\/li>\r\n \t<li class=\"import-NormalWeb\">Assistant director<\/li>\r\n \t<li class=\"import-NormalWeb\">Production designer<\/li>\r\n \t<li class=\"import-NormalWeb\">Set<\/li>\r\n \t<li class=\"import-NormalWeb\">Soundstage<\/li>\r\n \t<li class=\"import-NormalWeb\">Green screen technology<\/li>\r\n \t<li class=\"import-NormalWeb\">Props<\/li>\r\n \t<li class=\"import-NormalWeb\">Prop master<\/li>\r\n \t<li class=\"import-NormalWeb\">Character<\/li>\r\n \t<li class=\"import-NormalWeb\">Actor<\/li>\r\n \t<li class=\"import-NormalWeb\">Cinematographer<\/li>\r\n \t<li class=\"import-NormalWeb\">Practical light<\/li>\r\n \t<li class=\"import-NormalWeb\">Low key lighting<\/li>\r\n \t<li class=\"import-NormalWeb\">High key lighting<\/li>\r\n \t<li class=\"import-NormalWeb\">Crane shot<\/li>\r\n \t<li class=\"import-NormalWeb\">Shot-reverse shot (review film on editing)<\/li>\r\n<\/ul>\r\n<h4 class=\"import-NormalWeb\"><strong>Chapter 6:<\/strong><\/h4>\r\n<ul>\r\n \t<li class=\"import-NormalWeb\">Montage<\/li>\r\n \t<li class=\"import-NormalWeb\">Continuity editing<\/li>\r\n \t<li class=\"import-NormalWeb\">Ellipsis<\/li>\r\n \t<li class=\"import-NormalWeb\">Flashbacks<\/li>\r\n \t<li class=\"import-NormalWeb\">Flash forwards<\/li>\r\n \t<li class=\"import-NormalWeb\">Rhythm<\/li>\r\n \t<li class=\"import-NormalWeb\">Cutting in action<\/li>\r\n \t<li class=\"import-NormalWeb\">Match cuts<\/li>\r\n \t<li class=\"import-NormalWeb\">Wipes<\/li>\r\n \t<li class=\"import-NormalWeb\">Iris outs<\/li>\r\n \t<li class=\"import-NormalWeb\">Master shot<\/li>\r\n \t<li class=\"import-NormalWeb\">Parallel editing (cross-cutting)<\/li>\r\n \t<li class=\"import-NormalWeb\">Jump cut<\/li>\r\n<\/ul>\r\n<h3 class=\"import-Normal\"><strong>Viewing Worksheet<\/strong><\/h3>\r\n<ul>\r\n \t<li>Which movie will you be analyzing? _______include title, year and director<\/li>\r\n<\/ul>\r\n<ul>\r\n \t<li>What genre or mixture of genres is the film from?<\/li>\r\n<\/ul>\r\n<ul>\r\n \t<li>What style or mixture of styles are used in the film?<\/li>\r\n<\/ul>\r\n<ul>\r\n \t<li>What are the major stylistic elements that you discovered?<\/li>\r\n<\/ul>\r\n<p style=\"padding-left: 40px\">___________________________________________<\/p>\r\n<p style=\"padding-left: 40px\">___________________________________________<\/p>\r\n<p style=\"padding-left: 40px\">___________________________________________<\/p>\r\n\r\n<ul>\r\n \t<li>What do you consider the dominant theme in this film? (This should be a statement that can be argued, not merely a topic).<\/li>\r\n<\/ul>\r\n<ul>\r\n \t<li>Using correct film terminology, briefly discuss how a specific scene demonstrates the style of the film.<\/li>\r\n<\/ul>\r\n<ul>\r\n \t<li>How are specific film elements used in the scene and what is the effect?<\/li>\r\n<\/ul>\r\n<ul>\r\n \t<li>What is your thesis? (State what you would prove about this film if turning this worksheet into an essay)<\/li>\r\n<\/ul>\r\n<ul>\r\n \t<li>Provide the MLA Works Cited page that you would expect to use if you were compiling this information for writing an essay. Include the film and any articles, or websites, such as IMBD and Purdue OWL, that you use.<\/li>\r\n<\/ul>\r\n<ul>\r\n \t<li>Use only articles with named authors, except for those from, <em>International Movie Data Bas<\/em>e.<\/li>\r\n<\/ul>\r\n<h3 class=\"import-Normal\"><strong>Writing a film review for Hum 1003<\/strong><\/h3>\r\n<p class=\"import-Normal\">Be sure that you review a film assigned in class.<\/p>\r\n<p class=\"import-Normal\">Prepare: Try to watch the movie you've chosen in the theatre or on a large screen. Be sure to take notes as you watch. It is always a good idea to watch the film multiple times before sitting down to write about it.<\/p>\r\n<p class=\"import-Normal\">For this review you will write the standard medium length review of 500 to 750 words. Make every word count! Required elements are in bold type. Writing about film is always done in present tense.<\/p>\r\n\r\n<h4 class=\"import-Normal\"><strong>The Boiler Plate includes<\/strong>:<\/h4>\r\n<ul>\r\n \t<li class=\"import-Normal\">The Film Title and release date<\/li>\r\n \t<li class=\"import-Normal\">The Director and relevant contributors<\/li>\r\n \t<li class=\"import-Normal\">The source of the film if it is an adaptation<\/li>\r\n \t<li class=\"import-Normal\">Leading cast members<\/li>\r\n \t<li class=\"import-Normal\">The genre of the film<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">Although the boiler plate must contains everything on the list, it should be part of the narrative, not just a list.<\/p>\r\n<p class=\"import-Normal\">For example, if your film is characterized by a strong performance of a central actor, your lead sentence could give a brief, but enticing description of the character, placing him or her in the setting as it does so. Experiment with ways of incorporating the essentials into your lead-in for a more dynamic, engaging style. Your readers will appreciate you for it.<\/p>\r\n\r\n<h4 class=\"import-Normal\"><strong>The Synopsis (plot summary):<\/strong><\/h4>\r\n<p class=\"import-Normal\">Strike a balance between sharing the plot and giving the audience an idea of the main interest if the film. This might be special effects (as in the first Star Wars movie), a historic event, or most likely, a major theme. Try not to give away to ending and if you must tell more than you like, give the reader a spoiler alert. Remember this is to entice (best choice) or repel (if it is terrible) a potential audience member.