Category: Film/Movie

Attached is the previous coursework that you completed for me and the new set of instructions for the paper. The same references as the planning can be used

Reaction paper for the movie Still Alice

Must write a critical analysis covering the book with examples from book with page number referenced to support analysis. Ive attached the instructions.

Having developed a greater understanding about film and aspects of the film art, and its influence on society and culture, the students will conclude their Film Appreciation journey exercising their analytical and critical skills, writing a critical analysis of a film selected from the list below. In this essay, the students should explore formal aspects of the film and its influence on society and culture.

• Choose and watch ONE of the films listed below (the student must rent the film):
• Do the Right Thing (1989), directed by Spike Lee
• All About My Mother (1999), directed by Pedro Almodvar
• Monsoon Wedding (2001), directed by Mira Nair
• The Lives of Others (2006), directed by Florian Henckel von Donnersmarck
• Son of Saul (2015), directed by Lszl Nemes
• Atlantics (2019), directed by Mati Diop
• Parasite (2019), directed by Bong Joon Ho
• Promising Young Woman (2020), Emerald Fennell
• Nomadland (2020), directed by Chlo Zhao
• The Power of the Dog (2021), directed by Jane Campion
• Critically analyze and explain how film elements communicate context.
• This essay-analysis should be based on the filmmakers’ intentions to communicate such ideas.
• Research content about the film chosen to find the filmmakers’ intentions.
• The students MUST cite at least TWO scholarly sources (articles and interviews about the film may be used as sources).
• The textbook and the course content materials do NOT count as those sources, but the students are encouraged to use them (textbook and course content materials) in addition to other sources.
• Wikipedia and IMBD are NOT scholarly sources.
• The students MUST discuss at least TWO film elements and the context they communicate.
• Discuss the film element along with the context it communicates in the same paragraph, do NOT write a paragraph for the film element and a separate paragraph for context, these ideas should be connected.
• For the film elements, consider: story, mise-en-scne, cinematography, video editing and sound design, acting performance. Revise all modules of the course to use the proper terms and techniques.
• For the contexts communicated, consider the filmmakers’ intentions, as learned in the research done for the assignment.
• Explain the film’s influence on society and culture (develop on this information in your essay’s conclusion paragraph).
• The Critical Analysis-Essay has a minimum of 1,000 words.
• The Critical Analysis-Essay must be typewritten in 12-point font, double-spaced with no extra spaces between paragraphs, and with 1-inch margins.
• Use MLA guidelines in formatting the essay. Clearly indicate the sources in the essay (i.e. “According to [title of the resource]…”, “As discussed in [title of the resource]…”), and use the for the in-text citations and work cited.

The critical analysis is an argumentative essay. The students should develop their ideas for the film providing support for their arguments, information that confirms the ideas presented. Include detailed descriptions presenting and supporting these ideas.

The students ought to develop on the topic proposed showing knowledge and familiarity with the course materials, the ability to discuss such content, and demonstrating an appreciation of the film experience.

Essay Structure Suggestion

First, write a thesis: what is your essay about, and what do you want to say about the film? The answer for these questions, and the reasons and examples you give will help you structure your essay. Broadly speaking, your essay should have an introduction, where you provide background information about the work to be discussed and present your thesis; a body, where you discuss the reasons and argument for your thesis; and a conclusion, where you re-state your thesis and present a final reflection on the ideas presented.

Instructions are attached but i have a paper on the movie Django unchained and as for analysis tools I was going to pick a few like:

Theme

Characterization

Symbolism

Sound / Music

It should be written in the 3rd person

2 pages long double spaced

write a rhetorical analysis of one film ( The Exorcist 1973) using the model Laurence Behrens outlines in Rhetorical Theory and Film. Instead of summarizing the plot, you will analyze how the film persuades its audience through storytelling and film technique. Your goal is to explain what the film is arguing (its central message) and how that argument is created through cinematic choices such as sound, editing, lighting, performance, dialogue, and imagery. Write an essay that treats your chosen film as a rhetorical text. That means you will explain what the film wants the audience to believe, feel, fear, or questionand how it persuades viewers to accept that message. Your essay must include a clear thesis about the films rhetorical purpose and support it with specific evidence from the film. (Behrens Model) Your analysis should include: The films central argument (controlling idea) What is the film ultimately suggesting about human nature, morality, religion, evil, fear, gender roles, power, or society? Audience and context Who is the film aimed at? What assumptions, fears, or values does it rely on to persuade viewers? Film techniques (required) You must connect your rhetorical analysis to specific cinematic choices such as: Persuasive strategies Using Behrens rhetorical approach, analyze how the film persuades through:

Please upload your Play Critique.

