film series (20% + 5% statement + 5% research notes= 30%): each group will be asked to create a hypothetical film series and present an illustrated overview of this series to the rest of the class. together you will decide on a theme for the series as well as a list of the films to be screened and the content and organization of each individual contribution.
each of the members of the group is responsible for conducting research on one of the films in the series and making a five minute verbal presentation of this information (10%), supported by a five minute film clip illustrating the points addressed in your talk (10%). the illustrations must be decided well in advance of the presentation date as the materials will have to be ordered/acquired, and the appropriate equipment secured.
additionally, each student must hand in a typed summary of the points made in their presentations, written in sentence form, at the beginning of class on the day the presentation (5%) and attach their research notes (5%). the presentations are scheduled for the final three weeks of class.
Sunday, April 20, 2008
Tuesday, April 15, 2008
Scene Analysis (25%)
Scene Analysis
Students are asked to write a short scene analysis (750-1250 words/3>5 pages) on a film screened in class. Like the commentaries, the analysis should focus on the relationship of the scene to the film and be concerned with how the stylistic approach adopted by the filmmaker serves to advance the story’s themes. Hence the paper should be concerned equally, if not more with the filmic elements (image/sound/staging) rather than the literary aspects of the film (script or dialogue).
Ask yourself what the film is about and how/why the filmmaker has approached the subject the way s/he has? Which scenes are key to the film? How do these scenes contribute to the film’s overall sensibility? What images stay in your mind as significant? What do they mean?
Begin with a brief introduction that succinctly summarizes the film story and then situate the key scene(s) in relationship to the film’s themes and/or approach. Is it a beginning scene or an end scene? Does it occur at a critical juncture in the story’s unfolding? Next, describe and analyze the scene in terms of key incidents, repeated motifs and style. Finally, interpret the scene in terms of the stated thesis (how the scene presents the ideas of the film). The summary should restate your introductory thesis in a new way.
Students are asked to write a short scene analysis (750-1250 words/3>5 pages) on a film screened in class. Like the commentaries, the analysis should focus on the relationship of the scene to the film and be concerned with how the stylistic approach adopted by the filmmaker serves to advance the story’s themes. Hence the paper should be concerned equally, if not more with the filmic elements (image/sound/staging) rather than the literary aspects of the film (script or dialogue).
Ask yourself what the film is about and how/why the filmmaker has approached the subject the way s/he has? Which scenes are key to the film? How do these scenes contribute to the film’s overall sensibility? What images stay in your mind as significant? What do they mean?
Begin with a brief introduction that succinctly summarizes the film story and then situate the key scene(s) in relationship to the film’s themes and/or approach. Is it a beginning scene or an end scene? Does it occur at a critical juncture in the story’s unfolding? Next, describe and analyze the scene in terms of key incidents, repeated motifs and style. Finally, interpret the scene in terms of the stated thesis (how the scene presents the ideas of the film). The summary should restate your introductory thesis in a new way.
Tuesday, April 1, 2008
presentation schedule
April 23
Children’s Films
Catherine Bussieres
Elisa D’ascanio
Megan Barbato
Vanessa Dias
Julie Simpson
Comedy
Jacinthe
Michel Orenstein
Francois
Jonathan
Netanel
Ana-Maria
Fantasy
Joseph Tessier
Stephanie Leduc
April 30
Scorsese
Eric
Benito
Shinjay
Tarantino
Hanna
Kailey
Youth
Teddy
Samara
Fatima
Alysia
Romantic Comedy
Jessica
Zoe
Marissa
Meaghan
Children’s Films
Catherine Bussieres
Elisa D’ascanio
Megan Barbato
Vanessa Dias
Julie Simpson
Comedy
Jacinthe
Michel Orenstein
Francois
Jonathan
Netanel
Ana-Maria
Fantasy
Joseph Tessier
Stephanie Leduc
April 30
Scorsese
Eric
Benito
Shinjay
Tarantino
Hanna
Kailey
Youth
Teddy
Samara
Fatima
Alysia
Romantic Comedy
Jessica
Zoe
Marissa
Meaghan
Wednesday, January 23, 2008
class 1 ~ introduction/film journal assignment description
film journal (10%)
Over the course of the term, students will be asked to keep a journal of informal notes responding to the films seen in the classroom. Journal entries should include the title and release date of the film and the director's name, a section of notes taken during the film and a brief, paragraph-long formal statement summarizing key points.
Notes should consider key images or motifs, narrative themes and any other thoughts that come to mind. while watching the film or during the class discussion following. Students should develop their notes into more carefully structured statements soon after each film is screened, while the film and discussion are still fresh in mind. Consideration should be given to formal and thematic aspects of the films.
homework: please read the linked on-line summary of mise-en-scene.
