Third Cinema Movement Research Paper

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Humanities

Description

Aims

  • perform independent research in film history parallel to class lectures
  • design a research project, including research questions
  • hone critical thinking and strategic uses of different kinds of research sources
  • practice poster presentation, which may be new to you
  • Topic Choose a film topic that is not directly related to class materials and that pertains to a period since 1950. The topic does not have to be “significant” (award-winning, famous), but needs to be a rich opportunity to explore a film movement, political situation, technology, aesthetic, or other key aspect of history. You can focus on one film or one filmmaker (director, producer, writer, editor, cinematographer, etc.), or you can look more broadly at a film movement, technology, etc. “Film” here is defined in its broadest sense of moving image usually accompanied by sound, so you can research videogames, online videos, television, VR, etc. If you are interested in a topic but unsure if it “fits,” please ask. There are several suggested topics in the Research Project folder on Brightspace if you have trouble thinking of a topic. Another possibility is browsing the DVD shelf in the Killam library; it’s on the ground floor in the room marked “Music Collection.”

    If you’re having trouble deciding what kind of direction you might take with your project – and especially what kind of focus or argument you might make – David Bordwell’s “Doing Film History” has a good overview of approaches. This article is a recommended reading for Week 1 of this course. This article also includes some broad questions (e.g., “How have the conditions of the film industryproduction, distribution, and exhibition—affected the uses of the medium?”) that you might adapt to more specific case studies. You can also think reflectively about the approaches and questions we use in class lectures and discussions, and the approaches in the assigned readings.

    Deliverables

    Proposal (due 9 February)

    Your proposal of 1500-2000 words must a) state your aims (why do you want to do this project? what do you hope to learn?), b) state your research question(s) and/or provisional thesis, and c) include an annotated bibliography. The annotated bibliography must have a minimum of 4 sources and include both scholarly and non-scholarly sources in addition to the primary text(s) you are studying; for example, if you are writing about the historical significance of The Godfather, you need at least one non-scholarly source in addition to the film itself. Each annotation must include a) a brief summary of the content of the source, b) an evaluation of the source itself (its aims and effectiveness), and c) an evaluation of how the source will be useful to your project. The last is perhaps the most important. You do not need to do a full annotation for the primary text (s) you are studying, especially if there are several of them; for example, if you are analyzing the work of a YouTuber, you do not need to provide three paragraphs for each of their videos. Instead, you should annotate four sources that will help you analyze their work (including one scholarly and one non-scholarly source). If you have already found a lot of secondary sources and annotating each would take you over 2000 words, you can simply choose the four most important for full annotation. Please list all of the sources you anticipate using, however, and if you can provide a sentence or two of annotation for the other sources, this is helpful for the instructors when giving feedback (but is not required).

    Although the annotation style (i.e., what the three paragraphs contain) follows MLA conventions, you can format bibliographic citations in any style you choose (APA, MLA, etc.); just be consistent. Your proposal will be graded on the care with which you have found and evaluated sources and on the development of the research question/thesis (though it is understood that this may change as you work more on the project). See this page for examples of annotated bibliographic entries: https://owl.english.purdue.edu/owl/resource/614/03/. The first is the MLA-style annotation required for this course (although your annotations can be shorter than those in the example).

    See rubric online (click on the drop box) for details on the goals and assessment of the assignment. It is recommended that you read the A-range and D-range descriptions of each grading criterion.

    Major Project (due 16 March)

    Your major end project will either be a written essay of 2000-2500 words or a video essay of 10-12 minutes with your voice talking over clips of (a) film(s). If you make a video essay, you are responsible for mastering the technology video editing and voice recording (and it is strongly recommended that you write a script for a video essay). The major project should be relatively formal, and although you are allowed to use “I,” you shouldn’t overuse it. More importantly, your work should be logical, rigorous, and lucid. Whether you write an essay or make a video essay, you must submit a written bibliography for your work, formatted in whatever format you prefer. Video essays should also include bibliographic credits.

    See rubric online (click on the drop box) for details on the goals and assessment of the assignment. It is recommended that you read the A-range and D-range descriptions of each grading criterion.