<\/p>\r\n<p class=\"import-Normal\"><strong>Provide a thesis<\/strong>: an arguable claim about the value of the work with reasons. This should be informed by what you found most notable about the film.<\/p>\r\n<p class=\"import-Normal\"><strong>Evaluative statements<\/strong>, usually a combination of overall evaluation and specific strengths and weaknesses of the work.<\/p>\r\n<p class=\"import-Normal\"><strong>Description of the work<\/strong>: How it looks, sounds and feels. Sometimes more esoteric elements are described, such as tone, stance, or political orientation. Sometimes the effect on the viewer is described.<\/p>\r\n<p class=\"import-Normal\"><strong>Conclusion<\/strong>: Unlike a typical essay the review conclusion is not just a restatement of the thesis. You want your conclusion to relate to everything that you said but do notbe too repetitive. This may be the place to make your final recommendation about how the reader may wish to view the movie, on DVD, large screen or not at all.<\/p>\r\n<p class=\"import-Normal\">The following are often included in reviews. Use one or two in your review.<\/p>\r\n<p class=\"import-Normal\">Discussion of relevant criteria, maybe an explanation of why these are the most important: Consider which elements of a film get awards. Most often discussed are directing, acting, plot, and cinematography. More general criteria include depth of thinking, emotional impact, authenticity in relation to what is being depicted, wit or cleverness of the writing, and originality.<\/p>\r\n<p class=\"import-Normal\">Background information to provide context: This can be information about the historical setting, people, or events; the society depicted; other works produced by the filmmaker or writer; key ideas involved in the work (e.g. political, philosophical, or artistic ideas), and production history.<\/p>\r\n<p class=\"import-Normal\">Comparison\/ Contrast with other similar works, with the source material, with sequels or prequels, etc.<\/p>\r\n<p class=\"import-Normal\">Classification\/Division: A work can be placed in a class, such as a particular genre (e.g. sci-fi, historical drama, documentary, French New Wave) and then be distinguished from other items in that category.<\/p>\r\n<p class=\"import-Normal\">Reception: How the film was received by audiences and\/or critics; awards it has won.<\/p>\r\n<p class=\"import-Normal\">Analysis: Discussion of how the film works, what makes the characters tick, what the film says about the society that produced it, why audiences responded as they did, etc.<\/p>\r\n<p class=\"import-Normal\">Narrative: Sometimes a story of the reviewer\u2019s experience with the film or the issue it depicts is relevant and interesting. For example, a war movie reviewed by a soldier who fought in it or a refugee who fled from it has an added emotional heft if the reviewers discuss their experiences, particularly while evaluating the film\u2019s authenticity.<\/p>\r\n<p class=\"import-Normal\">Although a normal film review would not include a Works Cited, academic writing requires you to include one. You will need to do a bit of research to answer the boiler plate questions and possibly to supplement your discussion. (This does not have to be \u201cacademic\u201d research but works that you consult need a named author or they can be from <em>International Movie Data Base<\/em>) Please use MLA format and include in-text citations to identify when you have used a source (rather it is written as a paraphrase or as a quote).<\/p>\r\n<p class=\"import-Normal\">Using the <em>International Movie Data Base<\/em> is recommended for broiler plate information <a class=\"rId14\" href=\"https:\/\/www.imdb.com\/\">International Movie Data Base<\/a><\/p>\r\n<p class=\"import-Normal\">Use Purdue Universities Online Writing Lab to format citations,<\/p>\r\n<p class=\"import-Normal\"><a class=\"rId15\" href=\"https:\/\/owl.purdue.edu\/owl\/research_and_citation\/mla_style\/mla_formatting_and_style_guide\/mla_formatting_and_style_guide.html\"><span class=\"import-Hyperlink\">Purdue Online Writing Lab<\/span><\/a><\/p>\r\n<p class=\"import-Normal\">Be sure to cite these sources in your MLA Works Cited, when you use them.<\/p>\r\n<p class=\"import-Normal\">A mini-review is provided below for practice only.<\/p>\r\n<p class=\"import-Normal\">Mini-review for Analysis: How many of the above elements can you find in Mark Kermode\u2019s 1-paragraph review of <em>Slumdog Millionaire<\/em>, which he published when the DVD came out?<\/p>\r\n<p class=\"import-Normal\">With its \"feelgood film of the decade\" status assured and a best film Oscar under its belt, it's easy to forget just how grim <em>Slumdog Millionaire<\/em> (2008) really is. Yet despite a ludicrously misleading advertising campaign, Danny Boyle's cross-cultural masterpiece is unflinching in its ground-level depiction of the streets of Mumbai in which homeless children are abused and exploited while TV screens spew forth win-a-million fantasias. It's a credit to the film makers that Slumdog is such an uplifting experience, with Boyle focusing on the vitality of the human spirit just as he did in Trainspotting, even as his characters are literally plunging down life's lavatory. Anthony Dod Mantle's vibrant camera races from gutters to rooftops, injecting life into the squalor - there's nothing \"abject\" about this poverty - while AR Rahman's score keeps the heart pumping and the pulse racing. Full Monty screenwriter Simon Beaufoy works wonders with Vikas Swarup's source novel and the cast, led by <em>Skins<\/em> star Dev Patel, rise to the challenge with aplomb. Honestly, it's hard to remember a better \"best film.