The Format and Instructions in your textbook is simply a guide, and should be closely followed point by point. You are required to cover at least 4 of the production elements on pages 27 and 28. You may cover all the elements if you would like: Acting, Directing, Set Design/Scenic Elements, Lighting, Costumes. You may also cover other production elements, Singing, Dancing, Choreography, Sound, Props, Etc.

This should be on a Word Document, Left Justified, Double Spaced with a 12-point, Legible Font.

YOU MAY NOT WRITE A CRITIQUE ON ALL MY SONS, A RAISIN IN THE SUN, OR A MIDSUMMER NIGHT’S DREAM. YOU MUST CRITIQUE A PLAY FROM THIS CURRENT SEMESTER. YOU MAY NOT USE PLAYS SEEN PRIOR TO THIS SEMESTER. ONLY PROFESSIONAL, COLLEGE, OR COMMUNITY THEATRE PRODUCTIONS MAY BE USED.

IF YOU CHOOSE TO, YOU MAY WATCH AND CRITIQUE ONE MUSICAL FOR THIS ASSIGNMENT, OTHERWISE THE CRITIQUES SHOULD BE ON STRAIGHT PLAYS (NON MUSICAL PRODUCTIONS).

Word Count: ALL Play Critiques are to be 1,500 words. If you have a paper that is between 1,200 to 1,500 words, you will lose 10 points. If you have a paper that is between 800 and 1,200 words, you will lose 20 points. If you have a paper under 800 words, you will get a 0 on the paper. These points are deducted on top of the Rubric Score and are not included in the Rubric as you are expected to write 1,500 words.

Thoroughly read pages 25-28 before attending a play, and again before writing your critique

Title Page: Your text book asks for a postage stamp of information on the top of the first page – I REQUIRE that you include a title page that states your name, when and where you saw the play, and the word count of your document.

Please also include at the end of your paper: Your picture ID with program, ticket stub or photo of you at the theatre (if they do not provide ticket or program).

Play Attendance & Critique:

YOU MUST SEE LIVE THEATRE.

The play critique must be at least 1,500 words (For format and guidelines refer to pages 25-28)

In almost all cases, when attending a play, you will be given a ticket stub and a play program. You must scan them or take a photo of them and scan them into your critique. In the scan or photo you must include a photo ID. Your SCF ID is probably best. Critiques without a scan or photo of the ticket stub, program and ID (as a single scan or photo) inserted onto the end of the critique will be given the grade of zero. You may also hand me the actual ticket stub and program.

Some theatres, like the URBANITE in downtown Sarasota, do not give programs, nor have traditional tickets. At such a theatre, a selfie that clearly shows yourself inside the theatre will suffice in lieu of the program and ticket stub. That selfie needs to show you inside the theatre with something in the background that indicates you were there. Take this selfie before, at intermission, or after the show. DO NOT take it during the show. (Note, the Urbanite offers very inexpensive student tickets)

Please look at the uploaded file with this page to see example of how to put your picture ID and ticket stub into the body of your paper.

Critiques must be submitted electronically, to the assignment drop box in Canvas. Paper copies and/or emailed copies will not be accepted. No assignments in this class will be accepted via email.

Use NO source material!! This is your critique/analysis of the performance. If you are found using outside sources to write your analysis you will receive a 0 for the assignment. All written assignments in this class are checked using Turnitin, an anti-plagiarism web service. Papers suspected of being written with the help of AI will not be accepted.

In general, the breakdown of the paper should be:

Title Page

Introduction: Title of the play, the playwright’s name, where you saw the play, the date, curtain time and cost of the ticket.

Identify the goal of the play* : What do you think the play was trying to “do”?

Overall impression of the play: Did you enjoy the play? Was it well done? Would you recommend it?

(These above 3 items should collectively be between 15% and 20% of your critique)

Summary of Plot. (This should be no more than 30% of you critique): When and where the play takes place, the Protagonist and Antagonist, what are the main characters trying to accomplish, the central conflict and the climax of the play.

Spelling and Grammar

Production Elements – 4 required (Acting, Directing, Set Design, Lighting, Sound, and Costumes) Please give two examples of each, explaining if it was effective or not.

Conclusion (at least 50 Words): Was the play worth doing? Reinstate the goal and whether is was achieved and if you would recommend this play.

I am looking for YOUR opinion and analysis of the play. There are no right and wrong answers when it comes to your opinion and analysis. The only thing you can really do wrong is to not analyze the play (see Tips on the bottom of page 26).

The biggest mistakes that students make are:

1-write too much about the storyline and too little on production elements.

2-confuse the plot elements for the storyline

3-not write 1,500 words.

