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Directions:
Using word processing software to save and submit your work,
please answer the following short answer questions. All
responses to questions should be one to two paragraphs,
composed of five to seven sentences, in length. Your responses
should include examples from the reading assignments.
1.Compare and contrast the "revolutionary" cinemas of Cuba
and Argentina.
2.What factors influenced the development of militant black
African cinema in the 1960s and 1970s?
3.How did eastern European filmmakers react to the conditions
imposed by Socialist Realist doctrine—that is, to the idea that
Soviet bloc artists were obliged to serve the objectives of the
Communist Party?
4.How do the films of Rainer Werner Fassbinder exemplify, as
suggested in the text, a general trend within contemporary
European political cinema? Describe the two phases of his
career.
5.How did Direct Cinema develop from the late 1960s onward?
6.In what ways have documentary films since the 1960s turned a
critical eye on the documentary tradition itself? Identify and
explain the formal strategies commonly pursued by filmmakers
who have questioned the authority of documentary film's truth
claims.
7.What are the basic differences between "underground" film
and Structural film? Which kinds of formal principles are
explored in the most representative works of the Structuralist

tendency?
8.What were the ideas and influences behind the emergence of
the New Narrative and the punk (and punk-influenced)
experimental film trends of the 1970s and 1980s?

Similar to Directions Using word processing software to save and submit yo.docx

Directions: Using word processing software to save and submit your work, please answer the following short answer questions. All responses to questions should be one to two paragraphs, composed of five to seven sentences, in length. Your responses should include examples from the reading assignments. 1. Perhaps the most important artistic trend of the early twentieth century was labeled modernism. Summarize some of the principal tenets of modernism, and specify how these ideas influenced the development of the French Impressionism (or German Expressionist [Ch. 5] or Soviet Montage [Ch. 6]) movement in film. 2. What created the problems confronting French film production between 1918 and 1928? Identify the three primary factors as identified in the text, and summarize the effects of each of these causes. 3. The formal qualities of French Impressionism derived partly from the directors' beliefs about the cinema as an art form. What were these beliefs? Explain how the Impressionists' theories on the cinema translated to their films with regard to either cinematography or editing. 4. Why did French Impressionism decline as a unified filmmaking movement in the late 1920s? What was the role of pressures from both inside and outside the movement in this decline? 5. Compare the activities of the Soviet film industry during the War Communism period (1918-1920) and during the years of the New Economic Policy (1921-1924). What difficulties arose for the industry during War Communism, and how were these problems remedied or addressed by the New Economic Policy? 6. What were the objectives of Constructivism, and which of those aims were especially important to the development of the Montage movement in film? 7. How did the theories on filmmaking advanced by Lev Kuleshov, Dziga Vertov, and Sergei Eisenstein differ with regard to editing? 8. How was mise-en-scene used as an element of montage in the films of Soviet directors? Give examples of how mise-en-scene was typically employed in Montage films. 9. What is the difference between vertical integration and horizontal integration? 10. What were the factors behind the nickelodeon boom of the middle 1900s? What were the reasons for the nickelodeon's popularity—what advantages did this type of exhibition venue offer to both theater owner and patron? 11. In what ways did the motion picture industry in the late 1900s attempt to make films more prestigious and film going more respectable? What pressures were producers and exhibitors responding to? 12. How did the animated film develop during the early twentieth century? What types of animation techniques did the earliest animators use? Give examples of specific animators or from specific films. Compare the film industries in France and the Soviet Union during the Late Silent Era. What economic, social, and political factors influenced film and cinema during this period in both countries? .

Directions Using word processing software to save and submit your.docx

duketjoy27252

Directions : Using word processing software to save and submit your work, please answer the following short answer questions. All responses to questions should be one to two paragraphs, composed of five to seven sentences, in length. Your responses should include examples from the reading assignments. 1. How did the major Hollywood firms respond to the challenge posed by First National Exhibitors' Circuit in 1917? What kinds of benefits resulted from the industry's adoption of vertical integration? Explain how this policy benefited both major and minor film companies. 2. Identify the major technological and aesthetic factors that influenced Hollywood film form during the 1920s. How did the resulting changes enhance or complement the classical narrative style, which was by then the industry norm? How are these changes evident in the film screened in class? 3. What events or conditions motivated the calls for the moral reform of the American film industry in the early 1920s? How did the industry respond to these calls? Analyze how this response placated the reformers and at the same time protected the industry's own interests. 4. In what ways were the formal innovations of European cinemas assimilated by American filmmakers and integrated into the classical Hollywood cinema during the late silent era? What kinds of contributions were made by European directors working in Hollywood? 5. Under what conditions did African American audiences experience films during the silent era? In what ways did individual filmmakers or companies tailor their films to appeal specifically to these audiences? 6. Discuss the motives behind the emergence of "Film Europe." How did the national film industries of Europe cooperate in combating the influence of American movies? Why were these cooperative efforts halted at the end of the 1920s? 7. What were the institutions that championed and promoted "art cinema" during the late silent period? 8. What were the theoretical and aesthetic principles that characterized the Dada, Surrealist, and "cinema pur" movements? Which formal and stylistic qualities did their films share, and in what ways did they differ? .

