WRT 205 West Chester Women Suffering & Abuse of Power in Film Schindler List Paper After watching Schindler’s List movie you would analyse one scene with t

WRT 205 West Chester Women Suffering & Abuse of Power in Film Schindler List Paper After watching Schindler’s List movie you would analyse one scene with two techniques such as camera movement and lighting. Should be at least 2 pages long Film  Form  Checklist  
Aspect  of  Film  Form  
Your  Scene  
 
characters  involved  
what  happens  (depicted  plot,  and  undepicted  
story)  
 
Cutting/Editing  (cuts,  fade,  dissolve,  wipe,  
jump  cut;  smooth  and  continuous  vs  skipping  
and  omitting)  
Orienting/Accommodating  Viewer  
(establishing  shots,    continuity  editing,  180°
system,  know  where  everyone  is;  narrative  
disruptions;  flashbacks,  cross-­‐cutting)  
Sound  effects  (diegetic  sound,  often  added  in  
postproduction,  volume,  realistic  or  natural-­‐
seeming?;  what  are  the  “effects  of  sonic  
manipulation”?  [Bordwell  324])  
nondiegetic  sound/musical  score/voiceover  
 
blocking/positioning/arrangement  of  figures  
(in  foreground/background/height  on  the  
screen)  
set  design,  setting,  use  of  props,  etc.  
 
costume  design,  wardrobe  choices  
 
Framing/mise-­‐en-­‐scene  (what  is  “in  the  
shot,”  edges  of  the  screen,  what  is  
shown/depicted  vs  unshown  (off-­‐stage,  off-­‐
camera)  
Camera  distance/distance  of  framing  
(extreme  close-­‐up,  close-­‐up,  medium  close-­‐
up,  medium  shot,  medium  long  shot/plan  
americain,  long  shot,  extreme  long  shot)  
camera  movement  (pan,  zoom  in/out,  tilt,  
tracking  shot;  smooth  and  stately  or  jerking  
and  jumping,  handheld,  Steadicam)  
camera  angle  and  position  (“low  angle”  
[looking  up],  “straight-­‐on  angle”  
[horizontal/same  level],  “high  angle”  [above  
it,  looking  down]),  camera  perspective  
(neutral,  POV),  height  of  framing  
lighting  (shadow,  silhouette,  top  lighting,  
frontal  lighting,  fill  light,  3-­‐pt  lighting,  hard  
lighting,  low-­‐key  lighting,  high  contrast  
film  qualities:  color  absent/added,  grainy,  
filtered,  sharp  focus,  unfocused,  depth  of  field  
realism/realistic  portrayal  vs  dream-­‐like,  
distorted,  unrealistic,  surreal,  existentialist  
nondiegetic  images  (titles,  place  names,  etc.)  
 
genre:  conventions  used,  
fitting/mixing/breaking  
affective/emotional  responses  
evoked/elicited  
special  effects  used  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Film  Form  Checklist  [stamping  scene]  
Aspect  of  Film  Form  
characters  involved  
what  happens  (depicted  plot,  and  undepicted  
story)  
 
Cutting/Editing  (cuts,  fade,  dissolve,  wipe,  
jump  cut;  smooth  and  continuous  vs  skipping  
and  omitting)  
Orienting/Accommodating  Viewer  
(establishing  shots,    continuity  editing,  180°
system,  know  where  everyone  is;  narrative  
disruptions;  flashbacks,  cross-­‐cutting)  
Sound  effects  (diegetic  sound,  often  added  in  
postproduction,  volume,  realistic  or  natural-­‐
seeming?;  what  are  the  “effects  of  sonic  
manipulation”?  [Bordwell  324])  
nondiegetic  sound/musical  score/voiceover  
 
blocking/positioning/arrangement  of  figures  
(in  foreground/background/height  on  the  
screen)  
set  design,  setting,  use  of  props,  etc.  
 
costume  design,  wardrobe  choices  
 
Framing/mise-­‐en-­‐scene  (what  is  “in  the  
shot,”  edges  of  the  screen,  what  is  
shown/depicted  vs  unshown  (off-­‐stage,  off-­‐
camera)  
Camera  distance/distance  of  framing  
(extreme  close-­‐up,  close-­‐up,  medium  close-­‐
up,  medium  shot,  medium  long  shot/plan  
americain,  long  shot,  extreme  long  shot)  
camera  movement  (pan,  zoom  in/out,  tilt,  
tracking  shot;  smooth  and  stately  or  jerking  
and  jumping,  handheld,  Steadicam)  
camera  angle  and  position  (“low  angle”  
[looking  up],  “straight-­‐on  angle”  
[horizontal/same  level],  “high  angle”  [above  
it,  looking  down]),  camera  perspective  
(neutral,  POV),  height  of  framing  
lighting  (shadow,  silhouette,  top  lighting,  
frontal  lighting,  fill  light,  3-­‐pt  lighting,  hard  
lighting,  low-­‐key  lighting,  high  contrast  
film  qualities:  color  absent/added,  grainy,  
filtered,  sharp  focus,  unfocused,  depth  of  field  
realism/realistic  portrayal  vs  dream-­‐like,  
distorted,  unrealistic,  surreal,  existentialist  
nondiegetic  images  (titles,  place  names,  etc.)  
 
