Movies

Please respond to this week’s screenings, readings, and lecture materials in an organized post that cites specific details from the programs and articles under discussion. You do not have to talk about all the texts for this week but should actively engage two (2) screenings (choose from East Side/West Side, “No Hiding Place”; The Mary Tyler Moore Show, “Love is All Around”; All in the Family, “Lionel Steps Out”) and at least one (1) reading (Aniko Bodroghkozy’s “Negotiating Civil Rights in Primetime” AND/OR Jane Feuer’s “The MTM Style”) – please write about the texts that you find most interesting or compelling. Below are a few questions that you may opt to address (though you are welcome to reply in any way that makes sense and about other topics not posed here): How does East Side/West Side (1963) differ in its tone, narrative conceits, or aesthetic sensibilities from the 1950s programs from last week and/or “relevance sitcoms” from the early 1970s? How does Bodroghkozy discuss the program as either approaching or failing to meet FCC chairman Minow’s mandate to “elevate” TV programming? What are some of the limitations, possibilities, and social consequences inherent in trends toward “relevance” programming during the 1960s and 1970s? How do our authors locate contradictions within the political logics of both 1960s social dramas and 1970s “relevance sitcoms”? Where in the episodes does the messaging seem most pronounced and/or most confused/convoluted? Which characters do these programs narratively privilege (with whom are we, as viewers, emotionally and or/ideologically aligned) and why/how so? How does this identification (or lack thereof) affect the episodes’ social/political discourse? How do All in the Family and The Mary Tyler Moore Show reflect (or not) the branding conceits of their respective production companies, Tandem Productions and MTM Enterprises? How do the aesthetic and narrative logics of these two episodes speak to their modes of political address? Which viewers do the shows seem to target and why/how?

Prior to beginning work on this assignment, read Chapter 8 of Film: From Watching to Seeing, as well as your instructor’s guidance and lecture materials, and Chapter 7 from Film Genre Reader IV. The ENG225 Research Guide in the Ashford University Library will be particularly helpful in locating required sources.This assignment is your opportunity to apply the auteur theory to the work of one selected director. To do that, you will watch at least two feature-length films by the same director as the basis for your analysis and argument. Note: You should watch any chosen film twice—once to ensure that you have grasped the storytelling and once to take more specific notes on aspects of the film you wish to discuss. You may choose any appropriate director, but be sure to consider the three criteria of auteur theory before making your selection. Reflect on the film you chose in your Week 2 written assignment and look ahead to the Week 5 Final Paper guidelines to ensure that you choose a film for this assignment that will work with the requirements on the Week 5 Final Paper. You may opt to write about the same film in your Week 2 written assignment and Week 5 Final Paper, and applicable pieces of this assignment can be used to write both. If you do this, you should reflect on and revise this assignment based on the instructor’s feedback before you incorporate it into any future writing assignments. Your paper should be organized around a thesis statement that focuses on how your chosen director and his/her films meet the criteria posed by auteur theory and advance the possibilities of storytelling through the medium of film. Review the Week 3 Sample Paper, which provides a clear guide for developing a solid analysis as well as insight on composition. In your paper, Explain auteur theory. Describe, using Chapter 8 of the text as a reference, the criteria for what makes a director an auteur. Identify a director who meets the criteria posed by auteur theory Summarize briefly the ways in which this director meets those criteria using examples from at least two of the director’s films. Apply the lens of auteur theory in breaking down the director’s technical competence, distinguishable personality, and interior meaning using specific examples of his/her work (e.g., particular scenes or plot components). Analyze the specific ways in which filmmaking techniques, consistent themes, and storytelling distinguish your chosen director as an auteur among his/her peers. The Directors and Auteur Theory paper Must be 900 to 1200 words in length and formatted according to APA style as outlined in the Ashford Writing Center’s APA Style (Links to an external site.) resource. Must include a separate title page with the following: Title of Your Essay (in bold) Your First and Last Name Ashford University Course Code: Name of Course (e.g., ENG 225: Introduction to Film) Instructor’s name Due Date For further assistance with the formatting and the title page, refer to APA Formatting for Word 2013 (Links to an external site.). Must utilize academic voice. See the Academic Voice (Links to an external site.) resource for additional guidance. Must include an introduction and conclusion paragraph. Your introduction paragraph needs to end with a clear thesis statement that indicates the purpose of your paper. For assistance on writing Introductions & Conclusions (Links to an external site.) as well as Writing a Thesis Statement (Links to an external site.), refer to the Ashford Writing Center resources. Must use at least two scholarly sources in addition to the course text. The Scholarly, Peer-Reviewed, and Other Credible Sources (Links to an external site.) table offers additional guidance on appropriate source types. If you have questions about whether a specific source is appropriate for this assignment, please contact your instructor. Your instructor has the final say about the appropriateness of a specific source for a particular assignment. To assist you in completing the research required for this assignment, view this Ashford University Library Quick ‘n’ Dirty (Links to an external site.) tutorial, which introduces the Ashford University Library and the research process, and provides some library search tips. Must document any information used from sources in APA style as outlined in the Ashford Writing Center’s Citing Within Your Paper (Links to an external site.) guide. Must include a separate references page that is formatted according to APA style as outlined in the Ashford Writing Center. See the Formatting Your References List (Links to an external site.) resource in the Ashford Writing Center for specifications.

