Essay (2-3 Pages, Double-Spaced)  Due via Turnitin on the course blackboard, 11:00 PM, January 24.  Late papers are marked down 5% for each day it is late.  Previous paper asked for a close reading of one sequence through one particular text, the this paper asks you to apply all of the formal, historical, and theoretical knowledge you’ve acquired over the course to a comparative film analysis. For your essay do the following:  Select at least two (and no more than four) of the assigned texts for the course that you would like to incorporate in support of your argument. This means the essay PDFs, as these make particular theoretical claims. You are welcome to cite The Film Experience if this helps support your argument, but, as an introductory text book, this does not count as one of the two sources. While many of the essays address a particular film, genre, or movement, you should be able to apply some of the concepts to other examples—in fact, strong arguments often emerge when drawing connections between distinct texts and movies. Select two films you would like to compare in terms of character portrayal. These can be any two films assigned for the class (with the exception of Visions of Light and The Cutting Edge ), or one film assigned for the class along with any other film (not assigned) that best illustrates your argument. Any movie you find appropriate is fine, but you must address at least one film from the class. You don’t need to address both films equally, and rather than list all similarities and/or differences, focus on the one or two aspects (key character traits, his/her relationship to the narrative, ways in which the character is visually/acoustically presented) that are most unique to the film and relevant to your thesis. Present your topic and method in your thesis paragraph. This should indicate the specific points of difference or similarity between the two films you would like to explore, along with how your supporting texts provide certain concepts, theoretical frameworks, or conceptual tools to help you with your comparison. For instance, you may want to compare two films of the same genre but of distinct time periods and address these in terms of genres of order and the ways in which masculinity and the law are connected in each case, or look a particular kind narrative structure seen in European art cinema and in a contemporary indie film, and what this might say about the situation of a female protagonist struggling for independence. Your argument must demonstrate an informed understanding of the course material, and should thus showcase your ability to apply relevant vocabulary about the film’s style, narrative structure, historical context, etc. Avoid listing every possible difference or similarity. Rather, focus on a key aspect that reveals an interesting pattern or distinction. In other words, it is essential that the paper develop a precise argument that can be explored and supported in a fe.

1. Essay (2-3 Pages, Double-Spaced)
Due via Turnitin on the course blackboard, 11:00 PM, January
24.
Late papers are marked down 5% for each day it is late.
Previous paper asked for a close reading of one sequence
through one particular text, the this paper asks you to apply all
of the formal, historical, and theoretical knowledge you’ve
acquired over the course to a comparative film analysis. For
your essay do the following:
Select
at least two
(and no more than four) of the assigned texts for the course that
you would like to incorporate in support of your argument. This
means the essay PDFs, as these make particular theoretical
claims. You are welcome to cite
The Film Experience
if this helps support your argument, but, as an introductory text
book, this does not count as one of the two sources. While many
of the essays address a particular film, genre, or movement, you
should be able to apply some of the concepts to other
examples—in fact, strong arguments often emerge when
drawing connections between distinct texts and movies.
Select two films you would like to compare in terms of
character portrayal. These can be any two films assigned for the
class (with the exception of
Visions of Light

2. and
The Cutting Edge
), or one film assigned for the class along with any other film
(not assigned) that best illustrates your argument. Any movie
you find appropriate is fine, but you must address at least one
film from the class. You don’t need to address both films
equally, and rather than list all similarities and/or differences,
focus on the one or two aspects (key character traits, his/her
relationship to the narrative, ways in which the character is
visually/acoustically presented) that are most unique to the film
and relevant to your thesis.
Present your topic and method in your thesis paragraph. This
should indicate the specific points of difference or similarity
between the two films you would like to explore, along with
how your supporting texts provide certain concepts, theoretical
frameworks, or conceptual tools to help you with your
comparison. For instance, you may want to compare two films
of the same genre but of distinct time periods and address these
in terms of genres of order and the ways in which masculinity
and the law are connected in each case, or look a particular kind
narrative structure seen in European art cinema and in a
contemporary indie film, and what this might say about the
situation of a female protagonist struggling for independence.
Your argument must demonstrate an informed understanding of
the course material, and should thus showcase your ability to
apply relevant vocabulary about the film’s style, narrative
structure, historical context, etc. Avoid listing every possible
difference or similarity. Rather, focus on a key aspect that
reveals an interesting pattern or distinction. In other words, it is
essential that the paper develop a precise argument that can be
explored and supported in a few short pages. Precision and

3. clarity with both the texts and examples is paramount.
Whether you paraphrase or quote, include in-text citation,
footnotes, or endnotes, you must cite accordingly. Be sure to
also include a bibliography (if not providing complete footnotes
or endnotes). You do not need to do any additional research—
and, in fact,
should not
incorporate other sources for your interpretation of the
academic text or film. See the texts in the “Writing Guides”
folder for additional information on citing sources. See the
syllabus for additional information on paper format.
A strong analysis demonstrates how particular formal elements
convey meaning or position the spectator in relation to the
characters, narrative, or conflict in a way that reflects a cultural
or social perspective. A rich thesis also wrestles with some of
the ambiguities or paradoxes of its representations or messages.
For instance, several queer theorists have noted how
Brokeback Mountain
(Ang Lee, 2005) is ultimately conservative when it comes to its
treatment of homosexuality, as it fails to imagine queer desire
unconstrained by repression and punishment.
Use the following questions as a starting point, and then pursue
the one or two responses that promise to unveil some new or
unexpected insights into how and why the film addresses such
issues:
Socioeconomic Status
Does the socioeconomic status of each character play a
significant role in the narrative? How so?

