1. In a certain sense, cinema began as an optical trick.” The initi.docx
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This document provides discussion questions about cinema during the 1930s-1940s. It asks the reader to: 1) Summarize the strategies of the major Hollywood studios during the Great Depression. 2) Analyze how innovations in areas like sound recording, camera movement, and special effects influenced the development of the classical Hollywood style. 3) Describe the evolution of genres like the war film and musical between 1930-1945.
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Directions Using word processing software to save and submit your.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.Identify the Big Five Hollywood studios (or "Majors") of the 1930s and summarize their strategies for weathering the effects of the Great Depression.
2.What types of film content caused problems for the major Hollywood production companies during the late 1920s and early 1930s? How did the Hays Office operate to protect, rather than hinder, the interests of the American film industry? Explain how Production Code regulations helped modify the content of Hollywood movies.
3.Pick two of the following stylistic categories: sound recording, camera movement, color, special effects, cinematography styles. Analyze how innovations within these categories influenced the development of the Hollywood style. In what ways did these innovations complement the aims of classical continuity filmmaking?
4.Pick two of the following genres: the war film, the gangster film, the screwball comedy, the musical. Describe the evolution of these genres between 1930 and 1945, and provide examples of representative films.
5.Compare and contrast the production practices of the top three animation studios of the studio era: Disney, Fleischer, and Warner Bros. What sorts of animation techniques did each specialize in? How did their individual expertise influence the style and makeup of the studios' signature characters?
6.Describe the immediate causes and effects of both of Britain's Quota Acts. In each case, how did these effects contribute to or hinder the consolidation of the British studio system? What kinds of films resulted from these acts?
7.Compare and contrast popular cinema in Japan during the early and middle 1930s to Japanese cinema during the years of World War II.
.
DirectionsUsing word processing software to save and submit y.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.
Identify the Big Five Hollywood studios (or "Majors") of the 1930s and summarize their strategies for weathering the effects of the Great Depression.
2.
What types of film content caused problems for the major Hollywood production companies during the late 1920s and early 1930s?
How did the Hays Office operate to protect, rather than hinder, the interests of the American film industry?
Explain how Production Code regulations helped modify the content of Hollywood movies.
3.
Pick two of the following stylistic categories: sound recording, camera movement, color, special effects, cinematography styles.
Analyze how innovations within these categories influenced the development of the Hollywood style.
In what ways did these innovations complement the aims of classical continuity filmmaking?
4.
Pick two of the following genres: the war film, the gangster film, the screwball comedy, the musical.
Describe the evolution of these genres between 1930 and 1945, and provide examples of representative films.
5.
Compare and contrast the production practices of the top three animation studios of the studio era: Disney, Fleischer, and Warner Bros.
What sorts of animation techniques did each specialize in?
How did their individual expertise influence the style and makeup of the studios' signature characters?
6.
Describe the immediate causes and effects of both of Britain's Quota Acts.
In each case, how did these effects contribute to or hinder the consolidation of the British studio system?
What kinds of films resulted from these acts?
7.
Compare and contrast popular cinema in Japan during the early and middle 1930s to Japanese cinema during the years of World War II.
.
1. Identify the Big Five Hollywood studios (or Majors) of the.docx
1. Identify the Big Five Hollywood studios (or "Majors") of the 1930s and summarize their strategies for weathering the effects of the Great Depression.
2. What types of film content caused problems for the major Hollywood production companies during the late 1920s and early 1930s? How did the Hays Office operate to protect, rather than hinder, the interests of the American film industry? Explain how Production Code regulations helped modify the content of Hollywood movies.
3. Pick two of the following stylistic categories: sound recording, camera movement, color, special effects, cinematography styles. Analyze how innovations within these categories influenced the development of the Hollywood style. In what ways did these innovations complement the aims of classical continuity filmmaking?
4. Pick two of the following genres: the war film, the gangster film, the screwball comedy, the musical. Describe the evolution of these genres between 1930 and 1945, and provide examples of representative films.
5. Compare and contrast the production practices of the top three animation studios of the studio era: Disney, Fleischer, and Warner Bros. What sorts of animation techniques did each specialize in? How did their individual expertise influence the style and makeup of the studios' signature characters?