Your  Scene  
(Jew  in  hat/literature  teacher),  Nazi  official  
stamping,  Polish  worker  instructing,  Jews  
who  are  watching  
stamping  passport  then  stamping  machine  
for  a  pot  
cut,  sound  cuts  first  
standard,  jump  right  into  the  middle  
stamp,  machine,  warning  buzzer,  shouting  
in  background  
creepy  forced  merriment,  full  orchestra  
(dialogue)  
Jews  are  set  in  the  background;  
Jew  obscured  and  revealed  by  the  
movements  of  the  press  
dirtiness  of  the  machines,  working  
machine  press,  heavy,  etc.  
grimy  clothes,  dark  and  muted  
machine  dominates  after  the  cut;  isolate  
the  hands  in  both  scenes;  don’t  see  the  face  
of  the  Nazi  official  
close  ups;  medium  close  ups,  medium  shot  
handheld  walks  over  and  gets  a  closer  look  
straight  on,  POV  
1st  part:  brightly  lit,  outdoor  light;  dimly  lit  
b/w;  sharp  focus;    
realism  
no  nondiegetic  images  
genre:  conventions  used,  
fitting/mixing/breaking  
affective/emotional  responses  
evoked/elicited  
special  effects  used  
 
 
 
straight  up  drama  
not  much  emotion  
none  
Political  Arguments:  
 
1. Jews  grimyà  mistreated,  exploited?  
2. repetition  of  stamping  à  Jews  treated  like  pots  and  pans  
3. bureaucracy  of  identity  cards  and  factory  work  à  Nazis  like  
soulless  machines  
 
Film  techniques  to  use:  
costume  and  set  design  
blocking  and  sound  effects  
camera  distance  (closeups)  and  editing  (transitions,  creating  links  
between  the  two  scenes)  
 
