WARNING THIS IS A RUSH ASSIGNMENT BID ONLY IF YOU CAN FINISH ON DUE DATE Write:? In your introductory paragraph, Identify your selected film, including writer, di

List of Approved Films Created by Dr. Nathan Pritts and Dr. James Meetze (2022)

Throughout this class, you will be able to select a film to use as the basis for your analysis. This is a list of approved choices.

NOTE: If you would like to write about a film that is not on this list, you must email your professor in advance. If you write about an unapproved film option in this class you may not receive credit.

Many of the films on these lists are sourced from the Ten AFI Top 10 lists, where you will find additional information and resources. Please note, though, that the different AFI Top 10 lists include films that are not approved.

Drama

“Drama” can be defined as a category of narrative film intended to be more serious than humorous in tone, however, drama is often qualified with additional genre- defining terms that specify its particular sub-genre.

Film Year Imitation of Life 1959 Shadows 1959 A Raisin in the Sun 1961 Guess Who’s Coming to Dinner 1967

Do the Right Thing 1989 Boyz N the Hood 1991 Daughters of the Dust 1991 Winter’s Bone 2010 Dear White People 2014 Chi-Raq 2015 Tangerine 2015 Moonlight 2016 Beatriz at Dinner 2017 The Hate U Give 2018 Blindspotting 2018 If Beale Street Could Talk 2018

Clemency 2019

Film Year One Night in Miami 2020 Minari 2020 Nomadland 2020 Biographical Drama

A “biographical drama” is a film that dramatizes the life of a non-fictional or historically-based person or group of people.

Film Year Malcom X 1992 Milk 2008 Fruitvale Station 2013 Dallas Buyers Club 2013 12 Years a Slave 2013 The Wolf of Wall Street 2013 Selma 2014 Hidden Figures 2016 Loving 2016 BlacKkKlansman 2018 On the Basis of Sex 2018 Harriet 2019 Judas and the Black Messiah 2020

Courtroom drama

AFI defines "courtroom drama" as a genre of film in which a system of justice plays a critical role in the film's narrative.

Film Year To Kill a Mockingbird 1962 12 Angry Men 1957 Kramer vs. Kramer 1979 The Verdict 1982 A Few Good Men 1992

Epic

AFI defines "epic" as a genre of large-scale films set in a cinematic interpretation of the past.

Film Year Lawrence of Arabia 1962 Ben-Hur 1959 Schindler's List 1993 Spartacus 1960 All Quiet on the Western Front 1930

Saving Private Ryan 1998 Reds 1981 The Ten Commandments 1956

Fantasy

AFI defines "fantasy" as a genre in which live-action characters inhabit imagined settings and/or experience situations that transcend the rules of the natural world.

Film Year The Lord of the Rings: The Fellowship of the Ring

2001

It's a Wonderful Life 1946 King Kong 1933

Film Year Anatomy of a Murder 1959 Judgment at Nuremberg 1961 In Cold Blood 1967 A Cry in the Dark (Evil Angels) 1988

Erin Brockovich 2000 Just Mercy 2019 The Trial of the Chicago 7 2020

Film Year Miracle on 34th Street 1947 Field of Dreams 1989 Harvey 1950 Groundhog Day 1993 The Thief of Bagdad 1924 Big 1988

Gangster

AFI defines the "Gangster film" as a genre that centers on organized crime or maverick criminals in a modern setting.

Film Year The Godfather 1972 Goodfellas 1990 The Godfather Part II 1974 White Heat 1949 Bonnie and Clyde 1967 Scarface 1932 Pulp Fiction 1994 The Public Enemy 1931 Little Caesar 1931 Scarface 1983

Mystery

AFI defines "mystery" as a genre that revolves around the solution of a crime.

Film Year Vertigo 1958 Chinatown 1974 Rear Window 1954 Laura 1944 The Third Man 1949 The Maltese Falcon 1941 North by Northwest 1959 Blue Velvet 1986

Film Year Dial M for Murder 1954 The Usual Suspects 1995

Romantic comedy

AFI defines "romantic comedy" as a genre in which the development of a romance leads to comic situations.

Film Year City Lights 1931 Annie Hall 1977 It Happened One Night 1934 Roman Holiday 1953 The Philadelphia Story 1940 When Harry Met Sally… 1989 Moonstruck 1987 Harold and Maude 1971 Sleepless in Seattle 1993 The Big Sick 2017

Science fiction

AFI defines "science fiction" as a genre that marries a scientific or technological premise with imaginative speculation.