Choose one of the topics below or make up your own. Develop a thesis statement: i.e. a statement about what you think the answer to the question is. Write an essay of at least 3000 words. Choose specific scenes, characters, events, shots, etc, from your chosen film(s) to ‘prove’ your thesis. Also use scholarly research found through library resources or in your textbook to support your claims or help you develop your thesis.  1. Persona: Ingmar Bergman’s most unusual film is also notorious for being difficult to understand. There is a wide range of possible ways of describing the plot. However, you should focus on the question of identity. How does this film explore the concept of identity in a modern world? Is it still applicable today? 2. Mulholland Drive: What is the relationship between the ‘dream’ that is mainstream cinema (i.e. Hollywood) and the ‘dream’ that is Diane’s representations of her perfect world? 3.Mulholland Drive: Analyze sexuality and repression in the film. 4. The White Ribbon: What are the thematic elements of violence intended to say about repression? 5. The White Ribbon: The film uses some of the techniques of horror and suspense; however, what is the monstrous in the film? In other words, what represents the monster/ghost/evil other? 6. Alien: Obviously there is a general theme of the relationship between the natural (man) and the artificial (machine) that is prominent in much scifi and certainly this film. This film uses the ‘machine as traitor’ trope from 2001: A Space Odyssey and matches it with a type of ‘living machine’ in the form of the ‘xenomorph’ (alien). What does the film say about the relationship between man and his creations? 7. Compare Alien’s representation of the monstrous with The White Ribbon.

The primary goal of this analysis is to demonstrate how elements of cinema, such as cinematography, lighting, editing, sound design, dialogue, performance, directing, or set and costume design, create mood (an emotional response from the viewer) and meaning (an intellectual response from the viewer). The thesis must be included within the first paragraph. Do not summarize the plot of the film, Analyze and interpret In the body of the paper, you should support your argument with descriptions and specific examples from the film. You may also quote dialogue directly. Provide MLA in-text citations if you utilize outside materials.

“The outbreak of COVID-19 is primarily a public health issue, but it is also having a major impact on the economy and the financial system. … The result has been major disruptions to economic activity across the world. This is likely to remain the case for some time yet as efforts continue to contain the virus (Reserve Bank of Australia, 2020).” Many Australian companies have been affected negatively by COVID-19. What elements of the general environment would have the most impact on Australian companies and how would organisational culture help them develop dynamic capabilities in order to survive and thrive in the changing environments? Use management theories and examples from management/business perspective to support your answers.

Essay Question  What do movies tell us about the causes of crime? Write an essay that draws on examples from as many films we have watched in this course as you can and which discusses Chapter 2 in the book by Nicole Rafter. you may still use online sources but it is preferable that a good number of examples come from this book. list of movies:  The Great Train Robbery (1903) The Black Hand (1906) Musketeers of Pig Alley  (1912)           Little Caesar (1930)  Public Enemy (1931)   Scarface (1932) Manhattan Melodrama (1934)   Bullets or Ballots (1938                         Your essay should be double-spaced and be 8 pages in length. Citations are not necessary. Required text  1) Rafter, Nicole. Shots in the Mirror: Crime Films and Society. (Second Edition). Oxford: Oxford University Press, 2006.

1. How was the hand animated in the Netflix animated film I Lost my Body (Jérémy Clapin, 2019). Browse online to find the informatio. Cite your source (website or article). min. 100 words – max. 150 words 2? Genres are categories that set a list of codes and conventions; however they evolve, borrow and adapt over time. For example, in the movie War Machine (David Michôd, 2017), name TWO major conventions related to the American war films and discuss how these conventions evolved in the movie and adapted to the present.

1. How was the hand animated in the Netflix animated film I Lost my Body (Jérémy Clapin, 2019). Browse online to find the informatio. Cite your source (website or article). min. 100 words – max. 150 words 2? Genres are categories that set a list of codes and conventions; however they evolve, borrow and adapt over time. For example, in the movie War Machine (David Michôd, 2017), name TWO major conventions related to the American war films and discuss how these conventions evolved in the movie and adapted to the present.

1.       examine its complete evolutionary cycle–Primitive, Classical, Revisionist, Parodic–illustrating these with examples of films, film technique, mise en scène, etc. be written exclusively in the third-person voice, double-spaced, 12-point font, and be five pages minimum.   employ no less than five sources, which will include films, as well as articles, textbooks, reference works, etc. have an interesting title that captures the reader’s attention and clearly indicates which topic you are addressing. avoid all plot summaries (do not describe the film’s storyline) use the terminology we have employed throughout the course document all research with in-text citations and a works cited page in MLA format (please review the “MLA Resources” page in our course for a refresher about MLA format)

In his chapter ‘The Question of Genre in Cult Film and Fandom’, Matt Hills notes that ‘what requires study’ in each ‘instance is the extent to which any “cult” is actually designated a cult, by whom, and with what further cultural repercussions or appropriations’ (Hills, 2007, p.448).     This essay should trace the history of The Thing’s rise to cult status, from initial release onwards. You will need to draw on and analyse not only the film itself but also the way it has been received, approached and assessed over time, in reviews, online fan discussion, and in marketing material (trailers, interviews, DVD commentaries).   Drawing on and responding to this argument, your assignment should trace the history of one relevant film or television programme’s rise to cult status, from initial release onwards.  In order to do this, you will need to draw on and analyse not only the film/TV programme itself but also the way it has been received, approached and assessed, over time, in reviews, online fan discussion, and in marketing material (trailers, DVD commentaries, interviews) accompanying its release and re-releases in different formats (video, DVD, Blu-ray, video on demand). Many thanks