\"<\/p>\r\n\r\n<h3 class=\"import-Normal\"><strong>Technical scene analysis<\/strong><\/h3>\r\n<ul>\r\n \t<li>Which film is the scene drawn from? Include the year of release and the name of the director.<\/li>\r\n \t<li>What is the major conflict in the scene? Is this conflict emphasized by the cinematography or mise-en-scene? How so?<\/li>\r\n \t<li>mise-en-scene, all that appears in front of the camera (Chapter 3)<\/li>\r\n \t<li>setting<\/li>\r\n \t<li>props<\/li>\r\n \t<li>costumes<\/li>\r\n \t<li>makeup<\/li>\r\n \t<li>lighting<\/li>\r\n \t<li>Composition (staging)<\/li>\r\n \t<li>Blocking (movement)<\/li>\r\n \t<li>Special effects<\/li>\r\n \t<li><\/li>\r\n \t<li>Discuss how four different elements of film (choose from below) are used in the scene.<\/li>\r\n \t<li>narrative (Chapter 4)<\/li>\r\n \t<li>acting (Chapter 8)<\/li>\r\n \t<li>editing (Chapter 6)<\/li>\r\n \t<li>sound (Chapter 7)<\/li>\r\n<\/ul>\r\n<ul>\r\n \t<li>What is the effect of this specific use of each element? How does it contribute to either the style or the context revealed in the film?<\/li>\r\n \t<li>Element 1<\/li>\r\n \t<li>Element 2<\/li>\r\n \t<li>Element 3<\/li>\r\n \t<li>Element 4<\/li>\r\n<\/ul>\r\n<h3 class=\"import-NormalWeb\"><strong>Critical Essay <\/strong><\/h3>\r\n<p class=\"import-NormalWeb\">See your institution or instructors about policies on use of Ai. Beware that it is generally only 70% correct and especially with film, it is often less accurate than that.<\/p>\r\n<p class=\"import-NormalWeb\">Write three to three and a half pages discussing how the formal elements (framing, editing, lighting, etc.) are combined to support the style (Film Noir) and themes(s) of the film. Be sure to discuss each (tone is part of style in this case}, style and theme. This must be written about the film assigned by your instructor. <em>The Maltese Falcon<\/em>, <em>Citizen Kane<\/em> or <em>Taxi Driver<\/em> work well for this assignment. Use the source provided in this textbook or by your instructor to define film noir. Use in-text citations and provide a Work Cited. For help with this and other writing challenges, see <a class=\"rId16\" href=\"https:\/\/owl.purdue.edu\/owl\/research_and_citation\/mla_style\/mla_formatting_and_style_guide\/mla_formatting_and_style_guide.html\"><span class=\"import-Hyperlink\">Purdue Online Writing Lab<\/span><\/a><\/p>\r\n<p class=\"import-NormalWeb\">Using in-text citations, tie examples from the article or chapter provided to specific examples from the film to prove your assertion. You will prove that the use of technical elements, make the film you are analyzing fit into the film noir style or do not make it fit the style.<\/p>\r\n<p class=\"import-NormalWeb\">Include an underlined thesis statement that you will prove in your analysis work.<\/p>\r\n<p class=\"import-NormalWeb\">Determine several themes that are apparent in the film.<\/p>\r\n<p class=\"import-NormalWeb\">Be sure to discuss each of the following at least once in your writing:<\/p>\r\n<p class=\"import-NormalWeb\">Framing and composition<\/p>\r\n<p class=\"import-NormalWeb\">Editing<\/p>\r\n<p class=\"import-NormalWeb\">Lighting<\/p>\r\n<p class=\"import-NormalWeb\">Set design<\/p>\r\n<p class=\"import-NormalWeb\">Mise-en-scene (set d\u00e9cor, props, costumes etc.)<\/p>\r\n<p class=\"import-NormalWeb\">Transitions between scenes<\/p>\r\n<p class=\"import-NormalWeb\">Sound<\/p>\r\n<p class=\"import-NormalWeb\">You may discuss each more than once. Be sure to include use of film vocabulary in your analysis.<\/p>\r\n<p class=\"import-NormalWeb\">You will want to view the film and each scene several times to do an adequate analysis.<\/p>\r\n<p class=\"import-NormalWeb\">Pay attention to grammar, spelling and content.<\/p>\r\n<p class=\"import-NormalWeb\">Include a Works Cited Page in MLA format. If it is listed in the Works Cited, it needs to be cited or mentioned by name in the essay. Don\u2019t forget to include the film!<\/p>\r\n<p class=\"import-NormalWeb\">Use in-text citations, parenthetical form, footnotes or endnotes.<\/p>\r\n<p class=\"import-NormalWeb\">Turn the essay in to the drop-box by the due date.<\/p>\r\n\r\n<ul>\r\n \t<li><\/li>\r\n \t<li><\/li>\r\n<\/ul>\r\n<p class=\"import-NormalWeb\"><strong>Outline for Comparative Essay<\/strong><\/p>\r\n<p class=\"import-NormalWeb\">Answer the questions 1-4 clearly, writing in complete sentences.<\/p>\r\n<p class=\"import-NormalWeb\">Repeat the questions or number them as numbered in this document.<\/p>\r\n<p class=\"import-NormalWeb\">1. Which film and its remake or spoof will you be analyzing? Name each, name the directors and include other important information in your Works Cited. You may use ONE film that we have watched for class.<\/p>\r\n<p class=\"import-NormalWeb\">2. Which article(s), with a named author, will you be drawing on for context in your initial film? This context should relate to the content of the film. Only one article that specifically mentions the film or films is allowed.