6. Describe the immediate causes and effects of both of Britain's Quota Acts. In each case, how did these effects contribute to or hinder the consolidation of the British studio system? What kinds of films resulted from these acts?
7. Compare and contrast popular cinema in Japan during the early and middle 1930s to Japanese cinema during the years of World War II.
.
[INSERT TITLE HERE] 11.Identify the Big Five Hollywood studios .docx
[INSERT TITLE HERE] 1
1. Identify the Big Five Hollywood studios (or "Majors") of the 1930s and summarize their strategies for weathering the effects of the Great Depression.
2. What types of film content caused problems for the major Hollywood production companies during the late 1920s and early 1930s? How did the Hays Office operate to protect, rather than hinder, the interests of the American film industry? Explain how Production Code regulations helped modify the content of Hollywood movies.
3. Pick two of the following stylistic categories: sound recording, camera movement, color, special effects, cinematography styles. Analyze how innovations within these categories influenced the development of the Hollywood style. In what ways did these innovations complement the aims of classical continuity filmmaking?
4. Pick two of the following genres: the war film, the gangster film, the screwball comedy, the musical. Describe the evolution of these genres between 1930 and 1945, and provide examples of representative films.
5. Compare and contrast the production practices of the top three animation studios of the studio era: Disney, Fleischer, and Warner Bros. What sorts of animation techniques did each specialize in? How did their individual expertise influence the style and makeup of the studios' signature characters?
6. Describe the immediate causes and effects of both of Britain's Quota Acts. In each case, how did these effects contribute to or hinder the consolidation of the British studio system? What kinds of films resulted from these acts?
7. Compare and contrast popular cinema in Japan during the early and middle 1930s to Japanese cinema during the years of World War II.
.
Film Essay Structure
The Art Cinema As A Mode Of Film Essay
Essay on Film Making
Film Friday: Analyzation Of Films And Film
The History of Film Essay
Paramount Decree
Medium Specificity Essay
Elements Of A Semantic Approach To Film Genre
Thesis On Film And Architecture
Digital Convergence Impact On The Film Industry
Boyhood Film Analysis
Editing and Montage Film
Examples Of Structuralist Film Theory
Filmmaking Process Essay
Thirteen Movie Essay
Film Synthesis Essay
Essay on Film Genre
Recommended
Directions Using word processing software to save and submit your.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.Identify the Big Five Hollywood studios (or "Majors") of the 1930s and summarize their strategies for weathering the effects of the Great Depression.
2.What types of film content caused problems for the major Hollywood production companies during the late 1920s and early 1930s? How did the Hays Office operate to protect, rather than hinder, the interests of the American film industry? Explain how Production Code regulations helped modify the content of Hollywood movies.
3.Pick two of the following stylistic categories: sound recording, camera movement, color, special effects, cinematography styles. Analyze how innovations within these categories influenced the development of the Hollywood style. In what ways did these innovations complement the aims of classical continuity filmmaking?
4.Pick two of the following genres: the war film, the gangster film, the screwball comedy, the musical. Describe the evolution of these genres between 1930 and 1945, and provide examples of representative films.
5.Compare and contrast the production practices of the top three animation studios of the studio era: Disney, Fleischer, and Warner Bros. What sorts of animation techniques did each specialize in? How did their individual expertise influence the style and makeup of the studios' signature characters?
6.Describe the immediate causes and effects of both of Britain's Quota Acts. In each case, how did these effects contribute to or hinder the consolidation of the British studio system? What kinds of films resulted from these acts?
7.Compare and contrast popular cinema in Japan during the early and middle 1930s to Japanese cinema during the years of World War II.
.
DirectionsUsing word processing software to save and submit y.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.
Identify the Big Five Hollywood studios (or "Majors") of the 1930s and summarize their strategies for weathering the effects of the Great Depression.
2.
What types of film content caused problems for the major Hollywood production companies during the late 1920s and early 1930s?
How did the Hays Office operate to protect, rather than hinder, the interests of the American film industry?
Explain how Production Code regulations helped modify the content of Hollywood movies.
3.
