Do you find yourself particularly moved or incensed by representations of particular identities on fil m?

Please follow the instructions as it says and make it seem normal okay. I’m leaving a folder that has all of the readings in it. Like it says you just need to use at least 3 readings but just do what you feel is right based off of what I’m giving you.

By paying attention to t he implicit and not so implicit biases of the theories we have read. Eisenstein doesnt just tell us how the Soviet school built on the work of Dickens; he also tells us that how and why the dynamic form of collision editing surpasses that of Hollywood filmmakers. Bazin and Sarris show us why directors really matter, while Mulvey encourages us to focus on the importance of the role of the spectator and Trinh T. Minh-ha forces us to explore the ways in which codified cinematic categories themselves produce particular identities. Bordwell, reaching back to formalist arguments of yore, implicitly makes a case for the compl exity of the seventh art by demonstrating how much cognitive energy we must expend in our functional analyses of film. These critics complex discussions move far past the simplified thumbs up or thumbs down were used to from film critics, but they still denote approval or disapproval and they continue to mark what the theorist considers most interesting or intriguing in a cinematic work of art.
This final project is asking you to consider what you look for in movies and to articulate this consideration in critical terms. What, in your estimation, makes a movie intriguing, insightful, or worthy of study? Are you primarily interested in specific formal features (as the Formalists and Structuralists are) or are you more generally fascinated with what the act of f ilming does to the subject being filmed (as Psychoanalytic theorists are)? Does one particular aspect of filmmaking, such as narrative cohesion, fascinate you? If so, you might find yourself working the wake of Structuralism or within the complexities of G enre theory. Are you perhaps more interested in particular directors or stars? Then youll want to reconsider Auteur theory and look at studie s of Stars. Do you find yourself particularly moved or incensed by representations of particular identities on fil m? Then you might be a burgeoning Race or Gender theorist.
What matters in the final result, is not your particular aesthetic (you have a right to privilege or enjoy what you will), bu t your critical articulation and contextualization of it. A reader needs to know not only what you enjoy or appreciate in film, but also how this enjoyment/appreciation is informed by film theory. Feel free to integrate positions that you share and set up your own c laims in opposition to methodologies we have read. Just make sure that youve selected the most relevant approaches possible and be sure to accurately and correctly cite your theories.
Assignment specifics: Each 1250-word aesthetic must integrate information from at least 3 readings and locate the individualized response within a recognizable methodological approach to film.

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