<\/p>\r\n<p class=\"import-NormalWeb\">3. State a main theme contained in each of the films. Remember, \u201cMoney cannot buy happiness\u201d is a theme. However, \u201cThe film is about money\u201d is only a topic and cannot be argued.<\/p>\r\n<p class=\"import-NormalWeb\">4. Provide a thesis, stating what you will prove in your comparative essay.<\/p>\r\n<p class=\"import-NormalWeb\">5. Provide a Works Cited page (which may change as the essay is developed). Remember that you must cite the sources using in-text citations and then must include those sources in your Works Cited. You can introduce the films in the text to avoid continually citing them but keep clear which film you are discussing at any one time.<\/p>\r\n<p class=\"import-NormalWeb\"><strong>Movie Comparison<\/strong><strong>, <\/strong>persuasive (argumentative) essay<\/p>\r\n<p class=\"import-NormalWeb\">The point of this essay is to flesh out the reasons that two films differ. Address how context (what was going on in the world) affects content.<\/p>\r\n<p class=\"import-NormalWeb\">Write a three to four-page essay (with an additional page for the Works Cited) comparing themes and other content in the original version of the film that you chose to the themes and content in the more recent version. The required length does NOT include the header or Works Cited. You may use ONE film that has been assigned in class.<\/p>\r\n<p class=\"import-NormalWeb\">Suggestions: look at the treatment of gender, race and social class. Look at the themes. Evaluate how technical elements support the ideas that you will discuss. While the focus is on content, you should be able to correctly use the technical terms that you have learned in your discussion.<\/p>\r\n<p class=\"import-NormalWeb\">Decide on three or four main ideas. You only have three to four pages to prove your assertions.<\/p>\r\n<p class=\"import-NormalWeb\">Write and underline a provable thesis statement. For help with your thesis, visit <a class=\"rId17\" href=\"https:\/\/owl.purdue.edu\/owl\/research_and_citation\/mla_style\/mla_formatting_and_style_guide\/mla_formatting_and_style_guide.html\"><span class=\"import-Hyperlink\">Purdue Online Writing Lab<\/span><\/a> Clarity is the key to success!<\/p>\r\n<p class=\"import-NormalWeb\">Present a concluding paragraph that reiterates your thesis. (Paragraphs require a minimum of three sentences). Do not introduce new evidence in the concluding paragraph.<\/p>\r\n<p class=\"import-NormalWeb\">Provide specific examples from the movies to prove your assertion(s). (How can you explain the difference in plot, themes, characters, etc)?<\/p>\r\n<p class=\"import-NormalWeb\">Assume that the reader has seem both films. Do not spend more than a paragraph sharing the plot (except where differences illustrate your point).<\/p>\r\n<p class=\"import-NormalWeb\">Watch each movie at least twice.<\/p>\r\n<p class=\"import-NormalWeb\">Include an MLA styled Works Cited. Be sure to include all research, both films and anything used to understand film techniques and terminology.<\/p>\r\n<p class=\"import-NormalWeb\">Include at least three outside sources, with named authors that address the ideas in your essay. This may be information about cultural treatment of gender, race or class. It may include only ONE review or discussion of these ideas in reference to the film(s). The other two sources will be about the context that informs the films and should NOT mention the films.<\/p>\r\n<p class=\"import-NormalWeb\">See your instructor or institution for policies on Ai use and academic integrity.<\/p>\r\n<p class=\"import-NormalWeb\">Use in-text citations to identify\u00a0paraphrases and quotations borrowed from other sources.<\/p>\r\n<p class=\"import-NormalWeb\">DO NOT WRITE A REVIEW! This is a persuasive (argumentative) essay.<\/p>\r\n\r\n\r\n<hr \/>\r\n\r\n<a style=\"font-size: 1em\" href=\"#sdfootnote1anc\">1<\/a><span style=\"font-size: 1em\"> Night of the Living Dead. Directed by George A. Romero, Image Ten,\u00a01968. YouTube,\u00a0uploaded by American Film Institute, 26 Aug.\u00a02014, www.youtube.com\/watch?v=vZy6P72Uu3Y<\/span>","rendered":"<h2 class=\"import-Normal\"><strong>Contents:<\/strong><\/h2>\n<ul>\n<li>Vocabulary lists<\/li>\n<li>Viewing worksheet<\/li>\n<li>Review<\/li>\n<li>Technical analysis of a scene<\/li>\n<li>Film Noir Critical Essay<\/li>\n<li>Comparative essay outline<\/li>\n<li>Comparative Essay<\/li>\n<\/ul>\n<h3 class=\"import-Normal\"><strong>Vocabulary list:<\/strong><\/h3>\n<p class=\"import-Normal\">Students will be able to define and use these common terms when writing about film. This is not a comprehensive list but contains the most commonly used terminology.