Produce a piece of evaluative film criticism based on a short extract of your choice from the films recommended for viewing in weeks 1-4.
produce a piece of evaluative film criticism based on a short extract of your choice from the films recommended for viewing in weeks 1-4.
Please see the questions shown in the screenshot. I will send you all the info after being hired, eg PPTs, student access etc. Please send a draft in 12hrs -1 day time, day 2, and day 3 as well. + Will need to draft some questions to ask the teacher and revise base on feedback (Send bk ard in 1 day max)
Requirements: 2 hours
MSTU3150 Contemporary Theories of Film and Television, Semester 2, 2023
First Assessment Short Essay
Due Date: Friday 1st September 2023
Word Length: 1000- 1500 words
This assignment asks you to produce a piece of evaluative film criticism based on a short extract of your choice from the films recommended for viewing in weeks 1-4. The extract should be no longer than 2 minutes and the task is to make a persuasive account of its achievement or otherwise.
This assessment task evaluates students’ abilities, skills and knowledge without the aid of Artificial Intelligence (AI). Students are advised that the use of AI technologies to develop responses is strictly prohibited and may constitute student misconduct under the Student Code of Conduct.
Criteria:
Clarity, coherence, and sophistication of argument as stated in the introduction and developed throughout the essay as a whole, including demonstrated support for it using relevant examples.
Quality of close, descriptive analysis of a short extract from a film chosen from the screenings in Weeks 1-4.
Demonstrated understanding and appropriate application of scholarship.
Presentation, including written expression and appropriate referencing using Chicago or another approved style.
This assessment task evaluates students’ abilities, skills and knowledge without the aid of Artificial Intelligence (AI). Students are advised that the use of AI technologies to develop responses is strictly prohibited and may constitute student misconduct under the Student Code of Conduct.
The extract can be no more than two minutes (120 seconds) long. Clearly and precisely declare the beginning and end of the moment you are working on in the first sentence of your essay. EXCEPT FOR THE FIRST SENTENCE DO NOT USE TIME STAMPS. Use descriptive prose to accurately convey when and where the drama is taking place.
Use Chicago for referencing:
Use italics for film titles, but do not use quotation marks as well (e.g., Vertigo NOT ‘Vertigo’).
Please email me with any questions or worries you have.
Guide to Close Observation of Film
To prepare for writing it consider some of the things below. This is NOT an essay plan or structure. It is designed to help you ‘set up camp’ inside your clip by knowing it intimately.
First get to know your extract. Try to establish a comprehensive description of action, sound and image. If you are working with a published screenplay, determine any points of departure from its prescriptions. Every so often try to run the sequence through in your head. You will find that there are gaps in your recall of its detail – of how it looks, moves and sounds; going back to fill in the blanks may prove revealing.
Redirect your attention regularly so that you are looking at action and gesture, and listening to speech, as aspects of performance designed to transmit specific ideas and to secure certain effects. Ask, ‘What are the actors doing?’ and ‘How does it construct my view of what the characters are doing, and thinking and feeling?’ (You may find it illuminating to try to reproduce their movements and itonations.) In this context think about the lines they have been given to speak, and how dialogue – or the avoidance of it – implies thoughts, feelings, desires, intentions and fears that the characters may be unable or unwilling to speak.
At some point in your investigation, bring the following checklist into play:
Consider these as elements of the visual design as well as of the drama:
(a) setting (how freely chosen and to what extent determined by the nature of the action?) in terms of both place and time [season/day/night/weather]
(b) dress and make-up
(c) light and lighting [Is this uniform from shot to shot?]
In terms of the camera, consider these aspects of each shot:
(a) distance from main subject
(b) position and angle
(c) focus and perspective (the visible consequences of photographic choices, e.g., lens)
(d) camera movements
– geared to, or independent of the moves performed by actors;
– maintaining or changing the centre of interest;
– like or unlike the movements of embodied vision;
(e) discrimination;
– does it, in any or all of these aspects ‘favour’ one character or group; or adopt/depict their viewpoint(s)?
Editing
(a) degrees of continuity and discontinuity
(b) pace and rhythm
Use and character of sound:
(a) balance and perspective
(b) synchrony with image
(c) effects
(d) music (try to describe as best you can)
Relate your observations in each of these areas not only to your sense of the film’s thematic development, but also to the development of its drama. Consider what your sequence is constructed to achieve, and to avoid, in terms of such matters as viewpoint and audience sympathy, narrative exposition, and the dramatisation of thought and feeling.
Bear in mind the critical reading on your film, and see if you can use textual detail from your extract to support, qualify or contest the views expressed there.
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