    Poster Presentation (final week of class – presentation dates are assigned based on family name) Poster Presentations are common in Sciences, and they are getting more popular in Humanities and Social Sciences. You will present your work as a poster in the final week of class so that your classmates can benefit and learn from your work and you get practice presenting in this format. The poster (though not your presentation, for logistical reasons) will be graded on a pass (100%)/fail (0%) basis by Shannon Brownlee, who, like your classmates, may not have read your research paper or proposal and may not be familiar with the moving images your project discusses. You should try to make a poster that your classmates can absorb in about 2-3 minutes; you will be on hand to answer questions if they have them, but they may simply absorb your poster and move on to another. It is recommended that your poster contain the following elements:

    1. your thesis

    2. subheadings

    3. key findings (in words and/or images)

    4. your bibliography Your poster does not have to be huge – the size is up to you. And don’t feel that you have to spend money on printing images in colour; black and white is fine as long as we can tell what’s going on in them. Captions for the images could be very helpful.

    Hypothetical Audience Your audience for all components is a hypothetical undergraduate student with a good film vocabulary but little background in film history (or history of any kind). Therefore, you do not need to define general film terms (e.g., reception, continuity editing) that apply to most or all moving images, although you should define more specialized technical vocabulary (e.g., diopter, squib, Gopro camera), especially if it is relevant to your analysis. You need to explain film industry contexts, political history, etc., as relevant to your analysis.

    Grading Schemes The grading rubrics for the proposal, paper, and poster will be on the course website. Access them through the drop box.

    Tips

    Problem: I can’t find any scholarly writing on the film/TV show/video game, etc. Suggestions:

    1. Use scholarly writing on one of the artists (director, producer, writer, actor, etc.).

    2. Use scholarly writing on moving images made at the same time/place. Do the arguments for these moving images apply to your moving images?

    3. Use scholarly writing on moving images that may have influenced yours and/or those that may have been influenced by it. Do the arguments for these moving images apply to your own?

    Problem: There is conflicting information on the film. Suggestions:

