Stephan Flores/Engl 222 History of Film 1945-Present Spring 2018

Assignment: Scene or Sequence Analysis 'Plus' Essay ( 80 points possible) due by 12:00pm/noon Wednesday March 28, and no later (with points penalty) than 2pm Thursday March 29 (start of class): send electronic copy to me by email, preferably in MS Word, as attachment, with your last name as the first word in the name of the attached file (such as, Smith_SequenceAnalysis.docx). Length and format: titled, five pages or bit longer if you wish, double-spaced, one-inch margins, 12-pt. Times New Roman font (do not use extra spaces/return between paragraphs); Modern Language Association (MLA) citation method, if you cite our main text or criticism from one or more of our folders/links in Bblearn, with Works Cited bibliography. Bring print copy to class on Thursday March 29.

For the Scene or Sequence Analysis Plus Essay, you are to select a series of shots that create a dramatic unit within a film—select a scene or sequence from one of the films listed below (available via weblink in our Bblearn site--you may select from any film that you can watch via the course Bblearn site and folders, with exceptions for scenes or sequences that we have analyzed or that are analyzed in depth in articles etc.)--that is, these sources provide a selected range of films (nearly every film is recognized in film history as significant) that correspond to some degree with the chapters in film history that you have read in our main text-- in addition, for nearly every film there are resources/review-essays in the Bblearn folders that I advise you to read to strengthen and deepen your understanding of the film that you select to study and to write about.

Note on defining these terms: A scene is a series of related shots that typically depict action over a single/continuous time; a sequence is a series of scenes that typically form a coherent narrative unit that may also culminate with greater impact than any of its scenes.

Do not analyze a scene or sequence that we have analyzed in depth in class, or a sequence that is analyzed in depth in a scholarly review-essay or video-essay on the film. Note: Also keep in mind when selecting the film for this assignment, that you cannot write about the same film for the Critical Analysis Essay--you will need to choose a different film for that assignment, and you cannot write about a film that you already wrote about in one of the two essays (the shorter essay and the longer essay) for your midterm exam. Also keep in mind that if you write on a film by an American director for this assignment, then you must choose a 'foreign film' for the later Critical Analysis Essay (in other words, you must write on a foreign film for at least one of these two larger assignments (Sequence Analysis Plus or the Critical Analysis Essay).

Note: Plan to send your choice of film and brief descripton of your selected sequence and why you find the sequence significant, to me at sflores@uidaho.edu, by 4pm Saturday March 24th. Here are some possibilities for films, but as I state above, you can select any film from our Bblearn site, 1945-Present, via folders/weblinks in Bblearn.