Film Year 2001: A Space Odyssey 1968 Star Wars 1977 E.T. the Extra- Terrestrial 1982

A Clockwork Orange 1971 The Day the Earth Stood Still 1951

Blade Runner 1982 Alien 1979 Terminator 2: Judgment Day 1991

Invasion of the Body Snatchers 1956

Film Year Back to the Future 1985 Snowpiercer 2013 Ex Machina 2015 Arrival 2016 Dune 2021

Sports

AFI defines "sports" as a genre of films with protagonists who play athletics or other games of competition.

Film Year Raging Bull 1980 Rocky 1976 The Pride of the Yankees 1942

Hoosiers 1986 Bull Durham 1988 The Hustler 1961 Caddyshack 1980 Breaking Away 1979 Race 2016 Jerry Maguire 1996 Million Dollar Baby 2004 Invictus 2009 I, Tonya 2017

Western

AFI defines "western" as a genre of films set in the American West that embodies the spirit, the struggle, and the demise of the new frontier.

Film Year The Searchers 1956 High Noon 1952 Shane 1953 Unforgiven 1992 Red River 1948 The Wild Bunch 1969

Film Year Butch Cassidy and the Sundance Kid 1969

McCabe & Mrs. Miller 1971 Stagecoach 1939 Cat Ballou 1965 The Power of the Dog 2021

Horror/Thriller

The “horror” genre includes films that seek to elicit fear for entertainment purposes.

Film Year Psycho 1960 Jaws 1975 The Exorcist 1973 The Silence of the Lambs 1991

Rosemary’s Baby 1968 The Night of the Hunter 1955 The Shining 1980 The Babadook 2014 It Follows 2014 Get Out 2017 Us 2019 Parasite 2019

FINAL FILM CRITIQUE: STAR WARS: EPISODE 1 1

Purpose: Use this modeled example of the Week 5 Written Assignment to explore the elements that make this an exemplary submission. Read the

comments to learn about what the student has done well in this assignment.

Final Film Critique: Star Wars: Episode 1 – The Phantom Menace

Your First and Last Name

University of Arizona Global Campus

ENG 225: Introduction to Film

Instructor Name

Due Date

FINAL FILM CRITIQUE: STAR WARS: EPISODE 1 2

themes is the ‘confrontation with evil’ unique subject matter and the manner in

which it is derived

overall mise en scène it is clear that Star Wars: Episode 1 – The Phantom Menace

theory with plot structure, editing style, sound elements, camera techniques, and

analyzing how meaning is conveyed through study of a film's form. By aligning the

through the lens of the formalist theory. The formalist theory enables critics in

following film critique the author will analyze the Star Wars theatrical presentation

showcases expert use of narrative elements and cinematic techniques. In the

The author makes a claim

about the theme of the film under discussion and then indicates how this claim

will be proven in the succeeding

paragraphs.

enhance the central ‘conflict with evil' theme for a first-rate, top-quality lesson in

heritage, legacy, culture, and family dynamics of the theatrical presentation

friendship, valuing honesty, controlling ambition, garnering respect, etc.). The

from and leads to subthemes (i.e. fulfilling hope, honoring trust, respecting

throughout the story. The most influential and encompassing of the many

aficionados and solidifies George Lucas as one of our greatest auteur directors.

Beyond its entertainment value, Star Wars: Episode 1: The Phantom Menace

is an eloquent analogy for political power struggles in a world where the

structuring faith, developing compassionate understanding, and appreciating

egalitarian esteem. The analysis will address contextual information, story and plot

The author has written a strong introduction that

gives a clear sense of the topic

and purpose. Additionally, a

strong introduction

explains how the purpose will be

accomplished –in this instance,

what techniques and

methodologies will be explored.

Final Film Critique: Star Wars: Episode 1 – The Phantom Menace

Star Wars: Episode 1 – The Phantom Menace is a powerful story that

boundaries of good and evil are not always clear. It still remains a remarkable

experience of excitement, thrill, and the hero's journey we expect from Star Wars.

The Phantom Menace has many different themes intertwined

anatomy, aesthetic choices and social affect.

is a must-watch action adventure learning experience for all science fiction

controls the creativity skills of actors in script interpretation.

directed by George Lucas. Mr. Lucas, as the director, guides technical teams and

director, and cinematographer. Star Wars: Episode 1 – The Phantom Menace is

Following the guidelines for

this assignmFenINt, AL FILM CRITIQUE: STAR WARS: EPISODE 1 3 the author has

delivered required

contextual information in

this paragraph – and has done so

fully with complete

sentences that explain how

even this information links

to the overall concepts under

discussions.