<\/p>\n<h4 class=\"import-NormalWeb\"><strong>Chapter 2:<\/strong><\/h4>\n<ul>\n<li class=\"import-NormalWeb\">Shots<\/li>\n<li class=\"import-NormalWeb\">Frame<\/li>\n<li class=\"import-NormalWeb\">Editing<\/li>\n<li class=\"import-NormalWeb\">Close-up<\/li>\n<li class=\"import-NormalWeb\">Medium shot<\/li>\n<li class=\"import-NormalWeb\">Long shot<\/li>\n<li class=\"import-NormalWeb\">Low angle shot<\/li>\n<li class=\"import-NormalWeb\">High angle shot<\/li>\n<li class=\"import-NormalWeb\">Fade-ins<\/li>\n<li class=\"import-NormalWeb\">Fade-outs<\/li>\n<li class=\"import-NormalWeb\">Dissolves<\/li>\n<li class=\"import-NormalWeb\">Theme<\/li>\n<li class=\"import-NormalWeb\">Non-diegetic musical score<\/li>\n<li class=\"import-NormalWeb\">Mise-en-scene<\/li>\n<li class=\"import-NormalWeb\">Framing (composition)<\/li>\n<li class=\"import-NormalWeb\">Motifs<\/li>\n<\/ul>\n<h4 class=\"import-NormalWeb\"><strong>Chapter 3:<\/strong><\/h4>\n<ul>\n<li class=\"import-NormalWeb\">Director<\/li>\n<li class=\"import-NormalWeb\">Assistant director<\/li>\n<li class=\"import-NormalWeb\">Production designer<\/li>\n<li class=\"import-NormalWeb\">Set<\/li>\n<li class=\"import-NormalWeb\">Soundstage<\/li>\n<li class=\"import-NormalWeb\">Green screen technology<\/li>\n<li class=\"import-NormalWeb\">Props<\/li>\n<li class=\"import-NormalWeb\">Prop master<\/li>\n<li class=\"import-NormalWeb\">Character<\/li>\n<li class=\"import-NormalWeb\">Actor<\/li>\n<li class=\"import-NormalWeb\">Cinematographer<\/li>\n<li class=\"import-NormalWeb\">Practical light<\/li>\n<li class=\"import-NormalWeb\">Low key lighting<\/li>\n<li class=\"import-NormalWeb\">High key lighting<\/li>\n<li class=\"import-NormalWeb\">Crane shot<\/li>\n<li class=\"import-NormalWeb\">Shot-reverse shot (review film on editing)<\/li>\n<\/ul>\n<h4 class=\"import-NormalWeb\"><strong>Chapter 6:<\/strong><\/h4>\n<ul>\n<li class=\"import-NormalWeb\">Montage<\/li>\n<li class=\"import-NormalWeb\">Continuity editing<\/li>\n<li class=\"import-NormalWeb\">Ellipsis<\/li>\n<li class=\"import-NormalWeb\">Flashbacks<\/li>\n<li class=\"import-NormalWeb\">Flash forwards<\/li>\n<li class=\"import-NormalWeb\">Rhythm<\/li>\n<li class=\"import-NormalWeb\">Cutting in action<\/li>\n<li class=\"import-NormalWeb\">Match cuts<\/li>\n<li class=\"import-NormalWeb\">Wipes<\/li>\n<li class=\"import-NormalWeb\">Iris outs<\/li>\n<li class=\"import-NormalWeb\">Master shot<\/li>\n<li class=\"import-NormalWeb\">Parallel editing (cross-cutting)<\/li>\n<li class=\"import-NormalWeb\">Jump cut<\/li>\n<\/ul>\n<h3 class=\"import-Normal\"><strong>Viewing Worksheet<\/strong><\/h3>\n<ul>\n<li>Which movie will you be analyzing? _______include title, year and director<\/li>\n<\/ul>\n<ul>\n<li>What genre or mixture of genres is the film from?<\/li>\n<\/ul>\n<ul>\n<li>What style or mixture of styles are used in the film?<\/li>\n<\/ul>\n<ul>\n<li>What are the major stylistic elements that you discovered?<\/li>\n<\/ul>\n<p style=\"padding-left: 40px\">___________________________________________<\/p>\n<p style=\"padding-left: 40px\">___________________________________________<\/p>\n<p style=\"padding-left: 40px\">___________________________________________<\/p>\n<ul>\n<li>What do you consider the dominant theme in this film? (This should be a statement that can be argued, not merely a topic).<\/li>\n<\/ul>\n<ul>\n<li>Using correct film terminology, briefly discuss how a specific scene demonstrates the style of the film.<\/li>\n<\/ul>\n<ul>\n<li>How are specific film elements used in the scene and what is the effect?<\/li>\n<\/ul>\n<ul>\n<li>What is your thesis? (State what you would prove about this film if turning this worksheet into an essay)<\/li>\n<\/ul>\n<ul>\n<li>Provide the MLA Works Cited page that you would expect to use if you were compiling this information for writing an essay. Include the film and any articles, or websites, such as IMBD and Purdue OWL, that you use.<\/li>\n<\/ul>\n<ul>\n<li>Use only articles with named authors, except for those from, <em>International Movie Data Bas<\/em>e.<\/li>\n<\/ul>\n<h3 class=\"import-Normal\"><strong>Writing a film review for Hum 1003<\/strong><\/h3>\n<p class=\"import-Normal\">Be sure that you review a film assigned in class.<\/p>\n<p class=\"import-Normal\">Prepare: Try to watch the movie you&#8217;ve chosen in the theatre or on a large screen. Be sure to take notes as you watch. It is always a good idea to watch the film multiple times before sitting down to write about it.<\/p>\n<p class=\"import-Normal\">For this review you will write the standard medium length review of 500 to 750 words. Make every word count! Required elements are in bold type. Writing about film is always done in present tense.<\/p>\n<h4 class=\"import-Normal\"><strong>The Boiler Plate includes<\/strong>:<\/h4>\n<ul>\n<li class=\"import-Normal\">The Film Title and release date<\/li>\n<li class=\"import-Normal\">The Director and relevant contributors<\/li>\n<li class=\"import-Normal\">The source of the film if it is an adaptation<\/li>\n<li class=\"import-Normal\">Leading cast members<\/li>\n<li class=\"import-Normal\">The genre of the film<\/li>\n<\/ul>\n<p class=\"import-Normal\">Although the boiler plate must contains everything on the list, it should be part of the narrative, not just a list.<\/p>\n<p class=\"import-Normal\">For example, if your film is characterized by a strong performance of a central actor, your lead sentence could give a brief, but enticing description of the character, placing him or her in the setting as it does so. Experiment with ways of incorporating the essentials into your lead-in for a more dynamic, engaging style. Your readers will appreciate you for it.<\/p>\n<h4 class=\"import-Normal\"><strong>The Synopsis (plot summary):<\/strong><\/h4>\n<p class=\"import-Normal\">Strike a balance between sharing the plot and giving the audience an idea of the main interest if the film. This might be special effects (as in the first Star Wars movie), a historic event, or most likely, a major theme. Try not to give away to ending and if you must tell more than you like, give the reader a spoiler alert. Remember this is to entice (best choice) or repel (if it is terrible) a potential audience member.