Ford’s The Searchers(1956)
Hitchcock’s Strangers on a Train or Notorious or Vertigo or Rear Window or Shadow of a Doubt
De Sica’s Umberto D. or Bicycle Thieves
Rossellini’s Journey to Italy or Rome, Open City
Renoir’s The River
Melville’s Le Samouraï
Fellini’s Nights of Cabiria or La Dolce Vita or 8½
Powell and Pressburger’s  I Know Where I’m Going or Black Narcissus or The Red Shoes
Bergman's Persona, Wild Strawberries, The Seventh Seal, or Fanny and Alexander
Ozu’s Late Spring (1949 or Tokyo Story(1953)
Kurosawa’s Seven Samurai or Rashomon
Ray’s Pather Panchali (Song of the Little Road, 1955), Aparajito (The Undefeated, 1956), or Apur Sansar (The World of Apu, 1959)--UI library
Antonioni’s Blow-Up (1966) or L’avventura
Truffaut’s Day for Night, Shoot the Piano Player or The 400 Blows, or Antoine and Colette, Stolen Kisses, Bed and Board, or Love on the Run
Varda’s Cléo from 5 to 7 or Vagabond or La Pointe Courte
Godard’s Contempt (Le Mépris, 1963) or Breathless or Pierrot le fou
Frears's My Beautiful Laundrette
Wilder's Some Like It Hot (1959)
Wenders's Alice in the Cities or Paris, Texas, or Wings of Desire
Herzog's Aguirre, the Wrath of God, or Fitzcarraldo
Menzel's Closely Watched Trains(1966)
Chytilová’s Daisies (1966)
Wexler's Medium Cool (1969)
Loach's Kes
Jutra's Mon oncle Antoine
Egoyan's the sweet hereafter
Fassbinder's Ali Fear Eats the Soul
Erice's Spirit of the Beehive
Hood's Tsotsi
Meirelles's City of God
Chadha's Bend It Like Beckham or Bhaji on the Beach
Rocha's Barravento
Semebene's Moolaadé
Haneke's Caché
Kieślowski's Three Colors: Blue
Kar-Wai's In the Mood for Love (2000) or The Chungking Express (1994)
Hunt's Frozen River
Jarmusch's Stranger Than Paradise
Tarantino's Jackie Brown
Demange's '71 (2014)
Lee's Do the Right Thing
Dardenne brothers' Two Days, One Night, or La Promesse, or L'Enfant
Demme's Rachel Getting Married
Linklater's Before Sunrise or Before Sunset or Before Midnight
Allen's Manhattan or Annie Hall
Nolan's Memento
Yates's Breaking Away (1979)
Chazelle's Whiplash or La La Land
Granik's Winter's Bone
Alfredson's Let the Right One In
Amirpour's A Girl Walks Home Alone at Night
Iñárritu's Birdman (Or the Unexpected Virtue of Ignorance)
Jonze's Her or Adaptation
Bertolucci's The Conformist
Makhmalbaf's The Silence
Campanella's El Secreto de Sus Ojos
Chopra's Dilwale Dulhania Le Jayenge (The Big-Hearted Will Take Away the Bride)
Varma's Satya
Nair's Monsoon Wedding
Gowariker's Lagaan: Once Upon a Time in India
Varma's Company
Advani's Kal Ho Naa Ho (There May or May Not Be a Tomorrow)
Miyazaki's Princess Mononoke (1997, animated) or Spirited Away (2001)
Dassin's The Naked City
Shepitko's Wings
Camell's and Roeg's Performance (1970)
Scorsese's Taxi Driver (1976)
Reitman's Juno
Johnson's Brick
Rozema's I've Heard the Mermaids Singing
Scherfig's An Education
Kiarostami's Close-Up
Almodóvar's Volver
Yakin's Fresh
Garland's Ex Machina
Raimi's A Simple Plan
Lynch's Mulholland Drive
Barnett's Killer of Sheep
July's Me and You and Everyone We Know
Raimi's A Simple Plan (1998)
Anderson's Magnolia
Heckerling's Clueless
Majidi's The Color of Paradise or Children of Heaven
Tabrizi's The Lizard
Nakata's Ringu
Tarantino's Kill Bill, Vol. 1 or Vol. 2
Zwigoff's Ghost World
Cuarón's Children of Men
Chopra's Dilwale Dulhania Le Jayenge (The Big-Hearted Will Take Away the Bride, 1995)
Varma's Satya (1998) or Company (2002)
Nair's Monsoon Wedding (2001)
Gowariker's Lagaan: Once Upon a Time in India (2001)
Advani's Kal Ho Naa Ho (2003/There May or May Not Be a Tomorrow)
Briski's and Kaufman's Born into Brothels: Calcutta's Red Light Kids (2004, documentary)
Forster's Stranger Than Fiction
Anderson's If (1968)
Aldrich's Kiss Me Deadly (1955)
Dahl's The Last Seduction,
Jewison's In the Heat of the Night (1967)
Young's Wait Until Dark (1967)
Anspaugh's Hoosiers
Sluizer's The Vanishing (1988)
Kiarostami's Close-Up (1990)
Zhangke's Still Life (2006) and Platform (2000)
Cissé's Yeelen(1987)
Glazer's Under the Skin
Miller's Mad Max: Fury Road
Villaneuve's Arrival
Jenkins's Moonlight
Ade's Toni Erdmann (2016)
Peele's Get Out (2017)
Showalter's The Big Sick
von Trotta's The Second Awakening of Christina Klages (1977)
Tarkovsky's Stalker (1979)
Robinson's Withnail and I (1987)
Braff's Garden State (2004)
Eastwood's Million Dollar Baby (2004)
Fleck & Boden's Half-Nelson (2006)
Vigalondo's Time Crimes (2007)
Assayas's Summer Hours (2009)
Denis's White Material (2009)
Audiard's A Prophet (2010)
Rees's Pariah (2011)
al Mansour's Wadjda (2013)
Chabrol's La Ceremonie (1995)
Porumboiu's Police, Adjective (2009)
Pawlikowski's Ida (2013)
Greta Gerwig's Lady Bird (2017)
Luca Guadagnino's Call Me By Your Name (2017)
Weber's 500 Hundred Days of Summer (2009)
Coogler's Creed (2015)
Mungiu's 4 Months, 3 Weeks, and 2 Days (2007)
Guadagnino's Call Me By Your Name (2017)