DirectionsUsing word processing software to save and submit.docx

kimberly691

Directions : Using word processing software to save and submit your work, please answer the following short answer questions. All responses to questions should be one to two paragraphs, composed of five to seven sentences, in length. Your responses should include examples from the reading assignments. 1. How did the major Hollywood firms respond to the challenge posed by First National Exhibitors' Circuit in 1917? What kinds of benefits resulted from the industry's adoption of vertical integration? Explain how this policy benefited both major and minor film companies. 2. Identify the major technological and aesthetic factors that influenced Hollywood film form during the 1920s. How did the resulting changes enhance or complement the classical narrative style, which was by then the industry norm? How are these changes evident in the film screened in class? 3. What events or conditions motivated the calls for the moral reform of the American film industry in the early 1920s? How did the industry respond to these calls? Analyze how this response placated the reformers and at the same time protected the industry's own interests. 4. In what ways were the formal innovations of European cinemas assimilated by American filmmakers and integrated into the classical Hollywood cinema during the late silent era? What kinds of contributions were made by European directors working in Hollywood? 5. Under what conditions did African American audiences experience films during the silent era? In what ways did individual filmmakers or companies tailor their films to appeal specifically to these audiences? 6. Discuss the motives behind the emergence of "Film Europe." How did the national film industries of Europe cooperate in combating the influence of American movies? Why were these cooperative efforts halted at the end of the 1920s? 7. What were the institutions that championed and promoted "art cinema" during the late silent period? 8. What were the theoretical and aesthetic principles that characterized the Dada, Surrealist, and "cinema pur" movements? Which formal and stylistic qualities did their films share, and in what ways did they differ? .

Directions Using word processing software to save and submit yo.docx

salmonpybus

Directions Using word processing software to save and submit your.docx

kimberly691

DirectionsUsing word processing software to save and submit y.docx

kimberly691

. What factors lay behind the "upscaling" of Hollywood film genres during the 1950s? Identify the significant genres of the postwar period, and explain how each was affected by enhanced production values and increased thematic complexity. 5. Pick two of the following directors: Max Ophüls, Jean Renoir, Jean Cocteau. What were the particularly important or influential qualities of these directors' postwar French films? In what ways did each director use visual style to complement his characteristic thematic or narrative concerns? 6. Why did the United States, as represented by SCAP (Supreme Commander of the Armed Powers), take a keen interest in the postwar Japanese film industry? What steps did SCAP take to help rebuild the Japanese studio system? In what ways did SCAP both assist and hinder the efforts of the major postwar Japanese directors? 7. In what ways did film production in the Soviet bloc nations adhere to and depart from the Soviet industry structure and the Socialist Realist aesthetic? Specifically, how did "de-Stalinization" affect film practice? 8. What were the essential traits of the postwar Hindi film? Identify its conventions using the films discussed in the text as examples. .

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marilynnhoare

[INSERT TITLE HERE] 1 1. How did the Paramount decision of 1948 change the U.S. film industry? To what degree did the decision alter the way the industry did business? 2. How did changes in postwar American lifestyles affect the domestic film market? Amidst a climate of more selective moviegoers, what type of film was judged to be capable of attracting audiences? How did the Hollywood Majors exploit technological advances to produce this type of film? 3. Identify the major segments of the U.S. filmgoing audience targeted by producers in the 1950s. What kinds of films were produced for each of these segments? 4. What factors lay behind the "upscaling" of Hollywood film genres during the 1950s? Identify the significant genres of the postwar period, and explain how each was affected by enhanced production values and increased thematic complexity. 5. Pick two of the following directors: Max Ophüls, Jean Renoir, Jean Cocteau. What were the particularly important or influential qualities of these directors' postwar French films? In what ways did each director use visual style to complement his characteristic thematic or narrative concerns? 6. Why did the United States, as represented by SCAP (Supreme Commander of the Armed Powers), take a keen interest in the postwar Japanese film industry? What steps did SCAP take to help rebuild the Japanese studio system? In what ways did SCAP both assist and hinder the efforts of the major postwar Japanese directors? 7. In what ways did film production in the Soviet bloc nations adhere to and depart from the Soviet industry structure and the Socialist Realist aesthetic? Specifically, how did "de-Stalinization" affect film practice? 8. What were the essential traits of the postwar Hindi film? Identify its conventions using the films discussed in the text as examples. .