Over the course of the term, students will be asked to keep a journal of informal notes responding to the films seen in the classroom. Journal entries should include the title and release date of the film and the director's name, a section of notes taken during the film and a brief, paragraph-long formal statement summarizing key points.
Notes should consider key images or motifs, narrative themes and any other thoughts that come to mind. while watching the film or during the class discussion following. Students should develop their notes into more carefully structured statements soon after each film is screened, while the film and discussion are still fresh in mind. Consideration should be given to formal and thematic aspects of the films.
homework: please read the linked on-line summary of mise-en-scene.
class 2 ~ language of film
film screening: la haine
homework: please read the linked on-line entries on: the cinematic image + narrative.
homework: please read the linked on-line entries on: the cinematic image + narrative.
class 3 ~ writing about film + commentaries assignment description
film screening: city of god
the commentaries (2 x 10%)
Approximately 250 words (one, double-spaced page), the commentaries are meant to sketch the basic components of a future (and longer) scene analysis. They are meant to be brief and written in sentence form. These commentaries should identify the key themes of the film in question AND the principal formal means through which these themes are expressed.
Of the films we screened in class, choose one that you found particularly interesting and describe the storyline and themes briefly, in a few sentences. This thesis statement should emphasize the points you plan to illustrate in the short formal analysis that follows. The descriptive analysis should identify a scene or sequence of scenes in the film that demonstrate the points you’ve made about form in your opening statement.
For example City of God is a story of the cycles of violence that define the way of life in a favela of Rio de Janerio. Told from the perspective of Rocket, who survives to tell the tale, the film’s plot adopts a circular structure to mirror the cyclical manner through which violence escalates from one generation to the next. Confirming 'repetition' as the film's principal leitmotif, the story is visualized using circular camera work and cutting.
The opening scenes of the film offer an excellent example of this thematic pattern. As the film begins, we witness preparations for a street party: a quick glint of steel inaugurates a fast sequence of close-up shots taken from different angles showing successive preparations. The knife is sharpened on the steel, then the vegetables are cut, and then we see a chicken being plucked, and another live chicken, waiting its turn at the chopping block. The shots become wider, deeper and longer and begin to move as the live chicken escapes and is chased through winding streets. Cut to Rocket who approaches the action from an opposite route. When the chicken and protagonist meet, the camera circles around to show back and front views of the rendezvous: Rocket and the chicken are stuck in the middle of an armed gang and the police. The camera circles again and we find two new views, of Rocket, this time back and front of a soccer field sometime in the his youth. The story begins again from this point, and retains this circular movement in plot, editing and camera until we meet at the end, at the film’s beginning catching up with Rocket and the chicken in the middle of the standoff that started the film.
homework: please read the linked on-line entry on writing on film.
the commentaries (2 x 10%)
Approximately 250 words (one, double-spaced page), the commentaries are meant to sketch the basic components of a future (and longer) scene analysis. They are meant to be brief and written in sentence form. These commentaries should identify the key themes of the film in question AND the principal formal means through which these themes are expressed.
Of the films we screened in class, choose one that you found particularly interesting and describe the storyline and themes briefly, in a few sentences. This thesis statement should emphasize the points you plan to illustrate in the short formal analysis that follows. The descriptive analysis should identify a scene or sequence of scenes in the film that demonstrate the points you’ve made about form in your opening statement.
For example City of God is a story of the cycles of violence that define the way of life in a favela of Rio de Janerio. Told from the perspective of Rocket, who survives to tell the tale, the film’s plot adopts a circular structure to mirror the cyclical manner through which violence escalates from one generation to the next. Confirming 'repetition' as the film's principal leitmotif, the story is visualized using circular camera work and cutting.
The opening scenes of the film offer an excellent example of this thematic pattern. As the film begins, we witness preparations for a street party: a quick glint of steel inaugurates a fast sequence of close-up shots taken from different angles showing successive preparations. The knife is sharpened on the steel, then the vegetables are cut, and then we see a chicken being plucked, and another live chicken, waiting its turn at the chopping block. The shots become wider, deeper and longer and begin to move as the live chicken escapes and is chased through winding streets. Cut to Rocket who approaches the action from an opposite route. When the chicken and protagonist meet, the camera circles around to show back and front views of the rendezvous: Rocket and the chicken are stuck in the middle of an armed gang and the police. The camera circles again and we find two new views, of Rocket, this time back and front of a soccer field sometime in the his youth. The story begins again from this point, and retains this circular movement in plot, editing and camera until we meet at the end, at the film’s beginning catching up with Rocket and the chicken in the middle of the standoff that started the film.
homework: please read the linked on-line entry on writing on film.
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