Dr. William Nessly, WRT 205
Essay 2 – Genre: Academic Essay—Film Analysis and Interpretation
Analyzing Form in a Scene From Schindler’s List
Directions:
Papers must adhere to the directions to be a passing paper.
You will write a 2-3 page academic essay.
Detailed Directions for choosing your (political) argument:
1.
2.
3.
4.
Argument addresses the politics (or ideology) of the scene from the film: in other words, your argument
addresses the scene’s representation or construction of power relations and/or identity (e.g., gender, race, class,
religion, authenticity; implicit beliefs, ethics or politics; possibilities for subversion/containment; etc.).
Argument analyzes instead of evaluates. As a film scholar, you ask how X functions and what X signifies.
You are NOT doing a film review, or a creative writing assessment, or psychological case study or a history report.
Make sure you are NOT asking these questions: “Is it good/bad?”; “Is X done well or more effective or wellmade?”; “Is it worth watching?”; “Is it a vivid or realistic or interesting portrayal?”; “Does character A learn
important life lesson B?”; or “What great truths does it reveal about the world/this group of people/etc?”
Argument should focus on what the text does/does not do (X does Y; X creates the idea of Y; X constructs or
represents Y as Z; X changes Y), rather than on questions of degree: avoid arguments that claim X enhances Y or X
makes Y better or clearer or X emphasizes Y.
Your political argument/thesis should be translatable into the following “formula”:
“Through its use of A and B (film techniques) in such-and-such scene, the film argues that Group X is Y.”
Format:
Your essay should be double-spaced, in Times New Roman 12-point font, with a one-inch margin on all four sides.
Include a heading as shown below, along with your own creative title of the paper at the top of the first page (no cover
pages please). Number your pages
(Page #)
WRT 205 Section XX
Essay 2: Film Analysis
29 November 2022
(Title of some sort) Hidden in the Shadows: The Representation of German Soldiers in Saving Private Ryan
WRT 205 – Essay 2 – Genre: Academic Essay – Film Analysis and Interpretation
Approx.: A+(above 95), A (93), A- (90), B+ (89), B (85), B- (80), C+ (79), C (75), C- (70), D (67), F (below 65)
Category
Writing
Process
10%
Voice/Style
and
Correctness
30%
Criteria for evaluation
Points Awarded
Quality of Initial Draft and evidence of your writing process, including peer
9-10
Exceeds expectations
7-8
Meets Expectations /
Adequate
Below expectations/
Unacceptable
Exceeds expectations
review work, thoughtful self-evaluation, marked up rough draft; major and noticeable
revision between 1st and 2nd drafts—clear changes, with new writing added and
sentences cut
Excellent Prewriting—include film notes, film scene sketches unless you wish to keep
them
Key: use a formal academic tone—authoritative, knowing, critical
Adopt a position of scholarly “neutrality” (reasonable, precise, careful; not biased;
deemphasize your own voice and opinions)
Be plain, be clear; avoid fancy words; hold the reader’s hand as you would a little
child’s; avoid contractions, “!”; avoid asking questions; cut “I” “we” “me” “our”; replace
“you” and “your” with “one” and “one’s” or “the viewer”/”the audience”
Use formal vocabulary and sentence structure instead of informal phrases/slang;
Use forceful, assured tone to present ideas, arguments; be decisive: don’t
hedge/equivocate (you are an expert—a film scholar)
Precision: Use definite, specific and concrete language; define terms
Efficiency: Omit unnecessary words, phrases, sentences (no filler)
A shorter, tightly crafted essay is always superior to a longer, loosely written essay
0-6
27-30
21-26
0-20
Meets Expectations /
Adequate
Below expectations/
Unacceptable
Shift in intended audience: your readers know the film, so remind them of key parts of
your scene and also perhaps where it falls in the film, without providing a large
summary of the film or other unnecessary details
Format
(with three
parts) with
selective use
of details
40%
Political
Argument
with
Specialized
Terminology
(Using Film
Terms)
20%
Proper punctuation for any quoted dialogue; italicize names of films
Clarity / No patterns of error in narration—grammatically correct
In this essay, watch out especially for three areas of correctness:
1. Use present tense for literature/film: “Spielberg shows” “Schindler cries” “The
camera zooms in” [use past tense only for actual history]
2. Avoid apostrophe errors: Nazis is the plural of Nazi, not Nazi’s
3. Capitalize proper nouns like “Jews” and “the Holocaust”
Analytical essay format: an introduction with fully articulated thesis (the film’s
political argument according to you) at beginning of essay not just an opening
question or vague statement about the topic of the essay. Spell out exactly what you
will prove from the beginning and then walk your reader through the parts of your
argument in clear, logical, organized paragraphs, with topic sentences, transitions,
and a conclusion
Structure:
1. intro that orients the reader regarding your topic and ends with the full thesis
2. a short recap of the one scene you are analyzing; this recap can include short takes
on other film techniques
3. two paragraphs about film techniques used in the scene. Each paragraph focuses
on just one film technique, discusses how it works in the scene in detail, and ends
with an explanation of how the film technique supports your thesis
4. conclusion that reviews what you have proven, including your thesis and evidence
Superior essays will have a) a complete thesis; b) proper page length (2-3pp), title,
font and font size, page numbers, etc., according to MLA format; c) focus on one scene
in detail; d) a recap and paragraphs about 1-2 film techniques; e) narrow focus on the
scene (careful selection of details)