    1. Consider the sources. Which is most likely to be accurate?

    2. Do further research to confirm accuracy of some information.

    3. Cite all the information, state that it conflicts, and suggest which information is most likely to be accurate.


    Unformatted Attachment Preview

    Research Sources and Methods Film History II Part I: Your friend has mono….. Trace your steps and see what you can prove. Part II: Test Your Knowledge True or false: 1. A scholarly article or book is vetted by experts in the field. 2. Scholarly articles and books are not biased. 3. A professionally published article (such as a newspaper or magazine article) should be fact-checked by editors. 4. A personal blog post is edited or vetted by a third party. 5. A scholarly article or book is always going to be more reliable and informed than a personal blog post. 6. Encyclopedias and textbooks are scholarly sources. 7. Box office figures are matter of public record: production companies are required to publish all expenses and profits. 8. Behind-the-scenes special features are publicity materials for the film/TV show in question. 9. Canadian box office figures are included in “Domestic” US American figures. 10. IMDb and BoxOfficeMojo are owned by Amazon. Go to Part III (over the page). If you finish that, work on your own research project proposal. Answers to Part II: 1.T 2.F 3.T 4.F (usually) 5.F (a scholarly source can be more reliable and should generally be reliable, but it might also be out-dated, etc.) 6.F 7.F 8.T 9.T 10.T Part III: Matching Draw lines to match the boxes in each column. There may be multiple lines to/from any of the boxes. You can add boxes to either column. Tell you what one person thought of a film A scholarly article or book A film review in a print or online magazine Tell you what many people thought of a film Box office figures (e.g., from boxofficemojo) Tell you approximately how many people saw a film An online discussion board Give you reliable context for a film (historical, genre, etc.) Review aggregator websites (e.g., Rotten Tomatoes) Give you reliable technical information on a film IMDb.com Give you reliable information about the making of a film Wikipedia YouTube comments on a full film or clip An interview with a filmmaker or commentary track A behind-the-scenes special feature A personal blog post A trade or specialty magazine (Variety, AWN) or general magazine (Macleans) An encyclopedia or textbook can Direct you to other useful sources on a film Direct you to other useful sources on a film Provide deep, extensive analysis of a topic. Provide a good overview of a topic Give you ideas for your own interpretation/discussion of a film (which you can use as long as you cite the source) List of Possible Topics for Research Paper You can choose any topic you would like. However, here are some suggestions of topics related to what we study in class and also those that we did not have time to cover in class but that are very worthwhile: 1. Third Cinema Started in the 1960s, this is an international movement that sees Hollywood and other commercial cinemas as “First” cinemas and auteur-driven cinemas as “Second” cinemas. Key moments include Solanas and Gettino’s film, The Hour of The Furnaces (1968), and their manifesto, “Towards a Third Cinema” (1971). The work is explicitly political and formally adventurous. The manifesto and film are easily accessible online. Many other films have also been categorized as Third Cinema, and you could investigate these instead/as well. 2. Cinema Novo The Brazilian new wave of the 1960s and 1970s. It is diverse, but it tends to be influenced by issues of class and colonialism. One of my personal favourite films is How Tasty Was My Little Frenchman (Nelson Pereira dos Santos, 1971), available at the Killam library. 3. North American Underground of the 1960s/1970s Some great film auteurs of this time are Joyce Wieland (whose complete works we have at the Killam library), Stan Brakhage, Andy Warhol, Shirley Clarke, Kenneth Anger, Michael Snow, and Jonas Mekas. These films are generally very experimental in form (sometimes non-narrative) and often shot on 16mm, “amateur” film formats. Some films are also available online. 4. Fifth Generation Chinese Filmmaking Zhang Yimou, Chen Kaige, and Tian Zhuangzhuang are the most famous of these Mainland Chinese directors who became internationally famous in the 1980s. They turned away from the programmatic communist politics of the previous decades and created visually splendid, often socially and politically critical works. Several of their films are available at the Killam and the Halifax Public Library. 5. Bollywood of the 1990s/early 2000s This was a great era of Bollywood cinema and a major shift from Mother India, which we’ll see a bit of in class, towards a highly cosmopolitan, upper-middle-class milieu. And the music and dancing are great. There are many DVDs available at the Killam and the public library. 6. Non-Hindi Indian Cinema The popular Telugu and Tamil cinemas in India have been prolific and diverse for almost a century, and there are cinemas in several other languages that are also thriving. Some films are available on Netflix and iTunes. Browse and surf, and see what might catch your interest. 7. New Korean Cinema Korea has a strong film and television industry that produces everything from costume dramas to horror film. Since the 1990s, there have been some very important Korean auteurs making enjoyable, often hard-hitting films. The Killam has thee of Bong Joon-ho’s films, and Park Chan-wook’s Lady Vengeance – of his Vengeance trilogy – is available at the Halifax Public Library. These are all formally polished and entertaining, if sometimes tough, to watch. 8. New Queer Cinema An important movement of the 1980s and 1990s, New Queer Cinema included activist, formally adventurous alternatives to anodyne coming out stories. Derek Jarman, Jennie Livingston, Isaac Julien, and Todd Haynes are some of the key English-speaking figures of this movement. Their films are available at the Killam, through the Halifax Public Library system, and some on Netflix, iTunes, and otherwise openly available online. 9. Cinema of #BlackLivesMatter There has been a lot of excellent, English-language (and other) cinema emerging in the context of contemporary anti-Black racism. Spike Lee’s BlacKkKlansman is just one high point in a long career; Dee Rees’s Mudbound, Steve McQueen’s Widows and 12 Years a Slave, Jordan Peele’s Get Out, and Barry Jenkins’s Moonlight and If Beale Street Could Talk are all readily available, important, and enthralling films. 10. Iranian Post-Revolutionary New Wave Abbas Kiarostami, Mohsen Makhmalbaf, Samira Makhmalbaf, Marziyeh Meshkini, and Jafar Panahi are important auteurs who often play with the boundaries between documentary and fiction, and thus challenge our perceptions and responsibilities as viewers. Panahi is especially politically engaged and has been imprisoned and banned from filmmaking. Their films were especially important on the festival circuit in the 1990s and 2000s, winning many top awards. We have several at the Killam and in the Halifax Public Library system. 11. YouTube, Netflix, or iTunes These platforms have had an extensive impact on online video culture and have arguably changed the way we watch moving images. Choose one of these (or another) site and research the cultural, legal, and/or historical issues associated with it. Although we will discuss video streaming to some extent in class, we will do so after the Research Paper is due, so this is fair game. 12. Videogame Histories Choose a videogame (stand-alone or franchise) and research its creation, reception, aesthetic influences, and/or historical significance. As with YouTube, etc., we will discuss this in class after the paper is due, so do not be worried about overlap with class materials. 13. A Technology Choose a technology such as 8mm film cameras marketed to consumers, 3D animation, Smell-O-Vision/AromaRama, DBox. Investigate how this technology originated, how it has been used, and what its impact has been. Have there been any controversies associated with the technology? Has it been used as its creators intended? You might also research the concept of technological determinism and the ways film historians have used/objected to this discourse. 14. A Filmmaker Who is Not a Director Usually, film directors are prioritized in the writing of film history. Less commonly, performers’, producers’, and composers’ careers are the backbone of an historical account. Even rarer is the narration of film history through the career of a cinematographer, editor, screenwriter, costume designer, etc. This project could be a great opportunity to explore the work of someone whose style you admire. Although it’s unlikely there will be peer-reviewed sources about that person, you may find interviews with them, and you can draw on peer-reviewed sources on the films and film industrial context. 15. Virtual Reality There are opportunities to do some original research by interviewing NSCAD students working in VR and/or interviewing people at Dal’s VR lab, GEM. Even though we’re going to be studying this in class, because of the nature of the medium (and because we’re not studying it until very late in the term), this could be a good opportunity to get more exposure to VR work. 16. Archival Research Dalhousie owns the archives of the film production company imX Communications, which was founded in 1998 and whose work includes Margaret’s Museum and New Waterford Girl. If you’re interested in digging through primary sources to learn about the film production process, this is an unusual opportunity to do so. See https://findingaids.library.dal.ca/imx-communications-inc-fonds for more info. Similarly, the archives of Terry Ryan, who worked at the NFB (Atlantic) in the 1980’s, are held at Dal; see https://findingaids.library.dal.ca/terry-ryan-fonds. You could, alternatively, do research through the Nova Scotia Archives, which has a YouTube channel (https://www.youtube.com/user/nsarchives). A lot of these films are from a period before that which this course covers, but there are some from the 1950’s and later as well; you could also visit the archives in person.
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    Explanation & Answer