4-not have an opinion

*The goal of a play is what the audience is supposed to learn or take away from the performance. The goal of most plays is something deeper than The goal was to entertain the audience or The goal was to make you laugh. Although, for some comedies and some musicals, the goal might be able to be summed up so succinctly. Even in those cases, you could explain why you think the goal was that simple.

Also, we will learn about Goethe’s 3 questions about art: What is the artist trying to do? How well has he or she done it? Was it worth doing?

For Romeo and Juliet the goal might be: To make the audience think about the impact of 2 two familys hatred of one another on their children.

For Star Wars the goal might be: To show that good will conquer evil, and do it the edge of your seat, adventurous style.

For Black Panther the goal might be: To show the audience that fear of the unknown is not a reason to hide behind your borders, that open sharing of culture and advancement helps everyone.

weekly journals throughout the semester (300500 words each). Each entry must focus on one required watching film in the course of the specific week. Criteria: Journals must go beyond a standard “film review” or plot summary. Students are required to integrate course readings and theoretical concepts to demonstrate a critical understanding of documentary forms. To guide the analysis, specific questions will be provided for each journal assignment. Option A: High School (Frederick Wiseman, 1968, USA) OR Hospital (Frederick Wiseman, 1970, USA) Question: Discuss the use of the “fly-on-the-wall” style in the film. What are the strengths and weaknesses of using this approach? Option B: Chronicle of a Summer (Edgar Morin & Jean Rouch, 1961, France) Question: How does this film use the methods of Cinma Vrit? How is this approach different from the Direct Cinema films we have watched?

