2-3 page analysis term paper on film

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follow the instructions in the document, the relevant films are included on the last page, make sure to choose one of these to analyze.

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Written Assignment #1: Film Analysis Paper F111 Fall 2018 10/7/18 Basics: * Due Thursday, 10/11: a) Post to the Canvas “Assignment”, which also will submit the paper to Turnitin (you’ll need to click a box). AND; b) Bring a hardcopy to class (#8B); please print on one side of the paper. * 2 – 3 pages, double spaced * Worth 45 points. Questions? Raise them in class, through a Canvas message, and/or come to office hours (see “Office Hours” on the Canvas Syllabus). Writing Tutorial Services offices can be helpful at any stage of your writing, from drafting initial ideas to revising your final draft. See www.indiana.edu/~wts/. Grading criteria: We’ll expect the paper to follow the guidelines, to have a clear point (or argument or thesis), be substantive, and be clearly written and revised. To Do: 1) Choose one of the films listed below (at the bottom of the document). 2) Watch and write notes on the film that will be useful when you write the paper. To write good notes—and to quote or paraphrase what is said and done—you’ll need to pause the film frequently and often “rewind”. Fortunately, the films we selected all have written transcripts, which makes things much easier. We suggest you: 1) Type your notes in a word processing program (but you could hand-write them); 2) Include counter numbers—the times of particular sections in the film—so you’ll be able to locate those sections later, when you watch them again to write your paper 3) Review your notes. Choose particular scenes to describe in your paper, particularly scenes that relate to the point(s) you will make in your paper. Fill in your notes, including any statements made that you would like to quote or paraphrase. 4) Write a short paper (2 – 3 pages double spaced) on the film. What kind of a paper? A formal academic paper that follows expectations of college-level writing.1 Imagine you’re writing this paper to be published in a book that others—including other college students and professors--will read. This is not an “opinion paper” and not a “film review”. So avoid saying whether it’s “good” or “bad” or whether you agree with it or not. Instead, this is a film analysis paper. You describe and analyze the film. You won’t be able to “cover” everything—so don’t even try. Pick one main point (or argument, thesis) you’d like to make and focus on that. 1 If you’re unfamiliar with those expectations, see “Guidelines for Research and Writing” (Canvas/Files/General Academic Guidelines). 1 What kind of a point (or argument, thesis, etc.) might you make? It depends in part on the film you choose; you’ll have a better idea after you watch it. Here are some ideas and questions you might consider to come up with a point, along with relevant required readings from class. For instance, if the film * Portrays and discusses the “social roles” of musicians and/or others, you might focus on some aspect of that (from Kaemmer,“’Sciencing’ about Music, Ethnomusicology, and Music Events”) * Focuses on a particular aspect of Titon’s music-culture model (ideas about music and so on), you might focus on that (from Titon, “Four Components of a Music-Culture) * Includes one or more “music events”, you could focus on some aspect of one or more of those, including describing and analyzing aspects of the event (from Tuohy, “Observing and Analyzing Music Events” an/dor Kaemmer, “Social Roles in Music Activities”) * Illustrates relations between music and society or between ideas, behaviors, and music sound, you could focus on some aspect of that topic (Kaemmer and/or Titon articles). * And so on How to write the paper: It’s a short paper; don’t be overly ambitious, and curb your desire to make “grand claims” or “grand conclusions”. Keep your focus and scope manageable. Choose one main question, point, and/or issue on which to focus. Writing about film poses some challenges, so please see the Writing about Film Guidelines below. Papers usually have these basic parts: I. Introduction a. First, very briefly describe the film as a whole; probably no more than a short paragraph. b. Then briefly explain to your readers what your paper is about and your main point. For instance: “In this paper, I will analyze the ways the film Howling in Beijing represents Chinese rock musicians as revolutionaries . . .” II. Body of the Paper: Describe and analyze aspects the film. You can’t include “everything.” Instead focus on details and/or examples (such as scenes) from the film that illustrate your point (or points). Describe enough of the context of the sections you’re discussing. Imagine that you’re writing this paper for someone who hasn’t seen this film. III. Conclusion: Remind readers of the main point of your paper and to tie to that main point the secondary points and details you discussed. Since this is such a short paper, one paragraph should be enough. IV. Bibliography (can be on the last page): Should include a citation for the film. If you refer to any other sources, including class readings, include citations for those too. Don’t know what a citation is or how to do citations? See the “Citations Guidelines” in Files/General Academic Guidelines. 4) Revise your paper for clarity and grammar and to make sure it follows the guidelines. For suggestions on revising, see “Guidelines for Research and Writing” (in Files/General Academic Guidelines). 5) Submit the paper to Turnitin through Canvas. 2 6) Turn in your paper: a) Post to the Canvas “Assignment” AND; b) Bring a hardcopy to class in Class #8B (Thursday, 10/11) top Writing about Film Guidelines: Writing about film involves particular issues in part because films include sounds, images, and words, spoken by different types of people, such as a narrator of a film and people within the film. And filmmakers choose some things and not others to include their films, making selections in relation to a point they want to make, the main point or topic of a film, and so on. In other words, they are selective and don’t include “everything.” 