Pick two of the following stylistic categories: sound recording, camera movement, color, special effects, cinematography styles.
Analyze how innovations within these categories influenced the development of the Hollywood style.
In what ways did these innovations complement the aims of classical continuity filmmaking?
4.
Pick two of the following genres: the war film, the gangster film, the screwball comedy, the musical.
Describe the evolution of these genres between 1930 and 1945, and provide examples of representative films.
5.
Compare and contrast the production practices of the top three animation studios of the studio era: Disney, Fleischer, and Warner Bros.
What sorts of animation techniques did each specialize in?
How did their individual expertise influence the style and makeup of the studios' signature characters?
6.
Describe the immediate causes and effects of both of Britain's Quota Acts.
In each case, how did these effects contribute to or hinder the consolidation of the British studio system?
What kinds of films resulted from these acts?
7.
Compare and contrast popular cinema in Japan during the early and middle 1930s to Japanese cinema during the years of World War II.
.
1. Identify the Big Five Hollywood studios (or Majors) of the.docx
1. Identify the Big Five Hollywood studios (or "Majors") of the 1930s and summarize their strategies for weathering the effects of the Great Depression.
2. What types of film content caused problems for the major Hollywood production companies during the late 1920s and early 1930s? How did the Hays Office operate to protect, rather than hinder, the interests of the American film industry? Explain how Production Code regulations helped modify the content of Hollywood movies.
3. Pick two of the following stylistic categories: sound recording, camera movement, color, special effects, cinematography styles. Analyze how innovations within these categories influenced the development of the Hollywood style. In what ways did these innovations complement the aims of classical continuity filmmaking?
4. Pick two of the following genres: the war film, the gangster film, the screwball comedy, the musical. Describe the evolution of these genres between 1930 and 1945, and provide examples of representative films.
5. Compare and contrast the production practices of the top three animation studios of the studio era: Disney, Fleischer, and Warner Bros. What sorts of animation techniques did each specialize in? How did their individual expertise influence the style and makeup of the studios' signature characters?
6. Describe the immediate causes and effects of both of Britain's Quota Acts. In each case, how did these effects contribute to or hinder the consolidation of the British studio system? What kinds of films resulted from these acts?
7. Compare and contrast popular cinema in Japan during the early and middle 1930s to Japanese cinema during the years of World War II.
.
[INSERT TITLE HERE] 11.Identify the Big Five Hollywood studios .docx
[INSERT TITLE HERE] 1
1. Identify the Big Five Hollywood studios (or "Majors") of the 1930s and summarize their strategies for weathering the effects of the Great Depression.
2. What types of film content caused problems for the major Hollywood production companies during the late 1920s and early 1930s? How did the Hays Office operate to protect, rather than hinder, the interests of the American film industry? Explain how Production Code regulations helped modify the content of Hollywood movies.
3. Pick two of the following stylistic categories: sound recording, camera movement, color, special effects, cinematography styles. Analyze how innovations within these categories influenced the development of the Hollywood style. In what ways did these innovations complement the aims of classical continuity filmmaking?
4. Pick two of the following genres: the war film, the gangster film, the screwball comedy, the musical. Describe the evolution of these genres between 1930 and 1945, and provide examples of representative films.
5. Compare and contrast the production practices of the top three animation studios of the studio era: Disney, Fleischer, and Warner Bros. What sorts of animation techniques did each specialize in? How did their individual expertise influence the style and makeup of the studios' signature characters?
6. Describe the immediate causes and effects of both of Britain's Quota Acts. In each case, how did these effects contribute to or hinder the consolidation of the British studio system? What kinds of films resulted from these acts?
7. Compare and contrast popular cinema in Japan during the early and middle 1930s to Japanese cinema during the years of World War II.
.
Film Essay Structure
The Art Cinema As A Mode Of Film Essay
Essay on Film Making
Film Friday: Analyzation Of Films And Film
The History of Film Essay
Paramount Decree
Medium Specificity Essay
Elements Of A Semantic Approach To Film Genre
Thesis On Film And Architecture
Digital Convergence Impact On The Film Industry
Boyhood Film Analysis
Editing and Montage Film
Examples Of Structuralist Film Theory
Filmmaking Process Essay
Thirteen Movie Essay
Film Synthesis Essay
Essay on Film Genre
DirectionsUsing word processing software to save and submit you.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. 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.
