- Please pick one or more impressive scene/sequence(s) from Farewell, My Concubine and identify at least two types of camera movement by basically defining in your own language. (Notes: the lack of camera movement could also be considered as part of camera movement; other angles: mobile framing, unmotivated/motivated movement, artificial camera movement, "editing" within the long take, etc)
- Through the careful reading of the formal "evidence" from this film, you need to closely analyze the role(s) of “(un)moving camera” in constituting film narrative and style, as well as engaging the audience (for example, as the key element that shifts the spectator’s position within the shot, or complicates the human relationship, or shapes the dramtic conflict). You might want to talk about camera movement in relation to specific elements of mise-en-scene.
- You are expected to cite from the course reading (one citation would work), either the textbook (in terms of methodological inspiration and supportive concepts) or the "Farewell My Concubine" article (in terms of the complex cultural/political/historical contexts and the theoretical understanding of cinema as a site of negotiation for multiple cultural forces).
- Question: in this specific scene, how does the camera function to “tell” (show) Farewell, My Concubine as a story of XXX, or to “speak” the language of love? ("XXX" could be any keyword at the core of your claim)
- The Three-question Guiding Framework:
How it (the camera) works, why it (camera movement and/or mise-en-scene, or a combinantion of both categories) matters, and SO WHAT.
“Farewell My Concubine-History, Melodrama, and Ideology in Contemporary Pan-Chinese Cinema”