In the Mood of Love Film Analysis Essay Critical Response to Film Essay **Please pick one of the films prior to bidding as soon as I pick a tutor I will a

In the Mood of Love Film Analysis Essay Critical Response to Film Essay

**Please pick one of the films prior to bidding as soon as I pick a tutor I will ask which film you picked and how you will be viewing it to make sure you have the correct material/version**

Pick one of the Following Films:

Rashomon, Kurosawa (1950)
In the Mood for Love, Kar-Wai (2000)
A Separation, Farhadi (2011)
Roma, Cuarón (2018)
Parasite, Joon-ho (2019)

choose one of the following films from the list above. I have made sure they are readily available on streaming services (Netflix/Prime/Youtube) or to rent via Amazon’s instant video service. I would suggest one avaible on Youtube if you do not have access to other streaming services.

Read through all instructions and review the writing requirements, analysis paper guidelines, and style guide before beginning work! (MLA paper) (I will send these after connecting with a tutor)

Materials Needed (aside from access to the film obviously):

Review all PDF files attached (including terms to be used throughout essay)
http://visual-memory.co.uk/daniel/Documents/short/gramtv.html?LMCL=ENZkyc
https://www.filmsite.org/filmterms.html

In this assignment, you will

view a film
compose a short analysis of the film
reflect on the critical film viewing experience.

Review the materials above; then select a film from the list above, especially the following two readings: Writing About Film and Film Analysis Guide (make sure to use majority of these terms throughout the essay)

Detailed Assignment Instructions

Carefully watch your selected film. Do not rely on your memory of a film you have previously seen. You will need to select one scene from the film to analyze for the essay. Remember, a scene is a series of shots combined to represent a set of actions happening within the same time and place. Take notes while you watch the film record any formal techniques (see the film analysis guide) or motifs you notice.

Research

Research a bit on the film’s director and it is context.

Write an analysis and reflect on your viewing experience.

First, at the top of your document, note the following information:
Second, complete the following

The title, director, and year of release for your selected film. (Remember that in MLA the film’s title should always be set in italics.) Identify the genre of the film (e.g. western, romantic comedy, film noir, family drama, etc.)? Give a 1-2 sentence rationale for your choice.

1. After completing your research, write a brief introduction to the film and its director and include a 2-3 sentences summary of the main plot and conflict in the film and identifying the main character(s). Offer a brief biography of the director and how they fit within their historical and cultural context.(1 paragraph)

2. Review the Formalist, Realistic, and Classical films handout. Identify whether the film is best described as formalist, realistic, or classical. Justify your choice using the descriptions on the handout and evidence from the film. You must use specific details from the film to support your assertion. (1 paragraph)

3. Choose one scene from the film to analyze. Remember, a scene is a series of shots combined to represent a set of actions happening within the same time and place. Review the Writing About Film page, then choose to complete either a mise-en-scene, movement, or sound analysis of your scene using those guidelines. In your discussion, note how this scene fits within the film as whole. You must use specific details from the film to support your assertions and use film language where possible from the Film Analysis Guide.(1-2 paragraphs)

4. Conclude your discussion of the film by reflecting on both your viewing and critical review experience. What type of aesthetic experience did you have, Apollonian or Dionysian? What have you learned about film analysis by completing your analysis of this film? (1 short paragraph)