Your essay aims to understand how the scene or sequence makes sense—how the series of shots has and creates meaning—including (and because of) its relation to other significant prior or subsequent parts of the film, as the film’s narrative story and plot unfold and arguably either cohere or work in contradiction to enact meaning. In other words, the sequence functions in its fullest significance and range of meaning(s) as it is understood to exist and as it is situated within the overall film and its contexts. You are to create an argument and conduct analysis that begins with a specific shot sequence but which also moves beyond close analysis to understand the film’s overall narrative arc and its primary modes of representing and working through problems/questions—both cinematic as well as cultural/social/historical problems and questions, and to consider to what degree the film seems to answer or resolve such questions.

The scene (or sequence) should be between 30 seconds and two minutes in length—resist the urge to analyze a series of shots longer than two minutes (that is, don’t exceed three minutes!), and for this assignment, choose a genuine series of shots, not just one or two shots, and choose a scene or sequence different than one that we may have analyzed in depth in class or that is analyzed in depth in a secondary review-essay or video-essay. Although the formal qualities of film and its production are not a primary focus of our class (such study and analysis occurs more fully, for example, in Engl 230), this assignment prompts you to develop your competencies in situating as a point of focus and departure an initial close, micro-analysis of a dramatic sequence, including some attention to the film’s cinematic language, and to connect or situate the meanings of the scene or sequence (including its cinematic elements/language) with the film's larger, overarching meanings and effects. That is, your analysis will seek to explain--to a limited degree--how the mise-en-scène, cinematography, editing, and sound work—are constructed or can be construed to work—to produce meaning (significant or signifying effects) through the dramatic scene or sequence in the context of the film. Note: if your selected sequence contains a great many shots (for example, of only 1-3 seconds each), you may elect/decide not to analyze EVERY single shot in a scene that may contain 20-40 shots, but to examine as many as you need in order to establish/sustain/develop your analysis (and offer a more concise description and generalization of the individual shots that you do not examine).

Steps in preparation for your analysis/essay:

Step 1: Select a series of shots (a scene or sequence that lasts typically between 30 seconds and two minutes long) that create a dramatic unit within a film scene. A discrete shot is defined as one uninterrupted run of the camera, i.e., an unedited strip of film consisting of those images that are recorded continuously from the time the camera starts to the time it stops. Do not, however, select a sequence that we have studied closely in class or which is analyzed in minute, close detail in one of our texts. I advise that you describe the shot sequence to me by email at least a week before the due date.

Step 2: As you examine the scene or sequencethrough repeated viewing/study, it may be useful to take precise notes of one or more of the following elements:
1. Shot #—begin with Shot #1 in your selected sequence.
2. Mise-en-scène— significant aspects of lighting, costume, props, setting, character blocking (positions/movement), actors' performances, gestures, and notable colors and color patterns.
3. Cinematography— the camera distance and angle in relation to the action or points of focus, any camera movement, composition of the frame, depth of field.
4. Duration of the shot and its editing—shot duration (e.g., :15, for 15 seconds), and notable transitional editing into and out of the shot, continuity or discontinuity, graphic/imagistic patterns and relations, and rhythmic or associational connections.
5. Sound—the use of sound (and silence).  Consider dialogue, sound effects and music, if present, whether sounds are linked to camera cuts or movement; when and how onscreen and off-screen sounds are used; are sounds diegetic or non-diegetic?
6. Other aspects of your notetaking/study—begin to analyze, to ask questions, to suggest interpretation, note oppositions or repetitions or similarities, trace the action/narrative plot and story… that is, begin to do the work of writing your sequence essay analysis by noting things that stand out to you. You might also want to note/transcribe any dialogue or provide an excerpt selection of dialogue that you might be likely to use or draw upon later in your Sequence Analysis Plus Essay.
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Scene or Sequence Analysis Plus Essay

To restate and elaborate a bit more on this assignment: How do the mise-en-scène, cinematography, editing and sound design work together in the scene or sequence to underscore its themes or aims and those of the film as a whole? What argument or hypothesis can you make about the rhetorical aims (its aims to persuade) of the sequence and the film—what might the film as a work be arguably seeking to achieve or do, including any problems that it identifies and arguably seeks to address or resolve or appeals that it seems to make? Put more directly, why do you think this sequence is effective and what are its (various) effects? Moreover, how does this sequence make sense--have and create meaning--because of its relation to other significant parts of the film that come before and after this sequence? In other words, a sequence of shots can be analyzed closely but the significance/function/meaning(s) of that sequence are not autonomous--the sequence exists and is (must be) situated within the overall film and its contexts.