<\/p>\n<p class=\"import-Normal\"><strong>Provide a thesis<\/strong>: an arguable claim about the value of the work with reasons. This should be informed by what you found most notable about the film.<\/p>\n<p class=\"import-Normal\"><strong>Evaluative statements<\/strong>, usually a combination of overall evaluation and specific strengths and weaknesses of the work.<\/p>\n<p class=\"import-Normal\"><strong>Description of the work<\/strong>: How it looks, sounds and feels. Sometimes more esoteric elements are described, such as tone, stance, or political orientation. Sometimes the effect on the viewer is described.<\/p>\n<p class=\"import-Normal\"><strong>Conclusion<\/strong>: Unlike a typical essay the review conclusion is not just a restatement of the thesis. You want your conclusion to relate to everything that you said but do notbe too repetitive. This may be the place to make your final recommendation about how the reader may wish to view the movie, on DVD, large screen or not at all.<\/p>\n<p class=\"import-Normal\">The following are often included in reviews. Use one or two in your review.<\/p>\n<p class=\"import-Normal\">Discussion of relevant criteria, maybe an explanation of why these are the most important: Consider which elements of a film get awards. Most often discussed are directing, acting, plot, and cinematography. More general criteria include depth of thinking, emotional impact, authenticity in relation to what is being depicted, wit or cleverness of the writing, and originality.<\/p>\n<p class=\"import-Normal\">Background information to provide context: This can be information about the historical setting, people, or events; the society depicted; other works produced by the filmmaker or writer; key ideas involved in the work (e.g. political, philosophical, or artistic ideas), and production history.<\/p>\n<p class=\"import-Normal\">Comparison\/ Contrast with other similar works, with the source material, with sequels or prequels, etc.<\/p>\n<p class=\"import-Normal\">Classification\/Division: A work can be placed in a class, such as a particular genre (e.g. sci-fi, historical drama, documentary, French New Wave) and then be distinguished from other items in that category.<\/p>\n<p class=\"import-Normal\">Reception: How the film was received by audiences and\/or critics; awards it has won.<\/p>\n<p class=\"import-Normal\">Analysis: Discussion of how the film works, what makes the characters tick, what the film says about the society that produced it, why audiences responded as they did, etc.<\/p>\n<p class=\"import-Normal\">Narrative: Sometimes a story of the reviewer\u2019s experience with the film or the issue it depicts is relevant and interesting. For example, a war movie reviewed by a soldier who fought in it or a refugee who fled from it has an added emotional heft if the reviewers discuss their experiences, particularly while evaluating the film\u2019s authenticity.<\/p>\n<p class=\"import-Normal\">Although a normal film review would not include a Works Cited, academic writing requires you to include one. You will need to do a bit of research to answer the boiler plate questions and possibly to supplement your discussion. (This does not have to be \u201cacademic\u201d research but works that you consult need a named author or they can be from <em>International Movie Data Base<\/em>) Please use MLA format and include in-text citations to identify when you have used a source (rather it is written as a paraphrase or as a quote).<\/p>\n<p class=\"import-Normal\">Using the <em>International Movie Data Base<\/em> is recommended for broiler plate information <a class=\"rId14\" href=\"https:\/\/www.imdb.com\/\">International Movie Data Base<\/a><\/p>\n<p class=\"import-Normal\">Use Purdue Universities Online Writing Lab to format citations,<\/p>\n<p class=\"import-Normal\"><a class=\"rId15\" href=\"https:\/\/owl.purdue.edu\/owl\/research_and_citation\/mla_style\/mla_formatting_and_style_guide\/mla_formatting_and_style_guide.html\"><span class=\"import-Hyperlink\">Purdue Online Writing Lab<\/span><\/a><\/p>\n<p class=\"import-Normal\">Be sure to cite these sources in your MLA Works Cited, when you use them.<\/p>\n<p class=\"import-Normal\">A mini-review is provided below for practice only.<\/p>\n<p class=\"import-Normal\">Mini-review for Analysis: How many of the above elements can you find in Mark Kermode\u2019s 1-paragraph review of <em>Slumdog Millionaire<\/em>, which he published when the DVD came out?<\/p>\n<p class=\"import-Normal\">With its &#8220;feelgood film of the decade&#8221; status assured and a best film Oscar under its belt, it&#8217;s easy to forget just how grim <em>Slumdog Millionaire<\/em> (2008) really is. Yet despite a ludicrously misleading advertising campaign, Danny Boyle&#8217;s cross-cultural masterpiece is unflinching in its ground-level depiction of the streets of Mumbai in which homeless children are abused and exploited while TV screens spew forth win-a-million fantasias. It&#8217;s a credit to the film makers that Slumdog is such an uplifting experience, with Boyle focusing on the vitality of the human spirit just as he did in Trainspotting, even as his characters are literally plunging down life&#8217;s lavatory. Anthony Dod Mantle&#8217;s vibrant camera races from gutters to rooftops, injecting life into the squalor &#8211; there&#8217;s nothing &#8220;abject&#8221; about this poverty &#8211; while AR Rahman&#8217;s score keeps the heart pumping and the pulse racing. Full Monty screenwriter Simon Beaufoy works wonders with Vikas Swarup&#8217;s source novel and the cast, led by <em>Skins<\/em> star Dev Patel, rise to the challenge with aplomb. Honestly, it&#8217;s hard to remember a better &#8220;best film.