[INSERT TITLE HERE] 11.How did the Paramount decision of 1948 c.docx

danielfoster65629

1. How did the major Hollywood firms respond to the challenge posed by First National Exhibitors' Circuit in 1917? What kinds of benefits resulted from the industry's adoption of vertical integration? Explain how this policy benefited both major and minor film companies. 2. Identify the major technological and aesthetic factors that influenced Hollywood film form during the 1920s. How did the resulting changes enhance or complement the classical narrative style, which was by then the industry norm? How are these changes evident in the film screened in class? 3. What events or conditions motivated the calls for the moral reform of the American film industry in the early 1920s? How did the industry respond to these calls? Analyze how this response placated the reformers and at the same time protected the industry's own interests. 4. In what ways were the formal innovations of European cinemas assimilated by American filmmakers and integrated into the classical Hollywood cinema during the late silent era? What kinds of contributions were made by European directors working in Hollywood? 5. Under what conditions did African American audiences experience films during the silent era? In what ways did individual filmmakers or companies tailor their films to appeal specifically to these audiences? 6. Discuss the motives behind the emergence of "Film Europe." How did the national film industries of Europe cooperate in combating the influence of American movies? Why were these cooperative efforts halted at the end of the 1920s? 7. What were the institutions that championed and promoted "art cinema" during the late silent period? 8. What were the theoretical and aesthetic principles that characterized the Dada, Surrealist, and "cinema pur" movements? Which formal and stylistic qualities did their films share, and in what ways did they differ? .

1. How did the major Hollywood firms respond to the challenge p.docx

sandibabcock

milies (most with teenage children) and the Baby Boomers (teens and college-age young people). The film industry and the changes to it are deeply divided in this schism. On the one hand, musicals (Sound of Music), World War II war films (The Great Escape) and historical epics (Dr. Zhivago) drove the adult market. Rebellion, sex and individual-minded heroes drove the youth market (Easy Rider, Bonnie and Clyde, The Graduate.) By the end of the decade, the tastes of the counter-culture youth had won. Anti-war film (Catch-22), flawed characters as heroes (The Good, the Bad, and the Ugly) and sexual issues (Midnight Cowboy, Butterfield 8, Valley of the Dolls) dominated the screen. Question 1: What are some of the benefits of the Boomer generation's rebellion and changes to Hollywood in the 1960s? Question 2: What are some of the drawbacks of having film dominated by the demands of an audience that was under the age of 25? Directions: Using word processing software to save and submit your work, please answer the following short answer questions. All responses to questions should be one to two paragraphs, composed of five to seven sentences, in length. Your responses should include examples from the reading assignments. 1. Trace the development of the early documentary film career of Jean Rouch. What were his objectives as an ethnographic filmmaker during the 1950s? What formal techniques did he use to express these objectives? 2. How did Direct Cinema succeed in transforming documentary filmmaking during the late 1950s and early 1960s? Why did American documentary makers adopt this style, and in what ways did this choice influence their films? In what ways were their films also influenced by technological developments? 3. Compare and contrast two of the most prominent trends in avant-garde filmmaking from the 1940s to the 1960s: the experimental narrative and the lyrical film. How did both trends make use of abstract imagery and structure, and for what purposes? 4. What were the notable (and notorious) qualities that characterized the American underground film of the 1960s? 5. Analyze the important social, economic, and industrial factors leading up to the emergence of the New Hollywood in the early 1970s. What were the causes of the industry-wide recession of 1969 to 1970? What new audiences did the Majors subsequently attempt to target? 6. How did European art cinema conventions influence the filmmakers of the New Hollywood? In what ways did art cinema narrational and stylistic techniques infuse new life into standard Hollywood genres? 7. Trace the evolution of the Hollywood studio system's economic recovery in the middle and late 1970s. What were the important blockbusters of the period? 8. Compare and contrast the approaches of Steven Spielberg and Martin Scorsese to studio filmmaking. In what ways did each director "revise" genres from the classical Hollywood era? How did t.

milies (most with teenage children) and the Baby Boomers (teens and .docx

healdkathaleen

1917 russian revolution and history of conflict the beginning of.pdf

study help

Popcultin ea 1

Melissa Chan, PhD

Essay Section : Answer the following essays in great detail . Pay special attention to what the question is asking. In other words, make sure your essay is on target. I’m looking for a detailed analysis . (Your essays should be several paragraphs) 1) Discuss the history of movie-going from the early 1900s to today. Make note of the cultural forces (including technology) that shaped this history. 2) What is Hollywood? What is its relationship to our understanding of Classical Cinema? What do we mean by economy in film, what is mis-en-scene , and how do these two terms relate to Hollywood and Classical Cinema? 3) Explain the relationship between Classical style , Modernism , and Postmodernism . 4) Explain the culture and issues surrounding the HUAC and Hollywood-10 in America, film trends during the 1960s , the new wave of directors in the 1970s. .