Think about how cinematic elements and techniques function in the scene or sequence. Develop an argument about how these techniques reinforce the scene’s themes or modes of representing and working through problems/questions (both cinematic and cultural problems and questions), then select detailed, individual examples from the sequence. You do not need to describe the entire sequence, nor do you need to write about every shot. You don’t even need to write about every technique. Rather, use selective examples to analyze how particular elements and techniques create specific effects in the overall design of the sequence.

Does the film engage with genre conventions? How and for what purpose? With whom do we identify? What effect does this have? What are the roles and relationships between characters who appear to be aligned with dominant cultural politics and ideologies, and as these characters are juxtaposed or connected to characters in subordinate or marginalized positions and identities? How are they shot and lit? What story and plot and action and performances are these characters embedded and embodied within? What patterns of familiar images and motifs help to structure the film?

Try not to be daunted by so much of this guidance and advice: keep in mind that you must focus your analysis and be selective in what you explore and address, especially given the relatively short length of this essay assignment.

Tips:
-Avoid plot summary and extended visual description. Aim instead to analyze how specific cinematic techniques function to underscore the film’s themes and ideas. Organize your essay around key points in your argument, rather than a chronological examination of the sequence.
-Avoid evaluative language. (“The costumes are beautiful.”) Aim instead to analyze the effects of the techniques used. (“Ada’s restrictive, layered clothing impedes her movement through the natural surroundings and symbolizes her oppression.”)
-If you know precise film terminology, use it. (Is the camera movement a track, tilt, pan or zoom? Is it a high-angle shot or a low-angle shot?, etc.)
-Avoid vague language. (“The use of lighting in this scene is very effective” or “Parallel editing helps to
create suspense,” etc.) Aim instead to analyze the specific effect of individual techniques. (“Closed
frame compositions emphasize Susan’s entrapment.”)
-Make a strong argument about the sequence.
-Ineffective thesis statement: In this essay I will analyze the use of sound in Blackmail’s “knife” sequence,  connecting it to larger thematic and visual patterns in the film as a whole.
-Effective thesis statement: In Blackmail off-screen sound illustrates Alice’s powerlessness, while also encouraging viewers to identify with this position of victimization.
-You are not required to do any additional research for this paper but I encourage you to read one or more review-essays on the film that you are studying. Rely on the analytical skills that you have been learning in class and our reading and study materials in the main text as well as via our Bblearn site.
-You may find it helpful to read/review several examples of student essays that were written for shot and sequence analysis assignments and critical essay assignments in Engl 222 and 230--though these assignments differ somewhat from your assignment, these examples provide some instances of how other students have analyzed films productively. See the folder in Bblearn on writing advice and examples of student writing.

-As you know, there are also short videoessays about the elements of film, in a Bblearn folder entitled Film Clips, including clips with analysis--these provide a short course in learning about cinematic form and technique--you might start with the Film Analysis short video essay clips on analyzing Harry Potter and on analyzing Juno.

Essay Format:
• Type and double-space your paper, using 1-inch margins and 12 pt Times New Roman font. Do not use extra return/spaces between paragraphs.
• Number the pages.
• Underline or italicize film titles. (CAPS or “quotation marks” are incorrect.)
• Give your paper a title that reflects your argument about the sequence.
• Put your name near the top left of the first page, followed by Engl 222.01 and the date on separate lines
• Spell check and proof read your paper.

• Works Cited page, see guidance on MLA format at Purdue's OWL site as well as in our Bblearn folder on writing about film.
List films by their title. Include the name of the director, the film studio or distributor, and the release year. See examples immediately below:

The Usual Suspects. Directed by Bryan Singer. Polygram, 1995.

Star Wars Episode IV: A New Hope. Directed by George Lucas. Twentieth Century Fox, 1977.

Ebert, Roger. Review of An Inconvenient Truth, directed by Davis Guggenheim. rogerebert.com, 1 June 2006, http://www.rogerebert.com/reviews/an-inconvenient-truth-2006. Accessed 26 March 2017.