Contextual information means basic identifying elements such as title,

The cinematographer,

David Tattersall, is in charge of the camera crew and carries team collaborative

responsibility in technical artistry. Choreographer/stunt coordinator, Nick Gillard,

arranges and plans action sequences such as lightsaber battles. The editor, Paul

Martin Smith, is technically responsible for connecting shots into a consistently

cogent sequence. Major actors and actresses include: Anthony Daniels, Kenny

Baker, Natalie Portman, Ewan McGregor, Oliver Ford Davies, Frank Oz, Jake

Lloyd, Ian McDiarmid, Liam Neeson, Samuel L. Jackson, Keira Knightly, Ahmed

Best, Pernilla August, Silas Carson, Sofia Cappola, Ray Park, Hugh Quarshie, and

Dominic West, (Star Wars, 2015). Their roles in the overall design process include

creating a sense of culture and species diversity. The Phantom Menace’s concept

design relies upon a galactic community theme with subsequent political

complexity subthemes. The identifying information in the eighteen named major

actors, from the author's perspective, assist in conceptualizing the blockbuster’s

multi-theme sophistication. Released in 1999, the science fiction, multi-million

dollar, epic, space soap opera is rated PG and has an average runtime of one

hundred thirty-six minutes.

A brief summary of Star Wars: Episode 1 – The Phantom Menace will

serve as an overview of the plot and story, and orient the treatment of theme. Jedi

Master Qui-Gon Jinn and Jedi apprentice Obi-Wan Kenobi are sent to distant planet

A plot summary is just that – a

summary of the important events and

current events of a film. In this paragraph, the author covers

the broad strokes of the plot without

getting bogged down in too

many specific details.

FINAL FILM CRITIQUE: STAR WARS: EPISODE 1 4

Naboo to save its monarch, Queen Padme Amidala, from an invasion by the evil

Trade Federation. After escaping Naboo with Queen Amidala, the Jedi’s spacecraft

is damaged which causes an emergency landing on the planet Tatooine. On

Tatooine, Jedi Master Jinn discovers a child slave with tremendous force powers.

Named Anakin Skywalker, the child slave wins a Tatooine vehicle podrace,

establishes his freedom, and joins the Jedi in their trip to the planet Coruscant. After

undergoing unsuccessful political attempts to stop the Naboo invasion, Qui-Gon

Jinn, Obi-Wan Kenobi, Queen Amidala and Anakin Skywalker return to Naboo.

On Naboo they separate to engage in the story's ultimate thematic plot correlation:

Queen Amidala and Anakin versus the invasion force, and, Qui-Gon Jinn and Obi-

Wan Kenobi versus Darth Maul. After sacrificially winning their thematic battles

the heroes (sans Qui-Gon Jinn) become aware that the Naboo invasion is just the

beginning of an elaborate Sith plan to revive the Dark Side’s control of the galaxy.

The differences which indicate a film's story and a film's plot are sequence and

method. The writer transcribes the story, or sequence of development/action, into a

plot, which retells the story in a certain way (Goodykoontz, Jacobs, Meetze, &

Pritts, 2019). In transcribing the Star Wars Episode 1 story into The Phantom

Menace’s themed plot, writer/director George Lucas organized the David Tattersall

camera team and each actor/dialogue/setting sequence toward intended narrative

ideology development. The narrative ideology, computer-generated imagery and

The author provides specific

examples, including scenes from the film, to

support the viewpoint being

discussed.

live action, is fast-paced and full of critical moment scenes.

An example of Mr. Lucas' directorial plot methodology recapturing the

Episode One story sequence, and a scene from the aforementioned film summary,

In the plot summary, the

author is sure to signal how the plot connects to

the theme.

FINAL FILM CRITIQUE: STAR WARS: EPISODE 1 5

droid walks out of the room.

over-the-shoulder camera angle of the droids' perspective and silence as a servant

conversation and the suspenseful background music. The scene transitions to an

sounds correlate the computer-generated droids' ‘command and control'

the slowly opening doors of the Jedi's guest room. The diegetic and non-diegetic

filled with greys and vibrant blues as the Trade Federation droids gas then approach

Federation invasion. The techniques and design elements, as they apply to the

overarching them of confrontation with evil are correspondingly represented in

setting changes, character movement, camera angles and editing styles. As the film

transitions from the evil sneak attack destruction of the spacecraft, the audience

sees Trade Federation droids communicating with a hologram Darth Sidious who

commands them to kill the Jedi Master and apprentice Qui-Gon Jinn and Obi-Wan

Kenobi. The following cinematic events support the four areas of in-depth film

These specific examples, used to support the claims made

throughout the paper, are

closely analyzed from scenes and shots from the film itself. The author has used

the proper terminology to discuss these

techniques which

demonstrates mastery of

course content.

analysis and is but one of many which work together to convey the central Episode

1 themes.