The primary reason I decided to see The Blackening was because it was billed as a comical parody of slasher horror comedy. Also, I love suspense thrillers, and since it was leaving Netflix soon, I thought it was a perfect opportunity. I assumed this media production would simply be a comedic interpretation of the stereotypical Black character dying first clich. I had no idea that this experience would compel me to reconsider my opinions about race and how people are represented in North American films/tv series, which is based upon nearly a century of the contributions made by African Americans in these fields. There was so much more to the movie than just the gag factor associated with it being classified as a slasher film. The presentation of the film forced me to reevaluate my own feelings on the use of black face and minstrel acts as well as the ways in which the African American community has traditionally appeared on film for centuries and has undergone societal pressure to comply with the stereotypes related to how they should behave in public based on their race. The storyline showed me that stereotyping has remained an ongoing source of defining and framing Black people through the media up to the present time. Initially, I noticed it goes beyond just being funny. There were all kinds of archetype characters in this performance. “Bougie” girl, for example, looked out of place because of how she styled her hair and make-up, but she’d put on the weight in her own head. Then there was an outspoken and witty individual who was willing to speak out when it came down to doing so. And there was also a truly what Id call egocentric man who generally came off that way when he was trying to make himself look good to everyone around him. At first, I found it alarming how much this motion picture was emphasizing the use of tropes, yet I remembered something by Alexis Clark where she talked about minstrelsy and blackface. Through Black Performance Theory, the exaggerated truism created in the spiel becomes a mode of ethnoracial identity. The use of artists and performers to highlight how the African American community can be seen, heard and felt creates this space where, through the amplification of the caricature, these performers are able to take back the power of depiction of their racial backgrounds. By taking an interactive (as opposed to an example of minstrelsy) approach to the creation of the interactive critiques of the visual anthropology process, this allows for a direct re-interpretation of where these stereotypes originated. When using visual anthropology as an analytical lens for the analysis of this mega-successful project, it is possible to interpret this as a cultural practice because it allows for exploration into how their identity is constructed, disputed and constructed through the lens of media. Furthermore, this piece has fully moved beyond being just entertainment; it serves as a place where historical representations of race is simultaneously enacted and contested through the medium. In her argument, she explains how “Brutes” (i.e., a character type) and “Zip Coons” were created to turn African Americans into non-humans and diminish the diversity of their culture. This made it easy for white people to view these people as a humorous joke and not as fellow humans (Clark, 2019). In one of the lectures in my class, we learned about the disturbing practice of blackface that originated as an expression of racially based minstrelsy from 19th century American society. It developed from the minstrel tradition that started in the early 1830s and peaked around 1850s through late 1870s. Minstrelsy was developed as a way for white performers to imitate their concept of how all enslaved Africans looked and acted. Performers applied a charcoal-colored substance to their faces, often called burnt cork. They used this to portray so-called buffoonish bigotry associated with Black Americans. These overgeneralizations included being unable to speak proper English, less intelligent than people of other races, and altogether humorous in the way in which they acted. The creation of a character called Jim Crow that was created by Thomas Dartmouth Rice, himself in 1876 was an example of how caricaturing an entire race of people can serve as a means of perpetuating segregated and discriminatory ideologies rather than just for entertainment value. The use of characterization such as those performed in the minstrel shows of this time ultimately led to legalized racial segregation. They show that theatrical expression can shape social policy and societal perceptions. The aspect of the enactments highlighted shown by viewers on Performativity Theory illustrates the reclaiming of traditional forms in contemporary race while also creating memory and lineage. Thus, The Blackening is part of a cycle of cultural shift. It uses oppressive historical motifs to create areas for self-expression, humor, and resistance. Minstrel shows often used a three-act structure, which was later adopted by vaudeville and early musical theatre. This demonstrates how deeply rooted blackface traditions are within the American popular culture that is racially based stage traditions. These leisurely acts normalized racial assumptions and reinforced systemic inequity. In contrast, the lecture on unethical ethnography particularly the ideas of Curators Exhibitionism and the Custodians Rip- Off gave me insight into how black individuality has often been misinterpreted or exploited in history. The release reclaims artistic expression as a critique of rather than a commodification of persona. In American cinematic programming, blackface is not just an act of imitation. It is a continuation of a much broader pattern and historical trend of racially charged stage traditions that normalized pigeonholing and created systemic inequity. The segments of the show that showed the characters in a trivia contest as well as one arguing about which character has “more cultural authenticity,” I first thought it was another Scary movie comedy. Therefore, it led me to think about the historical treatment of African descent, as Clark indicates, how it has been oversimplified and policed. Minstrel shows used to create rigid definitions of ethnic lineage based solely on theatrics. The characters directly confront the idea through discussion and humor. I found it amazing that a horror-comedy can be so effective in making strong statements about issues of character, authenticity and ridiculous biases regarding race while remaining humorous. Maya Phillips article on contemporary Black satire made me reflect on this topic as well. Phillips mentions that some of todays Black cinema has the potential to be entertaining and informative to white liberal audiences without breaking the power structures that exist in traditional footage. After watching The Blackening, I began to wonder whether that was happening with this narrative. There were a lot of jokes that anyone would find funny, like the who dies first joke, and then there were jokes that required a lot of Black cultural references to make sense of, like the trivia game during the screening and discussions regarding who is Black and who is not. Those scenes demonstrate how the film intentionally prioritizes African American audiences, making them the primary focus of the humor. The audiovisual work elements from the lecture related to call-and-response and percussive attack. These encourage a dialogic relationship between characters and the audience. Humor and other cultural references convey multiple meanings. The trivia game functions as a call-and-response historical reenactment, requiring cultural knowledge for comprehension and demonstrating both inclusion and critique. At the same time, I kept Phillips warning in mind; that audience members could miss the overall critique and think of it as only a caricature of Afro-descendant. Filmmakers face the challenge of balancing satire with accessibility while avoiding the reinforcement of harmful stereotypes. The photoplay uses historically based performative cultural elements rooted in cultural practices in adaption to a different time, to be more appropriate for contemporary audiences. This allows for an easy-to-understand critique of the modern world through depictions that still have the cultural sensibility of Black people. In reflecting upon this chapter, it is important that feature length presentation find an appropriate balance of their own intentionality and using their imaginations versus providing an accessible outcome for the audience (emphasizing ethical responsibility), while delivering a rendition that represents/presents the dignity of the person rather than distorting them in any way. According to ethnography, social drama is always involved in the creation of an “image” and the perception of a community’s worth. By viewing The Blackening as both a satirical screen work and a type of counter-performance, I began to see differently. It connects to almost one hundred years of ethnoracial display and the reclamation of exaggerated cultural legacy. Because of this, I see the screen writing as representing enormous resistance rather than simple comedic representation. In the end, I believe The Blackening has accomplished much because it called attention to the fact that institutional racism does exist and is widely understood, however, they used deconstructed by black influencers. This also made me think about the difference between past minstrelsy where performativity of race was controlled by white people and today where filmmakers and actors take the exaggeration in their cross-cultural communication to critique them. Also, as I watched the characters struggle through, argue with, and laugh at the situation they are in, I reflected on how typecasting can serve as a means of resistance rather than as a mechanism for entertainment or as a means for reducing a person’s selfhood. Overall, the feature took me by surprise by showing me how incredibly important representation is to today’s world. Classifying what “horror” means involves both our contemporary understanding of history and an understanding of what we consider to be humorous. Watching The Blackening prompted me to think about the way I judge people and how I feel uncomfortable by what others express publicly and whether I have any right to claim authority over any given expression. Therefore, I see The Blackening as a well-constructed, purposefully created, contemporary piece of Black satire, as well as further evidence that Black voices and stories are very important to all genres of literature (including horror).

read the instructions carefully and use my screenwriting last week