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    Running head: THIRD CINEMA MOVEMENT

    1

    Third Cinema outline
    I.

    Introduction
    A. The film industry has been associated with numerous changes over the years.
    B. The different films were used to confront different messages based on the aspects which
    were experienced in society during the time addressed by the movement.
    C. Such aspects were perceived to have a great impact on the film industry based on the
    content addressed and the way the films were produced leading to advancement in the
    film production history and the film theories which are associated with the various
    movements.
    D. One such movement which was considered to have great influence in film history is
    the third cinema movement.

    II.

    BODY
    A. The third cinema is one of the movements which were experienced in the American
    continent. This movement is perceived to originate in the late 1960s and the early years
    of the 1970s in South America before it was adapted in the northern American continent
    (Mestman, 2011).
    B. The third cinema is associated with the origins of the third world countries and their
    historical encounters with the colonial forces and the imperial forces, and how their
    influence had impacts on their economic and political systems.
    C. The films were associated with the portrayal of the various frustrations associated with
    aspects such as social classes, gender oppression, racial discrimination and the
    continued colonial impulses which were associated with the first world nations.

    THIRD CINEMA MOVEMENT

    2

    D. Based on the different aspects associated with the third cinema movement, the different
    movies that were produced during this period had to follow certain principles to be
    referred to as a third cinema.
    1. First, the specific movie had to question the power structure to qualify to be
    associated with the movement (MacKenzie, 2014).
    2. The movie had to aim at the liberation of the oppressed irrespective of whether it
    was gender, race, class, ethnicity or religious oppression (Mestman, 2011).
    3. Such movies opened a dialogue with the history of the held conceptions associated
    with the past to demonstrate the legacies associated with such conceptions in the
    present day (MacKenzie, 2014.
    4.

    Based on the above information, the third cinema strived to recover and reshape a
    nation through the use of inclusion politics and made the people reimagine new
    leadership models and the possibilities to redevelop their states.

    E. The third movement is strongly associated with the development of a manifesto that
    was perceived to be documented in the book "Toward a Third Cinema" which was a
    product of Fernando Solanas and Octavio Getino.
    F. The manifesto of the third cinema aimed at the creation of reality through cinema with
    the aid of imperialists and capitalists.
    G. The authors of towards the third cinema also identified the aspect of democratizing the
    cinema though their document.
    1. Based on the so-called "manifesto," the different players in the development of
    the films were considered to be familiar with all the different equipment
    (Solanas & Getino, 1970).

    THIRD CINEMA MOVEMENT

    3

    2. Due to this reason, the audience was expected to be active rather than passive
    as it was the case of first cinema.
    3. The third cinema was perceived to be a very powerful tool as it was associated
    with the development of a revolution which had great effects in the third world
    countries as it showed the level of confidence that the filmmakers had in the
    condemning of the various ills that were undertaken in the third world countries
    by the colonizers and the first world countries (McNamara, 2011).
    H. Based on the analysis of the different movements associated with film history, the third
    cinema is considered as the most exciting and the most challenging film to be ever
    made.
    I. Although the third cinema was associated with specific geographical and historical
    facts, the films did not conform to any specific aesthetic strategy in their production,
    J. The third cinema movement is considered...


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    Just what I was looking for! Super helpful.

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