&#8221;<\/p>\n<h3 class=\"import-Normal\"><strong>Technical scene analysis<\/strong><\/h3>\n<ul>\n<li>Which film is the scene drawn from? Include the year of release and the name of the director.<\/li>\n<li>What is the major conflict in the scene? Is this conflict emphasized by the cinematography or mise-en-scene? How so?<\/li>\n<li>mise-en-scene, all that appears in front of the camera (Chapter 3)<\/li>\n<li>setting<\/li>\n<li>props<\/li>\n<li>costumes<\/li>\n<li>makeup<\/li>\n<li>lighting<\/li>\n<li>Composition (staging)<\/li>\n<li>Blocking (movement)<\/li>\n<li>Special effects<\/li>\n<li><\/li>\n<li>Discuss how four different elements of film (choose from below) are used in the scene.<\/li>\n<li>narrative (Chapter 4)<\/li>\n<li>acting (Chapter 8)<\/li>\n<li>editing (Chapter 6)<\/li>\n<li>sound (Chapter 7)<\/li>\n<\/ul>\n<ul>\n<li>What is the effect of this specific use of each element? How does it contribute to either the style or the context revealed in the film?<\/li>\n<li>Element 1<\/li>\n<li>Element 2<\/li>\n<li>Element 3<\/li>\n<li>Element 4<\/li>\n<\/ul>\n<h3 class=\"import-NormalWeb\"><strong>Critical Essay <\/strong><\/h3>\n<p class=\"import-NormalWeb\">See your institution or instructors about policies on use of Ai. Beware that it is generally only 70% correct and especially with film, it is often less accurate than that.<\/p>\n<p class=\"import-NormalWeb\">Write three to three and a half pages discussing how the formal elements (framing, editing, lighting, etc.) are combined to support the style (Film Noir) and themes(s) of the film. Be sure to discuss each (tone is part of style in this case}, style and theme. This must be written about the film assigned by your instructor. <em>The Maltese Falcon<\/em>, <em>Citizen Kane<\/em> or <em>Taxi Driver<\/em> work well for this assignment. Use the source provided in this textbook or by your instructor to define film noir. Use in-text citations and provide a Work Cited. For help with this and other writing challenges, see <a class=\"rId16\" href=\"https:\/\/owl.purdue.edu\/owl\/research_and_citation\/mla_style\/mla_formatting_and_style_guide\/mla_formatting_and_style_guide.html\"><span class=\"import-Hyperlink\">Purdue Online Writing Lab<\/span><\/a><\/p>\n<p class=\"import-NormalWeb\">Using in-text citations, tie examples from the article or chapter provided to specific examples from the film to prove your assertion. You will prove that the use of technical elements, make the film you are analyzing fit into the film noir style or do not make it fit the style.<\/p>\n<p class=\"import-NormalWeb\">Include an underlined thesis statement that you will prove in your analysis work.<\/p>\n<p class=\"import-NormalWeb\">Determine several themes that are apparent in the film.<\/p>\n<p class=\"import-NormalWeb\">Be sure to discuss each of the following at least once in your writing:<\/p>\n<p class=\"import-NormalWeb\">Framing and composition<\/p>\n<p class=\"import-NormalWeb\">Editing<\/p>\n<p class=\"import-NormalWeb\">Lighting<\/p>\n<p class=\"import-NormalWeb\">Set design<\/p>\n<p class=\"import-NormalWeb\">Mise-en-scene (set d\u00e9cor, props, costumes etc.)<\/p>\n<p class=\"import-NormalWeb\">Transitions between scenes<\/p>\n<p class=\"import-NormalWeb\">Sound<\/p>\n<p class=\"import-NormalWeb\">You may discuss each more than once. Be sure to include use of film vocabulary in your analysis.<\/p>\n<p class=\"import-NormalWeb\">You will want to view the film and each scene several times to do an adequate analysis.<\/p>\n<p class=\"import-NormalWeb\">Pay attention to grammar, spelling and content.<\/p>\n<p class=\"import-NormalWeb\">Include a Works Cited Page in MLA format. If it is listed in the Works Cited, it needs to be cited or mentioned by name in the essay. Don\u2019t forget to include the film!<\/p>\n<p class=\"import-NormalWeb\">Use in-text citations, parenthetical form, footnotes or endnotes.<\/p>\n<p class=\"import-NormalWeb\">Turn the essay in to the drop-box by the due date.<\/p>\n<ul>\n<li><\/li>\n<li><\/li>\n<\/ul>\n<p class=\"import-NormalWeb\"><strong>Outline for Comparative Essay<\/strong><\/p>\n<p class=\"import-NormalWeb\">Answer the questions 1-4 clearly, writing in complete sentences.<\/p>\n<p class=\"import-NormalWeb\">Repeat the questions or number them as numbered in this document.<\/p>\n<p class=\"import-NormalWeb\">1. Which film and its remake or spoof will you be analyzing? Name each, name the directors and include other important information in your Works Cited. You may use ONE film that we have watched for class.<\/p>\n<p class=\"import-NormalWeb\">2. Which article(s), with a named author, will you be drawing on for context in your initial film? This context should relate to the content of the film. Only one article that specifically mentions the film or films is allowed.<\/p>\n<p class=\"import-NormalWeb\">3. State a main theme contained in each of the films. Remember, \u201cMoney cannot buy happiness\u201d is a theme. However, \u201cThe film is about money\u201d is only a topic and cannot be argued.