Film Analysis

Film Analysis
Order Description
Film analysis of Dr.Strangelove (1964) There should be no opin” rel=”nofollow”>inions in” rel=”nofollow”>in this paper. Use verified resources and site them appropriately within” rel=”nofollow”>in the paper.
The textbook should be one of your sources:
Barsam, R. (2015). Lookin” rel=”nofollow”>ing at movies (5th ed.). New York & London: W W Norton.
-Answer the followin” rel=”nofollow”>ing questions about this film:
1. Describe how each of the followin” rel=”nofollow”>ing two elements (design and composition) of mise-en-scene convey in” rel=”nofollow”>information about the story and characters, set a particular mood or emotional response, and/or enhance audience identification (with story and characters):?
For Design, choose between the followin” rel=”nofollow”>ing (don’t do all, but the one that best fits your film): the set design & decor; the type of set; the use of props; types of costumin” rel=”nofollow”>ing & makeup, etc. ??For Composition, choose between the followin” rel=”nofollow”>ing (again” rel=”nofollow”>in, don’t do all, but the one that best fits with your film): Framin” rel=”nofollow”>ing choices (esp. balanced/unbalanced, proxemics etc.); space (on-screen, off-screen, empty, full, etc.); open/loose vs. closed/tight framin” rel=”nofollow”>ing; kin” rel=”nofollow”>inesis, etc.

Be sure in” rel=”nofollow”>in your response to describe in” rel=”nofollow”>in some detail one (1) specific scene from your film that illustrates a specific design element AND one (1) that illustrates a specific composition element. Papers that only cover one of these mise-en-scene elements will lose poin” rel=”nofollow”>ints. Papers with only a general description of each will lose poin” rel=”nofollow”>ints.

2. Describe one (1) notable example of any one (1) the followin” rel=”nofollow”>ing significant lightin” rel=”nofollow”>ing technique to establish mood, themes, or story in” rel=”nofollow”>information in” rel=”nofollow”>in your film:
Highlightin” rel=”nofollow”>ing; use of shadows; the quality of light (e.g. hard, soft, high key, low key, etc.); direction of light (back, top, bottom, etc.); and/or source of light (e.g. 3 key, sin” rel=”nofollow”>ingle light, natural light, etc.).

In other words, consider any in” rel=”nofollow”>interestin” rel=”nofollow”>ing uses of light to create a particular mood, to reveal a character’s feelin” rel=”nofollow”>ings, to conceal characters or objects, etc. Again” rel=”nofollow”>in, don’t do all of these, but choose only one and demonstrate how it occurs in” rel=”nofollow”>in a different specific scene than chosen for question #1. Be sure you sufficiently describe the type of lightin” rel=”nofollow”>ing your application of the choice in” rel=”nofollow”>in the specific example you select from the film (enough so I know you understand the technique). Again” rel=”nofollow”>in, avoid makin” rel=”nofollow”>ing just a general discussion.

3. Given the constrain” rel=”nofollow”>ints of the time period for the film you chose (plus the context and type of the film), is this use of mise-en-scene and lightin” rel=”nofollow”>ing effective in” rel=”nofollow”>in establishin” rel=”nofollow”>ing a particular mood, audience response, or theme/meanin” rel=”nofollow”>ing, and why/why not? Be sure you justify your response based on the appropriate concepts.

In completin” rel=”nofollow”>ing this section, be objective, and stick to the idea of effectiveness in” rel=”nofollow”>in conveyin” rel=”nofollow”>ing a mood, the theme, the story, verisimilitude (if important to the story), and or in” rel=”nofollow”>in enhancin” rel=”nofollow”>ing audience identification, etc. Although this section should be less developed that the prior sections, you still should make a convin” rel=”nofollow”>incin” rel=”nofollow”>ing case for your assessments.

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