.
DirectionsUsing word processing software to save and submit.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.
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
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?
.
Readings, textbookChapters5, Mise en Scène11, Ho.docx
Readings, textbook
Chapters:
5, Mise en Scène
11, Hollywood, international
12 stars
13, genre
14 auteur
Ch. 12
James Dean
A star’s pay
Star vehicle
Hollywood studio era stars
Tom Cruise and South Park
S. Abraham Ravid, stars and box office
Little Tramp, Chaplin
Chaplin in Gold Rush
Keaton, Great Stoneface
Star persona
Market promotion
Heather Addison and Clara Bow
Gay audiences and Judy Garland
Al Pacino in Scarface
James Dean
Star culture and Hollywood success
Stars and overhead costs
Lengthy studio contracts versus independent films
Ch. 13
Subgenres
Alien
Western
Civilization, wilderness
The “final girl”
Film noir and World War II
Technology and humanity
Paranoid conspiracy films
Myth of Faust
Musicals
Integrated musicals
Musicals and creative and economic peak
Hybrid genres
Hollywood and genres
Revisionist films
Genre and auteurist approach combined
Martin Scorses’s New York. New York
Richard Combs
Self-destructive masculinity
Avatar
Conventions
Horror genre
Young adult protagonist
Samurai films and Westerns
Hard-boiled detectives
Chap. 14
Auteur theory
Evolution of auteur
Hollywood studio system
Andrew Sarris
Pauline Kael
Andre Bazin
Alfred Hitchcock
Orson Welles’s Touch of Evil
George Lucas
Akira Kurosawa, Rashomom
Early auteur critics and Hollywood
Francois Truffaut, Hollywood films
French films and literary masterpieces
French films of 1950s and Hollywood
Commercial appeal
Corporate entertainment in 1980s and 1990s
Orson Welles’s career
Kael and Welles
Citizen Kane
Wes Anderson, artistic signature
Possible essay questions (we will pick one or two for exam) (these questions are mostly based on Chapters 12 & 13 I believe, maybe one from 14, and then from films viewed in class. I will give you 3 or 4 on exam and you must answer one, maybe 2):
1) Explain how one of these figures demonstrates the way the star persona collapses the boundary between performance and biography: Jodie Foster, Mickey Rourke, or Jennifer Anniston
2) Describe how the "monsters" of the horror genre changed during the 1960s .
3) Using Al Pacino’s performance in Scarface or Judy Garland as examples, explain how some stars might appeal to a subculture, which responds to the star differently than the way mainstream audiences do.
4) Identify two characteristics of the Western narrative.
5) By the 1920s, slenderness became the key physical standard of beauty, thus filmmakers began casting slim actors and actresses in lead roles. Actresses in particular were bound by clauses in their studio contracts, which required them to maintain a particular weight and size. What was the cultural impetus for this change of attitude and appearance?
6) Explain how Bette Davis’s career demonstrates how the star phenomenon depends on collapsing an actor’s private life into her performances.
7) In a sentence, explain why most film critics didn't value genre films until the 1960s.
Answer: Critics associated genre films with studio mass-production practices--they connote ...
[INSERT TITLE HERE] 11.How did the Paramount decision of 1948 c.docx
[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.
.
milies (most with teenage children) and the Baby Boomers (teens and .docx
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.
1. Primary sources2. Secondary sources3. La Malinche4. Bacon’s.docx
1. Primary sources
2. Secondary sources
3. La Malinche
4. Bacon’s rebellion
5. Robert Carter III
6. Mesoamerica
7. Middle Passage
8. Indentured servitude
9. The Jefferson-Hemings Controversy
10. Triangular trade
11. Saint Dominique Revolt
12. Syncretism
13. Olaudah Equiano
14. Christopher Columbus
15. Columbian Moment
16. Hernan Cortes
17. Florentine Codex
18. Master Narrative of American History
19. Reconquista
20. The Paradox of Slavery
21. Indian Removal Act 1830
22. Trail of Tears
23. Treaty of Guadalupe Hidalgo
24. Niños Heroes (Heroic Children)
25. Antonio López de Santa Anna y Pérez de Lebrón
26. The Royal Africa Company
27. John Locke
28. St. Patrick’s Battalion
29. Chilam Balam
30. Popol Vuh
31. El requerimiento (The Requirement)
32. Manifest Destiny
33. Moses and Stephen F. Austin
34. Colonialism
35. Colonial Legacy
.