Essay Section Answer the following essays in great detail. Pa.docx

jenkinsmandie

Britishness and Collective Identity

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The 20th century and modern art is characterized by an expansion of art media. One of the foremost and most influential media of the 20th century is film. Before writing your assignment for this week, read the information in your textbook (chapter 37) about the rise of fascism and use of propaganda in art. Then look at reputable sources online about Leni Riefenstahl’s Triumph of the Will and Charlie Chaplin’s speech in the Great Dictator and watch the films in the first two lecture links. Knowledge about the films will help you to better understand what you are seeing. For this week’s writing assignment compare and contrast the effect of each film clip on the viewer. Make sure you understand the content and purpose of each film before answering and writing your response. Assignment Notes: Who initialized each film and what purpose did each filmmaker have in mind? Pay special attention to the film techniques invented and implemented by Leni Riefenstahl and the manipulative effects on the contemporary (i.e. 1934) German audience. How does each film influence its audience? This written assignment should be thoughtfully written in a minimum of 300 words. .

The 20th century and modern art is characterized by an expansion.docx

todd801

Introduction To Documentary.Ocr National

Greenwich Council

APP 315-42 Asian Pop Culture & Globalization (#4) Katherine Chu 2018/02/13 1 Last time … Lecture #3 Key Ideas   The Slanted Screen   Asian American History   Asian images in Hollywood (6 images)   The stereotypes of Asians in Hollywood   Case study: Breakfast at Tiffany’s (1961)   What is Yellowface?   How did Asian response (or “talk back”) to Hollywood?   Film: An Autumn’s Tale (1987)   Introduce you to some Asian Stars TODAY ! The Global Impact of S. Korean Pop Culture in Asia On the syllabus   I required students to read from Chapter 1 to Chapter 4.   Feel free to pick one or more chapters to read.   Reasons to read:   Each chapter could be a sample to your FINAL RESEARCH PAPER   Each chapter falls into one or two of popular culture analysis (the 4 critical approaches) [NEXT SLIDE] which I have introduced to you in Lecture #1 Four Critical Approaches   Production analysis   Textual analysis   Audience analysis   Historical Analysis Critical Approaches   Production Analysis   Who owns the media? Who makes these texts? With What intentions? Under what technical constraints? How democratic or elitist is the production or popular culture? Role of the state government? How much is commerce? How much creative freedom? Critical Approaches   Textual Analysis   How do specific works of popular culture make their meanings? How do explicit meanings differ from implied ones? How do texts consciously and subconsciously shape those who hear, see, or touch them? Critical Approaches   Audience Analysis   How do different groups of popular culture consumers or users, make similar or different sense of the same texts?   Historical Analysis   How have these other three dimensions changed over time? How does current popular culture differ from that of 10, 20 or 30 years ago? What accounts for the changes? About the Book   Chapter 1 – overview the Korean Wave   Chapter 2 – Impact of Korean TV dramas   Chapter 3 – Impacts of Korean Wave in Indonesia   Chapter 4 – Impacts of Korean Wave in Japan   When you write your Readings Response Journal, please provide me a summary of each chapter. Then you can discuss some interesting points from the chapters. Key Ideas of Lecture #4   What is globalization?   Remember our course name? Asian Pop Culture & Globalization.   About your Final Research Paper   What is Korean Wave?   Asian Pop Culture Development   Regionalism   US’s impact What is Globalization? Globalization 1.  An outgrowth of cultural imperialism   US (“West”): Stronger àVS. Others (“East”/ “Oriental”): Weaker   One-way flow of western media   “One-way” means: flows from the West to the East ONLY, not the opposite way Globalization 1.  An outgrowth of cultural imperialism   US (“West”)à Weaker   One-way flow of western.

APP 315-42 Asian Pop Culture & Globalization (#4) Kathe.docx

justine1simpson78276

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Homework1Below, you will find a set of readings and videos tha.docx

pooleavelina

Essay Paper Writer. Online assignment writing service.

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