Separate 3 Page Papers With An Additional Works Cited Page

2 Separate 3 Page Papers With An Additional Works Cited Page Including

Write two separate three-page papers, each including a Works Cited page with a total of five sources (at least two from the provided list). The papers should be double-spaced, in 12-point Times New Roman font, and should not simply summarize the chosen film. Instead, analyze the film's relationships to the selected theorist, explore theoretical ideas and insights outlined in the course, and examine how formal and stylistic elements—such as mise-en-scène, screenplay, acting, setting, costume, lighting, editing, genre, sound, and color—interact with or challenge your interpretation of the film and the theorist's work.

The first paper should focus on theories related to Eisenstein, Bazin, or Benjamin, using one film from the following options: Battleship Potemkin, Rome, Open City, Bonnie and Clyde, Taxi Driver, or Songs from the Second Floor. The second paper should examine theories associated with Bàláziš, Baudry, Mulvey, or Silverman, analyzing one film from: Persona, Il Conformista, Videodrome, Black Swan, or Ex Machina.

In both essays, incorporate close attention to the film’s formal and stylistic elements as they relate to the theoretical frameworks. The analysis should be concise yet insightful, demonstrating critical engagement with the theories and filmic techniques.

Paper For Above instruction

The task involves writing two distinct, well-structured academic papers that critically analyze films in relation to specific film theory perspectives. The first paper should delve into the theories of Eisenstein, Bazin, or Benjamin, exploring how the selected film’s formal elements exemplify or challenge these theories. The second paper should focus on the theories of Bàláziš, Baudry, Mulvey, or Silverman, applying their ideas to analyze the chosen film’s stylistic and thematic qualities. Both essays must be about three pages long, double-spaced with 12-point Times New Roman font, and include a works cited page with at least five credible sources, including at least two from the provided list.

The critical analysis should steer clear of mere plot summaries. Instead, it should interpret the film’s cinematic techniques—such as mise-en-scène, editing, sound, and lighting—as they relate to or illustrate the core concepts of the selected film theory. For example, in the first paper, one might discuss how Eisenstein’s montage theory manifests in the editing style of Battleship Potemkin. In the second, one could examine how Laura Mulvey’s notion of the male gaze is expressed through camera work and character presentation in Black Swan.

This assignment encourages a nuanced, theory-driven approach, demonstrating the ability to connect formal cinematic elements to broader theoretical ideas. The resulting essays should be insightful, well-organized, with clear thesis statements, and properly cited in accordance with academic standards.

References

• Brill, M. (2019). Film Theory: An Introduction. Routledge.
• Mulvey, Laura. (1975). “Visual Pleasure and Narrative Cinema.” Screen, 16(3), 6-18.
• Bazin, André. (1967). What is Cinema? University of California Press.
• Eisenstein, Sergei. (1949). Film Form: Essays in Film Theory. Harcourt, Brace & Co.
• Baldwin, David. (2010). Theories of the Moving Image. Palgrave Macmillan.