1. Prepare an outline, an introduction, and a summary.docx
1. Prepare
an outline
,
an introduction
, and
a summary
on the article selected. It s
hould be
a report of at least 4 page
double spaced.
2. Prepare a 4
PowerPoint slides
from the report.
NOTE
: See the attachment below to review the article.
.
1. Normative moral philosophy typically focuses on the determining t.docx
1. Normative moral philosophy typically focuses on the determining the right action for a person to perform in a given situation. First, how specifically is Aristotle’s virtue ethics focused slightly differently? Next, Aristotle thought that virtues are traits of character that manifest themselves through habitual activity and that are good for anyone to have. What are some of the virtuous traits to have according to Aristotle and how does acting in accordance with them over time bring about “correct” moral action? What does it mean to act in a morally correct way according to Aristotle?
Directions:
Please provide detailed and elaborate responses to the following questions. Your responses should include examples from the reading assignments. Each response should be at least one half of one page in length and utilize APA format.
1. According to virtue ethicists, how are virtues acquired?
2. What is situationist psychology?
3. List and briefly describe one of the criticisms of virtue ethics.
4. What is "The Golden Mean?"
5. Why is virtue ethics particularly well-suited to the medical profession?
PART I:
Directions:
The following problems ask you to evaluate hypothetical situations and/or concepts related to the reading in this module. While there are no "correct answers" for these problems, you must demonstrate a strong understanding of the concepts and lessons from this module's reading assignment. Please provide detailed and elaborate responses to the following problems. Your responses should include examples from the reading assignments and should utilize APA guidelines. Responses that fall short of the assigned minimum page length will not earn any points.
1.
Think of a profession you are considering as a career: engineering, or perhaps law or accounting or teaching. Could you develop a distinctive set of virtues for that profession? That is, are there some virtues that would be particularly important for members of that profession? Your response should be at least one page in length.
2. An important distinction for virtue theorists is between people who are happy and people who are flourishing. Do you know anyone (a public figure or an acquaintance) whom you would count as happy but not flourishing?
Your response should be at least one half of one page in length.
3. I have lived a dissolute life for many years: a life devoted to excessive eating, heavy drinking, laziness, deceitfulness, and pettiness. At age 45, I awaken one morning in the gutter, painfully sober after a three-day binge, and I resolve to change my ways and pursue virtue. In your opinion, how long would it make me to become a virtuous person? Could I become virtuous in an hour? A week? A month? Ever?
Your response should be at least one page in length.
4. Suppose Dan is dying from an unknown disease. He is wealthy and will give half of his money to anyone who can save his life. Joe, not know.
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Similar to 1. In a certain sense, cinema began as an optical trick.” The initi.docx
DirectionsUsing word processing software to save and submit you.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. 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.
.
DirectionsUsing word processing software to save and submit.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.
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
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?
.