Lateness Policy: Excerpt from Course Requirement #6: All required work is due at the begin ning of class on the due date—work turned in late will be graded accordingly. Required graded written work will be downgraded one notch (for example, B+ to B, converted to points for each assignment) for each weekday late (not just days classes meet but counting just one day for a weekend).Work submitted more than a week late will not be accepted. I will grant short extensions for medical and family emergencies—but talk with me as soon as possible to request an extension. Always keep copies of your work.

Academic Misconduct: Any act of academic misconduct, including but not limited to cheating, fabrication, plagiarism or facilitating academic dishonesty, will result in failure of the assignment and given the points available, likely failure of the course. Your case will be reported to the Dean of Students according to campus guidelines.
Reminder of Guidance and Advice:
• Consult "Film Analysis: Approaches and Strategies (from Film Analysis: A Norton Reader)" and also see in the Bblearn folder "Examples of Student Sequence Analysis essays from Engl 230, plus two Critical Analysis essays, and other advice on writing about film" that I have included many examples of other students' sequence and shot analysis essays and critical essays so that you can get a sense of what other students have done on similar assignments

Also see Corrigan and White chapter on Writing a Film Essay: Observations, Arguments, Research, and Analysi (PDF in Bblearn folder); also see the PDF excerpt from Gocsik et al Writing About Movies. For example, the Sequence Analysis Plus Essay shares features of the Formal Analysis that Gocsik, Barsam and Monahan describe as follows: a Formal Analysis “dissects the complex synthesis” (33) of elements that work together to express the meaning of a film. A Formal Analysis involves “dynamic, detailed, descriptive writing,” in which you show, rather than tell your readers (35) what happens in the film.  In other words, your analysis should evoke the film’s form and your experience of it. [See Writing About Movies (35 – 37) for a detailed example of this principle, using the open sequence of Vertigo as an illustration]. [For fuller guidance, see Writing About Movies (37 – 50) for a detailed discussion of how these elements relate to Formal Analysis]. As you know, there are also short videoessays about the elements of film, in a Bblearn folder entitled Film Clips, including clips with analysis--these provide a short course in learning about cinematic form and technique--you might start with the Film Analysis short video essay clips on analyzing Harry Potter and on analyzing Juno.

See this Rubric for Evaluating Sequence Analysis Plus Essay

Concise Advice on Writing a Critical/Analytical/Argumentative Essay

• You are invited to meet with me – Office hours: W 2:30pm-4:00 p.m. & by appt./Office: Brink 125

FYI:  PDFs (also several weblinks) in Bblearn folder labeled “Examples of Student Sequence Analysis essays, plus several Critical Analysis essays, and other Advice on Writing about Film”

Introduction to Film Analysis (from Film Analysis: A Norton Reader, Second Edition.

Film Analysis: Approaches and Strategies (from Film Analysis: A Norton Reader)--full helpful guide/chapter

Corrigan and White chapter on Writing a Film Essay: Observations, Arguments, Research, and Analysis

Corrigan and White chapter on Reading about Film: Critical Theories and Methods

Gocsik, Barsam, and Monahan excerpt Writing About Movies

Student Example of Sequence Analysis for Breathless

Student Example of Sequence Analysis for City of God (see also the excerpt from a film studies text that analyzes the opening to this film)

Example of Sequence Analysis Plus Essay on The River

Example of Sequence Analysis Plus Essay on The Seventh Seal

Example of Student's Shot and Sequence Analysis of Batman Begins

Example of Student's Shot & Sequence Analysis of Slumdog Millionaire

Example of Student's Shot and Sequence Analysis Before Sunrise/Before Midnight

Example of Student's Shot and Sequence Analysis of Pan's Labyrinth

Example of Student's Shot and Sequence Analysis of The Scarlet Pimpernel

Example of Student's Shot and Sequence Analysis Lemony Snicket

Student Essay Example Critical Analysis of Two Days, One Night

Student Example of Critical Analysis Essay on "Her"

Student Essay Example, Critical Analysis of Breakfast at Tiffany's

Student Essay on "Ferris Bueller's Day Off"

Student Example Essay of Critical Analysis on "Gone with the Wind"

Gocsik, Barsam, and Monahan excerpt Writing About Movies

Nichols, Bill. Engaging Cinema: An Inroduction to Film Studies. New York and London: W. W. Norton, 2010. [example of student essay on Metropolis]

Fabe's Glossary (and Bibliography)--useful review of shot etc. terminology

glossary of terms in film studies

shot analysis chart for Birth of a Nation and shot analysis of City of God
AMC film terms glossary

Examples of Different Midterm Exams