1. In your phrasing of sentences, make it clear who thinks or said something. In some cases, a statement may be made by the narrator. In other cases, you may be quoting/paraphrasing a person within the film. Indicate which. For instance: The film’s narrator explained that . . . ; Dewy Balfa’s daughter said that . . . .; In a performance for school children, the musician asked . . . etc. If you’re quoting or paraphrasing someone outside of the film—such as the author of an article— you must cite the source (if not, you’re plagiarizing). 2. Clarify whether you are stating something as a “fact” or a claim made by someone else. For instance, if a film claims something is “unique” or “successful”, etc., phrase your sentence so that’s clear--rather than phrasing it as a statement of fact. For instance: Wei Zhanyan (a character within the documentary) said “music is powerful because it involves emotions.” 3. When stating claims—such as “the main point of the film” or “the filmmakers intent was to”— provide support. For instance, you might write something like: “At the beginning of the film, the director explains her goals in making the film . . .” 3. More generally support any generalizations, claims, and conclusions you make with descriptions of material, details, and/or information. When in doubt, be more specific. For instance, instead of writing that “Music always plays an important role in mobilizing people in social movements” (which is a claim that is impossible to support), you could write: “This film portrays music as a central factor in mobilizing people to get involved in the movement.” 4. Don’t write about how some hypothetical viewers might respond to a film (avoid writing things such as “Viewers will be surprised . . . “). Just stick to describing and analyzing the film 5. It’s fine to use “I” in your paper—particularly when writing a sentence just as: “In this paper, I will describe and analyze the way the film [does X].” top Films from which to choose: These films are all available from the IU Libraries through streaming video. The links below will take you to IUCAT, the library’s online catalog. Then, within the entry, you’ll click on the link to the film (you may need to log-in as with your IU username, etc.2 2 Yes, there are other films, but many of them are quite long. Plus, to grade the assignment, we need to be quite familiar with the films (and we can’t become quite familiar with 50 different films). 3 Carnival in Q’eros: Where the Mountains Meet the Jungle, directed by Juan Núñez del Prado and John Cohen. Berkeley: Berkeley Media, 1991 (33 mins.), https://iucat.iu.edu/catalog/15775206. Summary: This film focuses Carnival celebrations “in a remote community of Indians high in the Peruvian Andes. Their culture offers important clues into the Inca past and the roots of Andean cultures. The Q'eros play flutes and sing to their alpacas in a ritual to promote the animals' fertility. The film shows how the music evolves from individual, to family, to ayllu, to community, a structure of spiritual activity distinct from the structure of kinship. The Q'eros sing and play separately from each other, producing a heterophonic sound . . . that exemplifies a key connection between the culture of the Andes and that of the Amazon jungle.” Of Bards and Beggars, directed by Yask Desai and Shweta Kishore. Australia: Australia-India Council, 2002 (32 mins.). https://iucat.iu.edu/catalog/14864130 Summary: “Documents . . . a musical ritual called Pabuji Jaagran, an all-night epic recitation by Indian Rajasthani folk musicians. This story centers around a folk deity called Pabujib, a protector of livestock.” India Our Nation: A Korean Punk Rock Community, produced by Timothy R. Tangherlini and Stephen J. Epstein. New York: Filmmakers Library, 2002 ((39 min.), https://iucat.iu.edu/catalog/15203777. Summary: “Through the eyes of two young college age fans, we journey through the underground punk rock scene. The small club ‘Drug’ features bands with names like Crying Nut, No Brain and Weeper, and the all-female band Supermarket. . . . Our Nation gives air to a multiplicity of voices on issues such as the role of the school system in the lives of Korean youth, their relationships with their parents, and indeed the impact of globalization on the culture.” Pop Goes Islam, directory by Ismail Elmokadem and produced by Serge Gordey. Alegria Productions, 2010 (48 mins.), https://iucat.iu.edu/catalog/13630824. Summary: “4shbab, ‘Islam's own MTV’, was launched by Egyptian entrepreneur Ahmed Abu Haiba to bring contemporary music to young Muslims without showing scantily-clad women - or any women at all. Yasmine Mohsen, who adheres to a similar mix of Islamic modesty and pop cultural sensibilities in her career as a veiled fashion model, successfully petitioned Haiba for her own girl-centric show on 4shbab. . . . Ahmed Abu Haiba and Yasmine Mohsen discuss their goals for 4shbab and the challenges of being at the vanguard of cultural change within their religion.” Sousa on the Rez: Marching to the Beat of a Different Drum, produced by Cathleen O'Connell. Lincoln: Vision Maker Media, 2012 (27 min.), https://iucat.iu.edu/catalog/15775166. Summary: “Tubas, trumpets, and Sousa marches. . . . This rich musical tradition has long been a part of Native American culture . . . [and remains part of the contemporary] Native American music scene.” Vasile Nedea, directed by Sjoerd van Grootheest. London: Royal Anthropological Institute at Leiden University, 2009 (43 mins.), https://iucat.iu.edu/catalog/15930743 (in IUCAT). Summary: A “story of Vasile Nedea, a Romanian gypsy musician an Amsterdam. Due to his former illegal status there have been times in which he was forced to show his skills whilst busking the streets. However, . . . he is currently playing in the Netherlands and Western Europe's most famous concert halls. . . . Following an observational cinematographic style, the film allows the viewer to travel along with Vasile to witness some of the encounters he frequently has in numerous different musical settings.” Transnational. top 4
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