<\/p>\n<p class=\"import-NormalWeb\">4. Provide a thesis, stating what you will prove in your comparative essay.<\/p>\n<p class=\"import-NormalWeb\">5. Provide a Works Cited page (which may change as the essay is developed). Remember that you must cite the sources using in-text citations and then must include those sources in your Works Cited. You can introduce the films in the text to avoid continually citing them but keep clear which film you are discussing at any one time.<\/p>\n<p class=\"import-NormalWeb\"><strong>Movie Comparison<\/strong><strong>, <\/strong>persuasive (argumentative) essay<\/p>\n<p class=\"import-NormalWeb\">The point of this essay is to flesh out the reasons that two films differ. Address how context (what was going on in the world) affects content.<\/p>\n<p class=\"import-NormalWeb\">Write a three to four-page essay (with an additional page for the Works Cited) comparing themes and other content in the original version of the film that you chose to the themes and content in the more recent version. The required length does NOT include the header or Works Cited. You may use ONE film that has been assigned in class.<\/p>\n<p class=\"import-NormalWeb\">Suggestions: look at the treatment of gender, race and social class. Look at the themes. Evaluate how technical elements support the ideas that you will discuss. While the focus is on content, you should be able to correctly use the technical terms that you have learned in your discussion.<\/p>\n<p class=\"import-NormalWeb\">Decide on three or four main ideas. You only have three to four pages to prove your assertions.<\/p>\n<p class=\"import-NormalWeb\">Write and underline a provable thesis statement. For help with your thesis, visit <a class=\"rId17\" href=\"https:\/\/owl.purdue.edu\/owl\/research_and_citation\/mla_style\/mla_formatting_and_style_guide\/mla_formatting_and_style_guide.html\"><span class=\"import-Hyperlink\">Purdue Online Writing Lab<\/span><\/a> Clarity is the key to success!<\/p>\n<p class=\"import-NormalWeb\">Present a concluding paragraph that reiterates your thesis. (Paragraphs require a minimum of three sentences). Do not introduce new evidence in the concluding paragraph.<\/p>\n<p class=\"import-NormalWeb\">Provide specific examples from the movies to prove your assertion(s). (How can you explain the difference in plot, themes, characters, etc)?<\/p>\n<p class=\"import-NormalWeb\">Assume that the reader has seem both films. Do not spend more than a paragraph sharing the plot (except where differences illustrate your point).<\/p>\n<p class=\"import-NormalWeb\">Watch each movie at least twice.<\/p>\n<p class=\"import-NormalWeb\">Include an MLA styled Works Cited. Be sure to include all research, both films and anything used to understand film techniques and terminology.<\/p>\n<p class=\"import-NormalWeb\">Include at least three outside sources, with named authors that address the ideas in your essay. This may be information about cultural treatment of gender, race or class. It may include only ONE review or discussion of these ideas in reference to the film(s). The other two sources will be about the context that informs the films and should NOT mention the films.<\/p>\n<p class=\"import-NormalWeb\">See your instructor or institution for policies on Ai use and academic integrity.<\/p>\n<p class=\"import-NormalWeb\">Use in-text citations to identify\u00a0paraphrases and quotations borrowed from other sources.<\/p>\n<p class=\"import-NormalWeb\">DO NOT WRITE A REVIEW! This is a persuasive (argumentative) essay.<\/p>\n<hr \/>\n<p><a style=\"font-size: 1em\" href=\"#sdfootnote1anc\">1<\/a><span style=\"font-size: 1em\"> Night of the Living Dead. Directed by George A. Romero, Image Ten,\u00a01968. YouTube,\u00a0uploaded by American Film Institute, 26 Aug.\u00a02014, www.youtube.com\/watch?v=vZy6P72Uu3Y<\/span><\/p>\n","protected":false},"author":101,"menu_order":7,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-321","chapter","type-chapter","status-publish","hentry"],"part":305,"_links":{"self":[{"href":"https:\/\/pressbooks.ccconline.org\/ppcc1\/wp-json\/pressbooks\/v2\/chapters\/321","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.ccconline.org\/ppcc1\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.ccconline.org\/ppcc1\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/ppcc1\/wp-json\/wp\/v2\/users\/101"}],"version-history":[{"count":2,"href":"https:\/\/pressbooks.ccconline.org\/ppcc1\/wp-json\/pressbooks\/v2\/chapters\/321\/revisions"}],"predecessor-version":[{"id":437,"href":"https:\/\/pressbooks.ccconline.org\/ppcc1\/wp-json\/pressbooks\/v2\/chapters\/321\/revisions\/437"}],"part":[{"href":"https:\/\/pressbooks.ccconline.org\/ppcc1\/wp-json\/pressbooks\/v2\/parts\/305"}],"metadata":[{"href":"https:\/\/pressbooks.ccconline.org\/ppcc1\/wp-json\/pressbooks\/v2\/chapters\/321\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.ccconline.org\/ppcc1\/wp-json\/wp\/v2\/media?parent=321"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/ppcc1\/wp-json\/pressbooks\/v2\/chapter-type?post=321"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/ppcc1\/wp-json\/wp\/v2\/contributor?post=321"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/ppcc1\/wp-json\/wp\/v2\/license?post=321"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}