Readings, textbookChapters5, Mise en Scène11, Ho.docx
Readings, textbook
Chapters:
5, Mise en Scène
11, Hollywood, international
12 stars
13, genre
14 auteur
Ch. 12
James Dean
A star’s pay
Star vehicle
Hollywood studio era stars
Tom Cruise and South Park
S. Abraham Ravid, stars and box office
Little Tramp, Chaplin
Chaplin in Gold Rush
Keaton, Great Stoneface
Star persona
Market promotion
Heather Addison and Clara Bow
Gay audiences and Judy Garland
Al Pacino in Scarface
James Dean
Star culture and Hollywood success
Stars and overhead costs
Lengthy studio contracts versus independent films
Ch. 13
Subgenres
Alien
Western
Civilization, wilderness
The “final girl”
Film noir and World War II
Technology and humanity
Paranoid conspiracy films
Myth of Faust
Musicals
Integrated musicals
Musicals and creative and economic peak
Hybrid genres
Hollywood and genres
Revisionist films
Genre and auteurist approach combined
Martin Scorses’s New York. New York
Richard Combs
Self-destructive masculinity
Avatar
Conventions
Horror genre
Young adult protagonist
Samurai films and Westerns
Hard-boiled detectives
Chap. 14
Auteur theory
Evolution of auteur
Hollywood studio system
Andrew Sarris
Pauline Kael
Andre Bazin
Alfred Hitchcock
Orson Welles’s Touch of Evil
George Lucas
Akira Kurosawa, Rashomom
Early auteur critics and Hollywood
Francois Truffaut, Hollywood films
French films and literary masterpieces
French films of 1950s and Hollywood
Commercial appeal
Corporate entertainment in 1980s and 1990s
Orson Welles’s career
Kael and Welles
Citizen Kane
Wes Anderson, artistic signature
Possible essay questions (we will pick one or two for exam) (these questions are mostly based on Chapters 12 & 13 I believe, maybe one from 14, and then from films viewed in class. I will give you 3 or 4 on exam and you must answer one, maybe 2):
1) Explain how one of these figures demonstrates the way the star persona collapses the boundary between performance and biography: Jodie Foster, Mickey Rourke, or Jennifer Anniston
2) Describe how the "monsters" of the horror genre changed during the 1960s .
3) Using Al Pacino’s performance in Scarface or Judy Garland as examples, explain how some stars might appeal to a subculture, which responds to the star differently than the way mainstream audiences do.
4) Identify two characteristics of the Western narrative.
5) By the 1920s, slenderness became the key physical standard of beauty, thus filmmakers began casting slim actors and actresses in lead roles. Actresses in particular were bound by clauses in their studio contracts, which required them to maintain a particular weight and size. What was the cultural impetus for this change of attitude and appearance?
6) Explain how Bette Davis’s career demonstrates how the star phenomenon depends on collapsing an actor’s private life into her performances.
7) In a sentence, explain why most film critics didn't value genre films until the 1960s.
Answer: Critics associated genre films with studio mass-production practices--they connote ...
[INSERT TITLE HERE] 11.How did the Paramount decision of 1948 c.docx
[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.
.
milies (most with teenage children) and the Baby Boomers (teens and .docx
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.
Similar to 1. In a certain sense, cinema began as an optical trick.” The initi.docx (19)
DirectionsUsing word processing software to save and submit you.docx
DirectionsUsing word processing software to save and submit you.docx
Introduction to single film critical studies page 385-386 413-418
Introduction to single film critical studies page 385-386 413-418
DirectionsUsing word processing software to save and submit.docx
DirectionsUsing word processing software to save and submit.docx
Directions Using word processing software to save and submit yo.docx
Directions Using word processing software to save and submit yo.docx
Readings, textbookChapters5, Mise en Scène11, Ho.docx
Readings, textbookChapters5, Mise en Scène11, Ho.docx
[INSERT TITLE HERE] 11.How did the Paramount decision of 1948 c.docx
[INSERT TITLE HERE] 11.How did the Paramount decision of 1948 c.docx
Introducing tv drama_and_representation_for_g322_ocr_media_studies
Introducing tv drama_and_representation_for_g322_ocr_media_studies
milies (most with teenage children) and the Baby Boomers (teens and .docx
milies (most with teenage children) and the Baby Boomers (teens and .docx
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11. Saint Dominique Revolt
12. Syncretism
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1. Prepare an outline, an introduction, and a summary.docx
1. Prepare
an outline
,
an introduction
, and
a summary
on the article selected. It s
hould be
a report of at least 4 page
double spaced.
2. Prepare a 4
PowerPoint slides
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NOTE
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1. Normative moral philosophy typically focuses on the determining the right action for a person to perform in a given situation. First, how specifically is Aristotle’s virtue ethics focused slightly differently? Next, Aristotle thought that virtues are traits of character that manifest themselves through habitual activity and that are good for anyone to have. What are some of the virtuous traits to have according to Aristotle and how does acting in accordance with them over time bring about “correct” moral action? What does it mean to act in a morally correct way according to Aristotle?