A. need a clear political argument:
1. Your political argument/thesis should be translatable into the following “formula”:
“Through its use of A and B (film techniques), the film argues that Group X is Y.”
2. What not to do: This essay is not a character study (“Schindler learns X”), not about
beauty or excellence (“gorgeous”/”masterful”), not about whether the film is realistic
or universal, and not about the emotional effect on the audience
3. Answer the question: “What ideas does the form of this film scene generate?” or
“What is its meaning?” or “What are its politics?” The best essays interpret how the
form changes the meaning of the film (How does the form itself carry a kind of
political or ideological meaning?), going beyond the obvious or surface reading.
Your thesis should not be about specific characters in the film: instead, explain how
the depiction of the characters (Schindler, Goeth, etc.) allows the film to comment
more broadly on specific groups in the world. (Nazis, Jews, children, soldiers, women)
B. Use at least two specialized terms about film form/technique
Uses the film terms correctly and usefully to increase your reader’s understanding of
the scene
The best essays will provide some explanation of the terms, integrate them
seamlessly, and connect them to your argument
36-40
28-35
0-27
Exceeds expectations
Meets Expectations /
Adequate
Below expectations/
Unacceptable
18-20
Exceeds expectations
14-17
Meets expectations /
Adequate
Below expectations/
Unacceptable
0-13
Film%Form%Checklist%
Aspect%of%Film%Form%
Your%Scene%
(
characters(involved(
what(happens((depicted(plot,(and(undepicted(
story)(
(
Cutting/Editing((cuts,(fade,(dissolve,(wipe,(
jump(cut;(smooth(and(continuous(vs(skipping(
and(omitting)(
Orienting/Accommodating%Viewer%
(establishing(shots,((continuity(editing,(180°
system,(know(where(everyone(is;(narrative(
disruptions;(flashbacks,(crossAcutting)(
Sound%effects((diegetic(sound,(often(added(in(
postproduction,(volume,(realistic(or(naturalA
seeming?;(what(are(the(“effects(of(sonic(
manipulation”?([Bordwell(324])(
nondiegetic%sound/musical(score/voiceover(
(
blocking/positioning/arrangement(of(figures(
(in(foreground/background/height(on(the(
screen)(
set%design,(setting,(use(of(props,(etc.(
(
costume(design,(wardrobe(choices(
(
Framing/mise?en?scene((what(is(“in(the(
shot,”(edges(of(the(screen,(what(is(
shown/depicted(vs(unshown((offAstage,(offA
camera)(
Camera%distance/distance(of(framing(
(extreme(closeAup,(closeAup,(medium(closeA
up,(medium(shot,(medium(long(shot/plan(
americain,(long(shot,(extreme(long(shot)(
camera%movement((pan,(zoom(in/out,(tilt,(
tracking(shot;(smooth(and(stately(or(jerking(
and(jumping,(handheld,(Steadicam)(
camera%angle%and%position((“low(angle”(
[looking(up],(“straightAon(angle”(
[horizontal/same(level],(“high(angle”([above(
it,(looking(down]),(camera(perspective(
(neutral,(POV),(height(of(framing(
lighting((shadow,(silhouette,(top(lighting,(
frontal(lighting,(fill(light,(3Apt(lighting,(hard(
lighting,(lowAkey(lighting,(high(contrast(
film%qualities:(color(absent/added,(grainy,(
filtered,(sharp(focus,(unfocused,(depth(of(field(
realism/realistic(portrayal(vs(dreamAlike,(
distorted,(unrealistic,(surreal,(existentialist(
nondiegetic%images((titles,(place(names,(etc.)(
(
genre:(conventions(used,(
fitting/mixing/breaking(
affective/emotional(responses(
evoked/elicited(
special%effects%used%
(
(
(
(
(
(
(
(
(
(
(
(
(
(
(
(
(
(
(
(
(
Film Form Checklist
Film Form Checklist [Girl in Red Coat] (1:08:05—1:10:31)
Aspect of Film Form
Your Scene
Aspect of Film Form
Your Scene
characters involved
what happens (depicted plot, and undepicted
story)
German and American soldiers
characters involved
what happens (depicted plot, and undepicted
story)
girl, Jews, Nazis, German soldiers, Schindler, mistress
Cutting/Editing (cuts, fade, dissolve, wipe,
jump cut; smooth and continuous vs skipping
and omitting)
Orienting/Accommodating Viewer
(establishing shots, continuity editing, 180°
system, know where everyone is; narrative
disruptions; flashbacks, cross-cutting)
Sound effects (diegetic sound, often added in
postproduction, volume, realistic or naturalseeming?; what are the “effects of sonic
manipulation”? [Bordwell 324])
nondiegetic sound/musical score/voiceover
blocking/positioning/arrangement of figures
(in foreground/background/height on the
screen)
set design, setting, use of props, etc.
costume design, wardrobe choices
Framing/mise-en-scene (what is “in the
shot,” edges of the screen, what is
shown/depicted vs unshown (off-stage, offcamera)
Camera distance/distance of framing
(extreme close-up, close-up, medium closeup, medium shot, medium long shot/plan
americain, long shot, extreme long shot)
camera movement (pan, zoom in/out, tilt,
tracking shot; smooth and stately or jerking
and jumping, handheld, Steadicam)
camera angle and position (“low angle”
[looking up], “straight-on angle”
[horizontal/same level], “high angle” [above
it, looking down]), camera perspective
(neutral, POV), height of framing
lighting (shadow, silhouette, top lighting,
frontal lighting, fill light, 3-pt lighting, hard
lighting, low-key lighting, high contrast
film qualities: color absent/added, grainy,
filtered, sharp focus, unfocused, depth of field
realism/realistic portrayal vs dream-like,
distorted, unrealistic, surreal, existentialist
nondiegetic images (titles, place names, etc.)
genre: conventions used,
fitting/mixing/breaking
affective/emotional responses
evoked/elicited
special effects used
German soldiers gunning down American soldiers who are
storming the beach at Normandy
cuts between Americans on beach and Germans in bunkers;
not as quick cutting as one might expect for a battle
no wide-angle shots; mostly a narrow strip of beach;
heavy machine gun fire, explosions, no talking/no human
noise…
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