*** i will send additional PDFs after selecting a tutor *** Writing
About Film
Visual Rhetoric/Visual Literacy Series
This handout discusses ways to approach film as a visual medium. It offers suggestions for focus,
prewriting tips, and guidance on how to think critically about a medium many of us think of as popular
entertainment. It does not include a comprehensive list of technical film terminology, although it does
provide links to several sources that do. This handout deals with decoding film as a viewer, considering
how the film appears rather than how it was made.
Overview: What are Visual Rhetoric and Visual Literacy?
The simplest definition for visual rhetoric is how/why visual images communicate meaning. Note that
visual rhetoric is not just about superior design and aesthetics but also about how culture and meaning are
reflected, communicated, and altered by images. Visual literacy involves all the processes of knowing and
responding to a visual image, as well as all the thought that might go into constructing or manipulating an
image.
Moving from Passive to Active Viewing
How do we get from images on a screen and sound from a speaker to the variety of impressions with
which a powerful film leaves us? We are all able to recount the plot of a film, usually after watching it
only once. It is more difficult to explain how the images and sounds presented make up such a narrative,
communicating meaning not just through the characters’ actions, but also through framing, camera
movement (reframing), editing, optical effects, lens choice, sound, and a number of other technical
elements that often go unnoticed by viewers looking for the plot. Through careful attention to what is on
the screen (and how it got there), you can identify the visual strategies employed by a film to elicit a
certain effect. The best way to do this accurately, and a good starting point for understanding how any
film works, is to watch it carefully and observantly, to take notes while watching, and to watch it more
than once.
The list of things that go into any single film can be daunting. To make the task of approaching film from
an analytical viewpoint more manageable, this handout addresses three basic components of film:



Image
Movement
Sound
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Image
Mise-en-scène and Framing
One of the best things about DVD technology is that it is even easier now than it was with video to get a
clear still image, which is a good place to start to think about how film builds images into meaning. The
two main things to pay attention to in a filmic image are mise-en-scène and framing. Mise-en-scène is a
French term meaning literally “put in the scene,” and it was originally adapted from the theater. It refers
to everything that goes into a film before it is photographed, including set dressing or location, costumes,
lighting, actors, blocking (actor locations and movement), and dialogue. If you like, it is what you would
have seen if you were there with the crew when the scenes were being filmed. The camera adds to this
framing (setting the bounds of the image, usually in a rectangle) and camera movement (reframing). The
latter is discussed in the next section, but framing is as important for still photography as it is for film,
since it works with mise-en-scène to determine the overall composition of the image.
Moving from Description to Analysis
Here are three descriptions of the same image:
1. K. is asking the Advocate for help.
2. K. is framed in the center of the shot, with the
Advocate dominating the right side of the frame.
The setting is fancy but dilapidated, and there are
two prominent light sources, one from the deep
space behind K. and another lighting the faces of
the two figures.
3.
Orson Welles, The Trial (1962)
Although K. is framed in the center of the shot, there is no doubt as to who has the power here.
The Advocate towers over him, interposing himself between K. and the camera and dominating
the right side of the frame. He casts a shadow on K.’s chest, reinforcing, as does the high-angle
camera looking down on K., K.’s lack of power relative to the man whose help he is seeking. The
location of a strong light source in the deep space behind K. reminds the viewer of K.’s distance
from his goal, and combines with the fabric hanging from the chandelier to create a surreal effect,
setting the tone for the entire scene.
Of the three descriptions, the first describes what is happening in the shot, but pays little attention to what
is actually on he screen. The second gives a formal description of the image. It is not exhaustive, but it
covers several significant points (framing, setting, and lighting). It does not move, however, from
description to meaning (although terms like “dominating” and “dilapidated” gesture in that direction). The
third description deals with the same visual traits, but also explains how those traits create meaning.
The point is not just to show three examples of increasing detail, but to consider these as steps toward
visual analysis. A description of what is happening is a fine place to start, since you will need to know
how an image fits into the film as a whole. From there, try to list all the visual qualities of the image that
you can, focusing on both framing (camera angle and image composition) and mise-en-scène (actors and
blocking, costume, setting, lighting). Some will be more important than others for any given shot, but the
important thing at this stage is to list all that you can. Finally, take this list and try to explain the effects
the different traits you have listed have on you as a viewer. There is no set rule for this, so you will have
to be creative. Don’t just make things up, though—try to stick to what’s on the screen and what you can
infer from that with confidence. You will be surprised how much easier interpretation is once you have a
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finite list of traits to describe an image. If this still seems daunting, you might want to check out our
handout on photography, which goes into more detail on analyzing still images.
Movement
So far, this isn’t very different from analyzing photography. But film isn’t just photography, but a series
of photographs shown in succession (at a rate of 24 frames per second) to create the illusion of
movement. This section offers suggestions for how to talk about a moving image.
There are two main types of movement in film: continuous and discontinuous. The former involves
characters and/or objects moving within the frame, either as a result of their movement or of the camera’s.
The latter is a result of editing, in which two discontinuous bits of film are spliced together (the most
basic form is a cut, but this also describes dissolves, wipes, etc.). You will want to keep these separate in
your mind, since they describe different aspects of the filmmaking process (filming and editing).
Here are some basic questions to ask when thinking about the role of movement in the visual language of
film:





What is the pacing like? Are things moving quickly or slowly?
Are the characters in synch, or is one shuttling around the frame while others remain stationary?
Or are they all stationary while the camera moves around them?
If the camera does move, how does it move? Is it quick, slow, jerky, or smooth?
How long are the shots (the time between two cuts)? You can even time these by the second, or
see how many there are per minute. You might also want to think about the relative shot length of
two different scenes.
And, the crucial question, what effect does all this have?
Tips for Analyzing a Film for Its Visual Qualities


As with still images, there is no simple key for decoding the effects different types of movement
can have. One of the best ways to start interpreting the meaning of movement is to think about
your own reaction to the film and then try to figure out what it is in the film that makes a scene
feel calm, frantic, exciting, depressing, etc.
If it is hard to isolate the visual aspects of a film from the plot, try watching a scene with the
sound off. Especially if the narrative depends on dialogue, watching it in “silent mode” will help
you focus on the visual. The opposite can also help you to analyze the function of sound.
Sound
It may seem strange to discuss sound in a visual literacy handout, but there is no getting around the fact
that most films you will see have a sound track to accompany the image track. This is usually made up of
three main components:



Dialogue
Sound effects
Music
One or more of these will be more important than the others for any given scene, but try thinking about all
of them when you go to analyze a scene. Often, the absence of one of these will be as important as its
inclusion. For example, a long scene of dialogue without background music may make a fiction film seem
more “real.” On the other hand, a long dialogue scene in a crowded restaurant without background music
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or noise may be deliberately unrealistic, focusing the viewer’s attention on the intimacy of the
conversation rather than the setting. For a demonstration of how important sound is for a film, even and
especially when you don’t notice it while watching casually, try watching the scariest part of a horror film
without the sound. Then, listen to the same scene without watching the images. How scary are both
“versions,” how do they each compare to the combined image/sound experience, and what does that tell
you about how the film communicates?
Recommended Texts
Corrigan, Timothy. A Short Guide to Writing about Film. New York: Longman, 2001.
Part of the Longman’s Short Guide series, Corrigan discusses different approaches to film and
provides useful tips on ways to begin writing about film. The book includes a glossary of
technical film terms, and a section of the book deals with these terms in more detail. It also
features sample essays and a section on conducting film research.
Bordwell, David and Kristen Thompson. Film Art: An Introduction. New York: McGraw Hill, 2006.
First published in 1979 and updated every few years, Bordwell & Thompson’s book has become
the standard textbook for film courses. Although the authors pay attention to genre, history,
production, and distribution, the book is most useful for its attention to style and how formal
aspects of films create meaning. It is a bit much to get through for a single paper on film, but is a
useful resource, featuring a glossary of discipline-specific terms and clearly delineated chapters
on different aspects of film analysis.
Useful Links
Internet Movie Database (IMDb)
www.imdb.com
For quick information about a film, director, actor, producer, or production company, IMDb can’t
be beat. It is not an ideal place to end your research, but it is a fine place to start.
Dartmouth Writing Program Handout on Film
http://www.dartmouth.edu/~writing/materials/student/humanities/film.shtml
This handout is more focused on the writing aspect of writing about film than on visual literacy,
and discusses different approaches to film (film history, ideological analysis, cultural
studies/national cinemas, and auteur theory) not addressed here. It also features a short glossary
of film terms.
Yale Film Analysis Guide
http://classes.yale.edu/film-analysis/index.htm
A more detailed web resource than the Dartmouth handout, the Yale site is an easily navigable
guide to film terms that incorporates examples through color stills and even brief wmv files. The
guide also features examples (in the “Analysis” section) of shot by shot analyses of scenes from