Directions:
Please provide detailed and elaborate responses to the following questions. Your responses should include examples from the reading assignments. Each response should be at least one half of one page in length and utilize APA format.
1. According to virtue ethicists, how are virtues acquired?
2. What is situationist psychology?
3. List and briefly describe one of the criticisms of virtue ethics.
4. What is "The Golden Mean?"
5. Why is virtue ethics particularly well-suited to the medical profession?
PART I:
Directions:
The following problems ask you to evaluate hypothetical situations and/or concepts related to the reading in this module. While there are no "correct answers" for these problems, you must demonstrate a strong understanding of the concepts and lessons from this module's reading assignment. Please provide detailed and elaborate responses to the following problems. Your responses should include examples from the reading assignments and should utilize APA guidelines. Responses that fall short of the assigned minimum page length will not earn any points.
1.
Think of a profession you are considering as a career: engineering, or perhaps law or accounting or teaching. Could you develop a distinctive set of virtues for that profession? That is, are there some virtues that would be particularly important for members of that profession? Your response should be at least one page in length.
2. An important distinction for virtue theorists is between people who are happy and people who are flourishing. Do you know anyone (a public figure or an acquaintance) whom you would count as happy but not flourishing?
Your response should be at least one half of one page in length.
3. I have lived a dissolute life for many years: a life devoted to excessive eating, heavy drinking, laziness, deceitfulness, and pettiness. At age 45, I awaken one morning in the gutter, painfully sober after a three-day binge, and I resolve to change my ways and pursue virtue. In your opinion, how long would it make me to become a virtuous person? Could I become virtuous in an hour? A week? A month? Ever?
Your response should be at least one page in length.
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1. Paper should be 5-pages min. + 1 page works cited
2. Should have at least 10 annotated sources (copy article onto word, highlight main point, write a few sentences about how it'll help you in writing the paper at the bottom of page)
3
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SAMPLE OUTLINE
Research Paper Outline
Title: Rebellious Libya
Thesis: The United States should not get involved with Libya’s conflicts.
I.
Introduction:
A.
Start with the question, what is war? Explain briefly.
B.
Talk about the wars of the United States.
C.
What were the outcomes of some of those wars?
II.
Narration:
A.
Give some background on Libya.
B.
Explain how Col. Muammar Gaddafi became the leader of Libya
C.
Talk about why the citizens of Libya want to overthrow Gaddafi.
D.
Explain why the people feel that the United States should get involved in Libya’s conflicts.
III.
Partition:
A.
Thesis: I believe that the United States should not get involve with Libya’s conflicts.
B.
Essay Map.
1.
Cost of war.
2.
Using money in other Departments other defense.
3.
Killing innocent civilians and soldiers.
4.
Helping unknown rebels
5.
Involvement of foreign wars
IV.
Arguments:
A.
The cost of war is rising by the minute. The Obama Administration proposed a budget of $553 billion dollars for the department.
B.
Instead of spending all that money on war, we should be investing that money on health care and education.
C.
This conflict has caused the lives of many innocent civilians. NATO openly admitted to have killed innocent civilians, due to misguidance.
D.
The rebels fighting against Gaddafi are in need of military supplies. I don’t think that it is a good idea to help unknown rebels. We helped the Afghanistan rebels when they were fighting Russia. After they were victorious, they later became the “Taliban” and used those weapons to attack the US.
E.
Getting involved in foreign wars is not a good idea. The US has been involved in many foreign wars lately. These wars have been in foreign countries where Islam is the prominent religion. Libya is one of these countries. The involvement of the US in these places, builds a bad reputation worldwide and among the Muslim community.
V.
Refutation:
A.
Gaddafi’s actions against the civilians of Libya are totally wrong. Killing your own people is bad and therefore, we should help the rebels overthrow him.
B.
Gaddafi has been in power for many years. In fact, he holds the record for most years in power in a single country. This type of power can potentially lead to corruption and mistreatment of civilians.
C.
The people of Libya deserve to have democracy. They should have the right to elect their own leader.
