Early International Film Paper II

Early International Film Paper II Order Description Early International Film Paper Two The term paper for this class will provide an opportunity to explore in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in detail one aspect of non- US cin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inema from the begin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">innin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing to World War II. The paper is to be a combin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ination of origin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inal essay and research as explain" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ined below. It should be 5-7 typed pages long, plus a Works Cited page. Pages must have 1 in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inch margin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ins, be double spaced and in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in 12 poin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">int Times New Roman. Due Dates December 11th Paper due (onlin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ine submission) Topic Select one film which ties in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">into the genre, movement, time period or other topic from the course that you wish to discuss. Your paper will then consist of two parts. In the first section of the paper (worth 50% of the marks) you will demonstrate research on the topic. This may in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">include connections to the world outside of cin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inema, stylistic trends, social implications etc. The second half of your paper (worth 50% of the marks) will demonstrate how the film you have selected represents, or otherwise, the research from the first half. Your film may not be one that we have watched fully for the class, but can be one which we have seen clips from. Steps to producin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing your paper. 1) Research the topic you wish to cover 2) Decide on a film that represents the topic 3) Shot Breakdown 4) Decide on the theme and other elements to explore 5) Usin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing shot breakdown, select elements to analyse in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in your paper that support this. 6) Create thesis statement 7) Outlin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ine paper 8) Create paper You should first do as much research on your subject as possible, developin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing a real familiarity with it. The Moorpark library has many resources to assist you with this project; look for books and articles in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in the onlin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ine databases. For the most recent films and topics, you will need to look at the onlin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ine databases available on the Moorpark Library website. Look at ProQuest and Project Muse. You can access these through the college website. You must have a Works Cited page at the end of your paper, and you must cite the class textbook and at least two other (non-web) articles or books. An article which comes from a journal, and which you source onlin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ine, counts as a non-web source. A shot breakdown is a systematic deconstruction of a scene. Proceed through the scene, shot by shot, makin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing note of the significant elements of mise-en-scene, cin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inematography, editin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing and sound. You are, at this stage, simply describin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing them, rather than analyzin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing them. Papers are to be submitted in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in Times New Roman 12 poin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">int, double spaced, 1 in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inch margin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ins. Any papers not submitted in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in this format will be reformatted for page length. Papers which do not match the page length will have poin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ints deducted. Remember that three to four pages means that the paper fills three pages (titles not in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">included). A paper which is two and a half pages long is not a three-page paper. Papers which exceed the page count by more than one page will also have poin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ints deducted. Papers must be in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in MS Word, Rich Text, or Open Office formats. If you use a word processer which is not Word or Open Office, use the Save As function. Papers submitted in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in .pages format will not be accepted and will be treated as late submissions unless corrected before the due date. Use the rubric to help you judge the requirements of the paper, in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">includin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing grammar, spellin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing, and structure. Examples of well written papers, on a variety of topics, can be found in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in the academic section of the SBCC film review website - https://sbccfilmreviews.org/ There are a series of notes of paper formattin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in the Writin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing About Film pdf file on the course website. Make sure you follow them. Deviation from them will reduce your grade. PAPER GUIDELINES FOR FILM ANALYSIS Writin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing a paper in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">involves three stages. All three are necessary to writin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing a paper that is origin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inal, clear, and cogently argued. This guidelin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ine will be helpful in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in analyzin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing your selected scene. 1. Preparation Select a topic: If you stray significantly from the paper topic provided for the class, you must get my approval for your topic. In selectin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing the films and topics for your paper, realize that you will produce a much better paper if you write about films that you are in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">interested in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in. Watch the film or films you have selected several times, takin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing notes: If you fin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ind it difficult to unravel the film’s meanin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing, you might pay particular attention to the openin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing and closin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing sequences. Often begin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">innin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ings and endin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ings provide clues to the themes in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in a film. Thin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ink about camera movement and framin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing, editin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing, mise-en-scene, sound, poin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">int-of-view shots, narrative structure, etc. How do they contribute to our understandin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing of the characters or narrative development? How is the scene you have selected related to the overall theme? Take stock of your ideas: Go over your notes, makin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing a list of the ideas that seem particularly useful. Do any sequences stand out with regard to the topic you are writin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing on? Are there two or more sequences that are markedly similar to one another that you might compare? Thin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ink about in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">interestin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing juxtapositions and metaphors or strikin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing stylistic elements (do you notice a pattern of unusual poin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">int-of-view shots, montages, or camera angles?) How do these elements relate to the themes you plan to discuss? For example, I’m writin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing a paper on character relationships in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in Tsai Min" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing Liang’s work. I’ve noticed a pattern of color shifts that highlight the emotionless states of his characters, contrasted with a city that seems to have come to life. I work through the films, notin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing color changes in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in the film and the changin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing emotions depicted. Then I in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">interpret the patterns that I fin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ind. Formulate an argument: Your argument should allow you to tie together your observations and your research. It should be suited to the length of the paper; don’t make statements that you can’t support in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in the amount of space you have to write the paper or with the in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">information you have at hand. Your argument should be based on your research and your analysis of the scene you have selected, not an evaluation of it. Do not write a film review (don’t say whether the film is good or bad). Write an outlin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ine: Even if you don’t stick to it, it is helpful to have a plan before you start to write. The outlin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ine should in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">include your thesis statement and the poin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ints you will make to support your thesis. Each poin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">int should be supported by examples from the film or films you are discussin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing. It probably won’t be possible for you to in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">include all of your observations about the film in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in your paper. Select the examples that best support your argument. 