INSTRUCTIONS:
– Correctly identify the most precise vocabulary terms for the formal aspects of the scenes, sequences, or shots in the clips as well as to interpret the meaning of some of the formal aspects to the best of your ability given your knowledge of the film in question and course concepts. If a precise term for what you see is given in the textbook, the correct answer will be that term not a broad term that may include those types of formal elements. For example, say you were shown a scene in which jump cut editing is used, and you are asked to identify the editing. You write “cuts” or “disjunctive editing”. Even though cuts are used to create a jump-cut and jump cuts are a type of disjunctive editing, these answers would be wrong because these are not the most precise answers you could give given what you should know at this point.
– Furthermore, do not use vocabulary that does not appear in the textbook, and do not substitute a description of something for its proper vocabulary term, FOR EXAMPLE, do not write, “…then the camera moves closer to the character to put them in a close shot…” when it would be more accurate to write, “…then the camera zooms in to a medium close-up on Brody…”).
– while you are in text citing, please use direct quotations, in MLA FORMAT.
– DO NOT GENRALIZE, BE DETAILED AND EXPLAIN EVERYTHING WELL.
– Reference the textbook and provide proper citations.
– SOURCES: (ONLY USE THE SOURCES I HAVE GIVEN)
TEXTBOOK: THE FILM EXPERIENCE SIXTH EDITION:
– Corrigan and White, Chapter 9, pp. 303-333.
– Corrigan and White, Chapter 11, pp. 266-267, 372-407, 428-431.
– Corrigan and White, Chapter 7, pp. 228-266, 268-271.
-Corrigan and White, Chapter 6, pp. 195-227.
-Corrigan and White, Chapter 5, pp. 153-193.
-Corrigan and White, Chapter 4, pp. 117-151.
-Corrigan and White, Chapter 3, pp. 82-115.
– Corrigan and White, Chapter 2, pp. 41-81.
– Corrigan and White, Chapter, 1, pp. 2-39.
– Corrigan and White, The Film Experience, Chapter 12, pp. 409-427.
THE TEXTBOOK, WHICH IS A SOURCE, WILL BE ATTATCHED AS A FILE AS WELL AS ALL OF THE CLIPS THAT NEED TO BE WATCHED IN ORDER TO ANSWER THE SHORT QUESTIONS.
SHORT ANSWER QUESTIONS:
Clip 1: THE LINK TO CLIP ONE IS ATTATCHED AS CLIP ONE.
Clip 1: How many shots are in this scene?
Answer:
Clip 1: What term describes the scale the actors are in at the end of the scene?
Answer:
Clip 1: What term best describes the dominant camera movement of the first shot?
a. Handheld
b. Dolly
c. Tilt
d. Pan
Clip 2: Watch the sequence at 57:52-59:10 of Persepolis and answer the following:
Clip 2: In the first five shots of this clip, what is the most specific term for the editing used here?
a. Crosscutting
b. Eyeline match
c. Axial cut
d. Reestablishing shot
Clip 2: In the first five shots of this clip, what other broader editing term is this editing technique considered a type of and why?
a. An insert because each successive shot could be inserted into the last
b. A jump cut because it breaks the 30-degree rule of continuity editing
c. A montage because the shots all build upon each other until the end
d. A match on action because each cut matches a movement she makes
Clip 2: Are the first five shots of this clip an example of continuity editing or disjunctive editing? Explain the effect of this editing choice in this particular instance. (2 points)
Answer:
Clip 2: What is the editing transition between the last two shots called?
a. Dissolve
b. Fade out/fade in
c. Overlapping editing
d. Shock cut
Clip 2: What aspects of the mise-en-scène starting at shot 6 and continuing until two shots from the end of this clip tell us that this sequence is Marjane’s subjective revisionist memory of her relationship and not omniscient narration? (2 points)
Answer:
Clip 2: In this whole sequence, the sounds we hear are
a. diegetic
b. non-diegetic
c. both diegetic and non-diegetic
d. semi-diegetic
e. all of the above
Briefly explain your answer to the previous question.