The setting, a Naboo guest quarters annex, is low-key lighting and smoke-

The editing sequence from that moment shifts back

and forth from the droid perspective to the open guest room doors to heighten

expectation of a Jedi appearance. Instantly laser blasts sound, two lightsabers

appear, heroic theme music plays and Qui-Gon Jinn and Obi-Wan Kenobi appear

deflecting laser projectiles and defeating the droid attack. The Nick Gillard-styled

coordinated character movement, the Paul Martin Smith-styled fast-paced camera

angles of David Tattersall styled close-up, medium, and full ‘battle sequence' shots

is Qui-Gon Jinn and ObiWan Kenobi saving Queen Amidala from the initial Trade

FINAL FILM CRITIQUE: STAR WARS: EPISODE 1 6

Even though the film under

discussion is primarily meant

as entertainment,

the author explores this topic fully –

considering the many ways a

film may interact with the larger culture. Additionally,

outside resources have been brought in to support this

discussion.

in 1999 the elation of a new Star Wars overrode any critical disdain in the mind of

opera. When fans anxiously awaited the premiere of the theatrical presentation back

satiated the expectation, anticipation and excitement of the legendary space soap

demand of the afore mentioned blockbusters, Episode One – The Phantom Menace

As the Star Wars response to the extreme popularity and

interpretation of thrilling action, comprehensible excitement and protagonist

‘heroic triumph over evil' engagement. In furthering the focus of the overall

‘confrontation with evil theme', the CGI effects devise a unique Star Wars

two years after the end of the Vietnam War, Star Wars: Episode Four – A New

Hope broke all-time box office records and garnered a multi-faceted, dedicated and

helped make sense of the twisting and turning loyalty shifts and mise en scene

chronological changes. The efficacy in the specific editing, sound, and computer-

subtheme aesthetic that promises a superior advantage.

The social impact of Star Wars: Episode One – The Phantom Menace

begins with the popular science fiction escapism of the 1970s and 1980s.

vastly expanding science fiction fan base and culture. The theatrical presentation

was such an awarded success that the culturally demanded sequels, The Empire

Strikes Back (1980) and Return of the Jedi (1983) created even more intense multi-

faceted social demand.

The author begins a

discussion of the social

impact of the film by

appealing to an understanding

of the culture at the time,

showing the delicate

interconnections between film and society.

superfans (Kickham, 2015). The social impact is in adding to the Academy Award

record-breaking potential of the Star Wars franchise and invigorating a multifaceted

(artificial intelligence, aeronautics, health, audio engineering, astronomy, physics,

genre sophistication, etc, (Gent, 2015) theoretical science culture.

generated imagery (CGI)/special effects mixture gives the audience a clear

A reader won’t believe what you’re saying

unless you give clear and direct references as

support. In this class, that

support often comes from

specific scenes or shots from the film itself.

Released

FINAL FILM CRITIQUE: STAR WARS: EPISODE 1 7

human ‘good versus evil' ideological interaction on its finest scale.

aficionados, the highly recommended theatrical presentation expertly represents

comprehension correlation. As a must-watch action adventure for all science fiction

cinematic techniques for focusing thematic collaboration and definitive

significance. The formalist approach directly highlights narrative elements and

an elaboration in optimistic promise and objective consequences in moral

Star Wars: Episode 1 – The Phantom Menace fashions meaning through

written a complete

conclusion that serves to look

back at the entire paper and

gather the various ideas and concepts

that have been discussed.

Additionally, the conclusion

is linked to some specific information

from the film.

FINAL FILM CRITIQUE: STAR WARS: EPISODE 1 8

References

Gent, E. (2015). ‘Star Wars' Tech: 8 Sci-Fi Inventions and Their Real-Life Counterparts.

Live Science. http://m.livescience.com/53114-real-life-star-wars-technology.html

Goodykoontz, B., Jacobs, C.P., Meetze, J., & Pritts, N. (2019). Film: From watching to seeing (3rd

ed.) [Electronic version]. https://content.ashford.edu/

Kickham, D. (2015). Star Wars fans react to the first screenings of The Phantom Menace

in vintage clip. Entertainment Weekly. http://www.ew.com/article/2015/12/08/star-

wars-fans-react-phantom-menace

Star Wars. (2015). Episode 1: The Phantom Menace. http://www.starwars.com/films/star-wars-

episode-i-the-phantom-menace