2. Writin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing Don’t use anythin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing other than 12-poin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">int Times New Roman. Use one-in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inch margin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ins. Your writin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing must be your own and it must be origin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inal: Plagiarism will result in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in disciplin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inary action by the Dean of Students. You must in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">indicate your sources, in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">includin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing readin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ings, lectures, and discussions from this or other classes (see below for the form your citations should take). If your paper relies on extensive knowledge of a subject that you have gain" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ined outside of this class, you must discuss it with me. If you want to write on the same topic as you are writin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing on for another class, you must speak to me and the other professor about it. If you would like to revise a paper you have already written, you must speak to me about it. You are encouraged to discuss your ideas with other students, but your work must be your own. Citations: You are expected to do research for your paper, so follow MLA style for all your citations. Extensive quotes, of three lin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ines or more, should be in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">indented and sin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ingle-spaced. You should in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">include your source whether you use direct quotes or summarize an argument. This in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">includes in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">information from the course reader, lectures, and discussions. Citations should in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">include the author’s last name in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in parentheses followed by the page number. If you provide the author’s name in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in the text, you need only in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">include the page number. At the end of the paper, you will need to in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">include a list of works cited. Examples: “Sin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ince film noir is as much a style as it is a genre, the manner in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in which the wild passion of the fugitives is portrayed is more significant than the plot poin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ints which keep them on the run” (Silver and Brookover 262). -or Janey Place and Lowell Peterson describe the requirement of depth of field in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in film noir: It was essential in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in many close or medium shots that focus be carried in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">into the background so that all objects and characters in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in the frame be in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in sharp focus, givin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing equal weight to each. The world of the film is this made a closed universe, with each character seen as just another facet of an unheedin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing environment that will exist unchanged long after his death; and the in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">interaction between man and the forces represented by noir environment is always clearly visible (67). Works Cited Edelman, Lee. “Plasticity, paternity, perversity: Freud's 'Falcon,' Huston's 'Freud.'” American Imago v51.n1 (Sprin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing 1994): pp. 69(36). Silver, Alan and Lin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inda Brookover. “What is This Thin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing Called Noir?” Alain" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in Silver and James Ursin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ini, eds. Film Noir Reader, 6th edition. New York: Limelight Editions, 2001: 243-260 Naremore, James. More Than Night: Film Noir in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in its Contexts. Berkeley: University of California Press, 1998. Avoid common errors: Two of the most common errors that students make when writin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing about film are 1) focusin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing exclusively on characters and narrative to the poin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">int of neglectin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing the manner in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in which meanin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing is conveyed filmicly (i.e. through editin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing, camera movement, sound, mise-en- scene, etc.) and 2) describin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing the film rather than formulatin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing an argument about it. It isn’t enough simply to identify the poin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">int-of-view shots in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in a film. You need to thin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ink about how they function, that is, what effect they have, what meanin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing they may have. Support your argument with examples from the film: Examples might in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">include close readin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ings of specific sequences or analyses of the manner in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in which certain" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in elements recur throughout a film. For in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">instance, an essay on the representation of women in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in Gilda might in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">include a close analysis of the openin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing sequence as well as describin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing how poin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">int-of-view shots function throughout the film. Correctly identify characters and film titles: The first time you refer to a film, in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">include the director and year in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in which the film was released, e.g. Out of the Past (Jacques Tourneur, 1947). Subsequent references to the film need only give the title, which should always be underlin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ined. The first time you refer to a character, you may in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">include the actor’s name in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in parentheses, e.g. Jeff Bailey (Robert Mitchum). But after that, use only the character’s name. (Jeff Bailey searches for Kathie Moffat. Robert Mitchum does not look for Janet Greer.) It’s terribly distractin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing, not to mention confusin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing, to read a paper in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in which characters are misidentified. If you can’t remember a character’s name or aren’t sure of the spellin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing, look it up. The Internet Movie Database (https://us.imdb.com) in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">includes this in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">information. 3. Editin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing Be sure to read your paper carefully! It’s a good idea to ask a tutor or someone else to read the paper for you. Double-check the followin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing: Content: Have you made any assertions that are not supported with examples from the film? Have you made any sweepin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing generalizations that are beyond the scope of your paper? Elimin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inate evaluative statements (e.g. “Fritz Lang is a great director.” “Double Indemnity is an excellent film.”) Organization: Have you presented your evidence in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in the best possible way? Does your in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">introduction clearly state the argument? Do your paragraphs flow from one to the next, or are they disjoin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inted and unrelated? Does each paragraph contribute to your paper’s thesis? The topic of each paragraph should be clearly stated in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in the first sentence or two and should be supported with specific examples from the film. Any in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">information that does not directly relate to your paper’s argument should be confin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ined to footnotes or endnotes, or elimin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inated altogether. Style: Have you used in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inappropriate slang or colloquialisms? Are your verb tenses consistent? (Actions in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in a film should be described in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in the present tense, historical events in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in the past tense: Marion Crane is the only guest at the Bates motel. Many motels lost busin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">iness when the in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">interstate highways were built.) Have you chosen the best possible words to describe scenes in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in the films and to express your poin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ints? Are you certain" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in of the meanin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ings of the words you are usin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing? Do you over-use particular words and phrases? Spellin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing and Grammar: You will be marked down for errors in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in spellin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing and grammar. Most word processin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing programs will check your spellin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing and grammar for you. If you are uncertain" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in about English grammar, arrange to meet with a writin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing tutor in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in the LRC.