Answer:
Clip 3: THE link to CLIP THREE IS ATTATCHED.
Clip 3: What is the ideological location of this sequence? (2 points)
Answer:
Clip 3: Is this sequence an example of theatrical or naturalistic tradition of mise-en-scène? Support your answer with one reason. (2 points)
Answer:
Clip 3: What is the scale of the actor in the foreground in shot 1?
a. Medium shot
b. Close-up shot
c. Medium close-up shot
d. Medium long shot
Clip 3: What technique is used for the transition from shot 1 to shot 2?
Answer:
Clip 3: What relation is established in the editing between shot 3 and shot 4?
Answer:
Clip 3: Specify the best term to describes shot 4 (1 point) and interpret its meaning in the scene, providing one good reason for your interpretation (1 point).
Answer:
Clip 3: There is a narrative transition from shot 5 to shot 6. What term best describes that transition?
Answer:
Clip 4: Watch the sequence at 1:16:17-1:20:21 of Hedwig and the Angry Inch (John Cameron Mitchell, 2001, USA, 95mins) and answer the following:
Clip 4: Are the characters that we see in the last 3/4 of this clip round or flat at this point of the film? Briefly explain your answer. (2 points)
Answer:
Clip 4: What plot point does this clip depict?
a. A disruption
b. The inciting incident
c. The reversal
d. The climax
Clip 4: Concisely, describe the character development of the protagonist in this clip. (2 points)
Answer:
Clip 4: Succinctly, describe the sound design in the last 3 minutes of the clip, using the proper filmic vocabulary, and interpret its meaning within the narrative. (2 points)
Answer:
Clip 4: As an example of a revisionist genre film, concisely identify those features that align it with a classical musical, and those features that suggest a revisionist perspective. (2 points)
Answer:
Clip 4: What are the two most significant editing techniques in the first minute of this clip?
a. Shot/reverse shot and montage
b. Montage and crosscutting
c. Crosscutting and jump cut
d. Jump cut and graphic match
e. Graphic match and shot/reverse shot
Clip 4: What is the most prominent editing technique in the last 3 minutes of this clip?
a. Shot/reverse shot
b. Montage
c. Crosscutting
d. Jump cut
e. Graphic match
Clip 5: THE LINK TO CLIP 5 IS ATTATCHED AS CLIP 5
Clip 5: Are the sounds we hear in this sequence diegetic or non-diegetic or both? Explain.
Answer:
Clip 5: What is the scale of the second shot?
Answer:
Clip 5: This sequence contains (at least) two examples of documentary reflexivity. Please describe two ways reflexivity is achieved here, including with each description a concise (but meaningful) discussion of what the reflexivity achieves for the spectator. (4 points)
Answer:
Clip 5: What is the scale of the last shot?
Answer:
SCREENGRAB IDENTIFICATIONS
Screengrab 1: THE IMAGE OF THE SCREENGRAB 1 WILL BE ATTATCHED AS SCREENGRAB 1
Screengrab 1: Who directed the film this image comes from?
Answer:
Screengrab 1: Describe the significant elements of mise-en-scène in this image and why they are important to the narrative. (2 pts)
Answer:
Screengrab 1: What is the “psychological location” of this image?
Answer:
Screengrab 2: THE IMAGE OF THE SCREENGRAB 2 WILL BE ATTATCHED AS SCREENGRAB 2.
Screengrab 2: What film does this image come from?
Answer:
Screengrab 2: What terms describe the angle of this shot and another element of the cinematography here?
a. High angle, POV shot
b. Low angle, canted frame
c. Canted frame, high angle
d. POV shot, low angle
Screengrab 3: THE IMAGE TO THE SCREENGRAB 3 WILL BE ATTACHED AS SCREENGRAB 3.
Screengrab 3: What is the name of this character in this scene?
Answer:
Screengrab 3: Describe the ideological location of this scene. (2 pts)
Answer:
Screengrab 3: What is the best narrative term to describe the role this scene plays in its context?
a. Narrative frequency
b. Narrative frame
c. Nondiegetic insert
d. Flashback