D.
If Al Qaeda is threatening NATO and Libyan mercenaries then we should help them fight terrorism.
VI.
Conclusion:
A.
Summarize my arguments.
B.
State why we should not get involve with Libya’s conf.
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c. adaptive radiation.
d. the biological species concept.
e. geographic isolation.
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b. fitness.
c. speciation.
d. the biological species concept.
e. convergent evolution.
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a. timing
b. behavior
c. habitat
d. incompatible reproductive structures
e. all of the above
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c. A horse and a donkey can mate and produce offspring.
d. Two donkeys can mate and produce fertile offspring.
e. Two horses can mate and produce fertile offspring.
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b. reproductive isolation.
c. adaptation of existing structures to new functions.
d. inheritance of acquired characteristics.
e. the biological species concept.
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b. Devonian (409–363 million years ago)
c. Carboniferous (363–290 million years ago)
d. Jurassic (206–144 million years ago)
e. Cretaceous (144–65 million years ago)
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b. reproductive isolation.
c. adaptation of existing structures to new functions.
d. inheritance of acquired characteristics.
e. the biological species concept.
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Picture is in the link. Put answers on the word document and re-submit
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pentanoic acid
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3-cyclopropyl 1,2-cyclopentanediol
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.
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1. If we consider a gallon of gas as having 100 units of energy, and 25 of those units are used to move the car, what law of thermodynamics accounts for the other 75 units of energy? (Points : 2)
the first law
the second law
2. Which of these is not a component of a molecule of adenosine triphosphate (ATP)? (Points : 3)
adenosine
phosphate
deoxyribose sugar
ribose sugar
3. Glycolysis is a sequence of ______ chemical reactions. (Points : 3)
nine
six
five
ten
4. Exergonic reactions produce products with a ___ energy level than that of the initial reactants. (Points : 3)
lower
higher
the same
5. When chemical X is reduced, which of these expressions would be an accurate representation of its reduced state? (Points : 3)
XO
XH
X
HX
6. Most enzymes are which kind of organic compound? (Points : 3)
carbohydrates
lipids
proteins
none of the above
7. The area on an enzyme where the substrate attaches is called the: (Points : 3)
active site
allosteric site
anabolic site
inactive site
8. Which of the following creatures would not be an autotroph? (Points : 3)
cactus
cyanobacteria
fish
palm tree
9. The process by which most of the world's autotrophs make their food is known as: (Points : 3)
glycolysis
photosynthesis
chemosynthesis
herbivory
10. Plants are the only organisms that use ATP for the transfer and storage of energy. (Points : 2)
True
False
11. The colors of light in the visible range (from longest wavelength to shortest) are: (Points : 3)
ROYGBIV
VIBGYOR
GRBIYV
ROYROGERS
12. Chlorophyll is a green pigment because it absorbs only the green part of the visible light spectrum. (Points : 2)
True
False
13. The photosynthetic pigment that is essential for the process to occur is: (Points : 3)
chlorophyll a
chlorophyll b
beta carotene
xanthocyanin
14. A photosystem is: (Points : 3)
a collection of hydrogen-pumping proteins
a series of electron-accepting proteins arranged in the thylakoid membrane
a collection of photosynthetic pigments arranged in a thylakoid membrane
found only in prokaryotic organisms
15. Which of these molecules is NOT a product of the Electron Transport System? (Points : 3)
ATP
Water
Pyruvate
NAD+
16. The dark reactions require all of these chemicals to proceed except: (Points : 3)
ATP
NADPH
carbon dioxide
oxygen
17. The structural unit of photosynthesis, where the photosystems are located, are called: (Points : 3)
chlorophylls
eukaryotes
stroma
thylakoids
18. Which of the following does NOT occur during the light independent process? (Points : 3)
CO2 is used to form carbohydrates
NADPH converts to NADP
ADP converts to ATP
ATP converts to ADP
19. The production of ATP that occurs in the presence of oxygen is called: (Points : 3)
aerobic respiration
anaerobic respiration
chemiosmosis
photosynthesis
20. The first stable chemical formed by the Calvin Cycle is: (Points :.
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