Visconti’s Rocco and his Brothers (1960) and Antonioni’s Il Grido (1957), which are quite useful
for figuring out what notes on film might look like.
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Handouts in the Visual Rhetoric/Visual Literacy Series
Overview: Visual Rhetoric/Visual Literacy
Using Visual Rhetoric in Academic Writing
Writing about Comics and Graphic Novels
Writing about Film
Writing about Paintings
Writing about Photography
Writing with Maps
Using PowerPoint and Keynote Effectively
Creating Scientific Poster Presentations
Crafting and Evaluating Web Sites
The banner images at the beginning of this handout are all from Orson Welles, Touch of Evil (1958).
5
THE FORMALIST-REALISTIC SCALE
Movies can be arranged on a formalist-realistic scale, depending on the degree to which they contain
elements of formalism or realism. Balancing these extremes is the classical Hollywood movie.
The tendencies to formalism and realism appear from the beginning of film-making. In the1890s, the
Lumière brothers produced films of everyday events, like The Arrival of a Train. At the same time, Georges
Méliès was appealing to imagination by exploring effects that could be achieved with film, like A Trip to
the Moon.
The classical Hollywood or mainstream film, born in the mid-teens of the twentieth century, was the main
type of movie produced till the 1960s.
Formalist films.
The beauty or power of the image is primary, displacing a sense of reality.
The visual presentation is stylized.
The story expresses the director’s personal vision or passion, which may even be an obsession.
The film usually presents extraordinary characters and events.
Formalism explores ideas, e.g., political, religious, and philosophical ideas. For this reason it is the
preferred approach for propaganda.
Most directors who are great stylists are formalists to some degree.
The perceptive viewer is aware that the narrative is being manipulated for an effect.
Formalist narratives may manipulate the time sequence or use an obvious pattern. There may be a disconcerting change of tone, e.g., a lyrical interlude intruding in a grim domestic drama.
Genres almost always formalist are musicals, science fiction, horror/supernatural, and fantasy.
Examples of formalist films
Ingmar Bergman’s The Seventh Seal (1957) illustrates formalism, as in these chilling scenes of death and
a knight playing chess and death leading off his victims in the Dance of Death.
Realistic films.
Realism is a style which creates the illusion or effect of reality, of being a “slice of life,” without any
changes in or any manipulation of everyday life.
The director tries to show the surface of life as closely as possible, so that the viewer accepts the film as
a reflection of reality.
Content or the story is generally of primary importance, rather than technique or expressionism.
Plots may be loose, without a clearly defined beginning, middle and end or resolution; the conflict may
emerge gradually.
The movie may be episodic; continuity is not a value.
Some film theorists have created subcategories of realistic styles: poetic realism, documentary realism,
and studio realism.
Example of realistic films
Both images are from Erich von Stroheim’s Greed (1924), based on Frank Norris’s novel McTeague.
Classical films.
These films avoid the extremes of realism and formalism.
They feature a strong story line, stars, and a high level of technical achievement or production values.
Classical films are slightly stylized but have a surface believability.
Plot has a clear beginning, middle, and end, as well as a conflict or dilemma that is resolved
unambiguously.
The plot follows the play structure of conflict, complication, climax, and resolution.
A narrator may be used to provide continuity and to cover gaps in the story line.
Visuals seldom take attention away from the actors. Style tends to be transparent or mainly invisible.
Classical films rely on classical cutting.1
Examples of classical Hollywood films
The first image is from Frank Capra’s It’s a Wonderful Life (1946); the second, Michael Curtiz’s
Casablanca (1942).
1
In classical cutting, which was developed by D.W. Griffith, dramatic and emotional considerations determine the sequence of shots. For example, Griffith split action into a series of shots;
among other innovations, he repeatedly cut from one action or group to another and back to give the
sense of simultaneous action or changed from a long shot to a close-up to a medium shot, etc. in a scene.

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