Narrative

Formal Analysis of THE RIGHT STUFF part 2

The task (which we will discuss in class on W 4/29):

  • Choose one of the following frames, which represent recurring images in The Right Stuff, and perform an analysis that addresses the following:
    • The shot in terms of camera distance and angle.
    • M-e-s in terms of the dominant.
    • The meaning of the shot represented by the frame in the context of the film, or what Spadoni refers to as "referential meaning" (19-20), that is, what a shot means in reference to other parts of a film, notably the plot or story.

Assessment:

  • I will look first at the precision and formality of your language. Be as specific and as technical as possible. I will expect to see gradual improvement on this point at the term goes on.
  • I will also be look at how clearly you explain your interpretation. Being articulate is more important than being "right."
  • I will also be looking at how carefully your analysis is composed and edited and that you have addressed each of the required points for your chosen image.
  • I think that one to two single-spaced pages is a reasonable guideline for length.

Submission:

  • You should submit your assignment via Moodle by M 5/4 at 5:00 pm. Additional details on Moodle.
  • This assignment is worth five (5) points.

The images:

At 43:45:

RightStuff43mins45secs

At 43:55:

RightStuff43mins55secs

At 87:50:

RightStuff87mins50secs


Formal Analysis of 2001: A SPACE ODYSSEY part 1

The task (which we will discuss in class on W 4/8):

  • Perform an analysis of the selected images from 2001 (below) that includes the following for each frame:
    • Identification of camera angle (high, low, eye-level) and distance (close, medium, long).
    • Identification of the dominant subject.
    • Explanation of the visual elements that make the dominant subject dominant.
    • Discussion of the meaning of the frame: where does the image fit into the narrative, what is the significance of the shot in terms of the film's themes and symptomatic meanings?

Assessment:

  • I will look first at the precision and formality of your language. Be as specific and as technical as possible. However, for this first assignment, I will allow for more informality and generality so long as your ideas are on the right track.
  • I will also be look at how clearly you explain your interpretation of each image. Being articulate is more important here than being "right."
  • I will also be looking at how carefully your analysis is composed and edited and that you have addressed each of the required points for each image.
  • I think that two to three single-spaced pages is a reasonable guideline for length.

Submission:

  • You should submit your assignment via Moodle by M 4/13 at 5:00 pm. Additional details on Moodle.
  • This assignment is worth five (5) points.

The images:

At 40:07.

200140mins07secs

At 80:00.

200180mins0secs

At 120:08.

2001120mins08secs


Visual style and fight choreography in ASHES OF TIME REDUX

Brunette makes note of the particular way in which the fights in Ashes of Time Redux are shot and choreographed (see pages 36-38). What did you think of how the fights were staged and fought? Did you find these scenes: Exciting? Frustrating? Visually interesting? Narratively effective? Narratively ineffective? Hard to follow? Visceral? How would you describe what you saw in the frame during these scenes?

Film Analysis: IN THE MOOD FOR LOVE

Below are images from In the Mood for Love for use in the Film Analysis assignment. Choose one for analysis and focus on the meaning of what's in the frame. This will entatil putting the formal elements of m-e-s into narrative context.

Remember, you only need to do a Film Analysis for two of the three films in this second group. In the Mood for Love is the second film in this group.

At 3:02:

MoodForLove3mins02secs

At 3:45:

MoodForLove3mins45secs

At 21:23:

MoodForLove21mins23secs

At 43:14:

MoodForLove43mins14secs

At 50:57:

MoodForLove50mins57secs

At 51:17:

MoodForLove51mins17secs

At 56:01:

MoodForLove56mins01secs

At 73:20:

MoodForLove73mins20secs

At 90:28:

MoodForLove90mins28secs


The puppets

The one question from the preview for Being John Malkovich that we did not address at all in class is the one about puppets and puppeteers:

What is the narrative purpose of making Craig a puppeteer? What is the semiotic function or effect of the repeated references to puppets and puppeteering? How do these relate to your understanding of mind/body relationships in the film?


Making ETERNAL SUNSHINE about Clementine

Continue the discussion we started last night. How would Eternal Sunshine change if Celementine were at the center of the narrative instead of Joel? How would her memory space be different? What kinds of voices or presences from the outside would have been leaking into her memories? Do you think that most people would have Joel's reaction to fight the memory removal?


Equilibrium in MEMENTO

Another aspect of this week's discussion noted in the Learning Assessments is the idea of narrative equilibrium and whether it can be applied to Memento or not. What do you think? How much does your answer to this question depend how you see Leonard as a character, whether the role he fills is that of hero or villain, protagonist or antagonist, whether he is a reliable or unreliable narrator?