4. Are people from a particular class portrayed negatively (or
positively) in this movie? If so, what seems to be the point of
that portrayal?
Does this film seem to set out to critique the socioeconomic
status quo? In what ways does it do so? What aspects of the
status quo does it leave unquestioned?
Is nearly everything of value in this movie something that can
be bought and sold (i.e., a
commodity
)? Or does the film portray values that fall outside the realm of
economics? Overall, what values are being argued for in this
film? How is the argument being presented?
Gender
Are the main female characters in this movie as fully realized as
the male characters? What characteristics do the female
characters possess? Which do they lack? What is does this tell
us about how the filmmakers are positioning women?
Is the identity of the main female character (or characters)
defined primarily by her (or their) sex appeal? What are the
implications of this portrayal?
Does this movie’s narrative seem to suggest that the relations
between the sexes are “natural” and proper, or does it seem to

5. critique the status quo? If the latter, what is the nature of the
critique?
Does the film reflect or work against the assumptions about
gender roles that prevailed in the time when this movie was
made and screened? How so?
Do the formal aspects of this movie (the cinematography, the
editing, etc.) cause you to see the female characters from the
perspective of a male protagonist? In what way does this
perspective limit your understanding of the characters?
Do you find yourself sympathizing with the main female
character(s) in this film? Why or why not?
Race, Ethnicity, and National Origin
Given what you know about the place or time portrayed in the
movie, are there groups or people not shown or barely
acknowledged in the movie who were nonetheless significant
and visible there and then? Why do you think they aren’t
portrayed in this movie?
Does the movie use visual cues—in lighting, camera angles,
editing decisions, costume, makeup, or actors’ gestures—to
establish that a character or a group of characters is clearly an
“Other”—a strange, foreign, or menacing type of person who
falls outside of the “normal” majority? If so, what are the cues
and how do they work?

6. Is the movie seemingly content to reinforce traditional
stereotypes of minority characters? Or does it seem to be
working against them? How so?
• Does the movie portray racial, ethnic, or cross-cultural
relations as complex and contradictory social interactions? Or
does the film offer, literally and figuratively, a “black-and-
white” worldview? What is the effect of the complex or
simplistic portrayals of these relations?
Sexual Orientation
Does the movie present a straightforward and uncomplicated
portrait of heterosexual relationships? Or does it introduce
narrative elements that portray alternative sexual identities? In
either case, what comments about sexuality is the film making?
If the movie does portray alternative sexualities, does it present
people as social deviants, as comic foils, or as otherwise
“abnormal” characters? Or are these characters portrayed as
fully realized human beings?
If a movie seems primarily occupied with portraying
heterosexuality as the norm to be emulated and celebrated, does
it nonetheless contain subtle narrative or visual elements that
undermine that portrait of normalcy? What are these elements,
and how are they in play?

7. What function, if any, do performative aspects of sexuality have
in the film? Are there camp elements? Drag? Cross-dressing?
Are they meant to be merely laughed at or dismissed as deviant,
or do they move the movie’s narrative in an interesting
direction?
If you watch a film made by or starring a film artist who was
eventually revealed to be gay, lesbian, bisexual, transsexual, or
of some other alternative sexual identity, what aspects of the
film seem to flow from this identity, and which aspects seem to
contradict it?
Disability
How is/are the figure/s of disability (including the elderly)
rhetorically framed? Is the disabled character presented as an
object of wonder, sentimentalized, or sensationalized as an
exotic “Other”? If the character is presented through a
“realistic” lens, how is the disability normalized? To what
degree does the figure—and the formal elements of the film—
arouse identification or estrangement?
In what ways is the disability, as it is presented, aligned with
groups or individuals typically presented as “Others” in the
dominant culture (i.e. associated with “abnormal” sexuality,
with “abject” poverty, “unhealthy” values)?
If the disabled individual or group is presented as heroic or
pathetic, what might this say about the medical and social
discourses and institutions of this milieu? For instance, is the

8. figure depicted as a burden or as independent and capable?
Animals and the Nonhuman
Animals and other non-human figures (monsters, aliens, and
androids) are often presented in films as reflections of, or
distinct from, human characters and characteristics. To what
degree, and in what ways is the animal anthropomorphized or
presented as unknowable or inhuman? What appears to be the
intention of this depiction?
How do human characters interact with the animal? What might
this say about particular cultural perspectives with regard to
pets, livestock, and/or wild animals?
In what ways might the animal signify particular stereotypes or
conceptions of class, gender, ethnicity, sexual orientation, etc.
(i.e. a “junkyard dog” = white trash, masculine, violent; a
lapdog = effete snobs, feminine, queer) and how might this
contribute to how the audience is intended to read particular
characters or the narrative?
You’re welcome to email me possible thesis statements. I hope
you enjoy your freedom with this assignment, but am also happy
to provide additional structure if you prefer.