FILM HISTORYThe hand-held camera revolutionized the documentary. .docx
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FILM HISTORY The hand-held camera revolutionized the documentary. The camera put you face to face with real people, real action, happening in real time; unlike the studio documentaries of the 1950s and earlier. Direct Cinema, however, begins to show us that as long as there is a director, anything on film will always be from a certain point of view. 1)Explain in your own words how Direct Cinema explores “truth.” 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? .
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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.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?
.
1. Compare and contrast the revolutionary cinemas of Cuba and.docx
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?
.
1.Compare and contrast the revolutionary cinemas of Cuba and.docx
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?
.
need to make sure that your answer could be understood, say, by some.docx
need to make sure that your answer could be understood, say, by someone who knows nothing about film. That might be an easier way to guide your answers. In general, you need MORE, you need to make sure that you get ENOUGH definitions and use MORE examples,
NO COPY AND PASTEING PLEASE.
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?
.
1.Trace the development of the early documentary film career o.docx
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 the personal style of each director reflect or deviate from the norms of classical Hollywood filmmaking?
.
1. Trace the development of the early documentary film career o.docx
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 the personal style of each director reflect or deviate from the norms of classical Hollywood filmmaking?
.
1. Trace the development of the early documentary film career o.docx
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 the personal style of each director reflect or deviate from the norms of classical Hollywood filmmaking?
.
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. 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?
.
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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.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?
.
1. Compare and contrast the revolutionary cinemas of Cuba and.docx
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?
.
1.Compare and contrast the revolutionary cinemas of Cuba and.docx
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?
.
need to make sure that your answer could be understood, say, by some.docx
need to make sure that your answer could be understood, say, by someone who knows nothing about film. That might be an easier way to guide your answers. In general, you need MORE, you need to make sure that you get ENOUGH definitions and use MORE examples,
NO COPY AND PASTEING PLEASE.
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?
.
1.Trace the development of the early documentary film career o.docx
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 the personal style of each director reflect or deviate from the norms of classical Hollywood filmmaking?
.
1. Trace the development of the early documentary film career o.docx
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 the personal style of each director reflect or deviate from the norms of classical Hollywood filmmaking?
.
1. Trace the development of the early documentary film career o.docx
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 the personal style of each director reflect or deviate from the norms of classical Hollywood filmmaking?
.
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. 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?
.
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.
.
. What factors lay behind the upscaling of Hollywood film g.docx
. 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.
.
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. Explain the role of the Kinetoscope during the period of cinema's invention. How did the Kinetoscope modify the capabilities of earlier camera and projection systems?
2. What steps did France's Lumière brothers take to make cinema a commercially viable enterprise? What kinds of Lumière movies were the most popular? How did the Lumières' activities influence the development of world cinema?
3. What were Edwin S. Porter's significant contributions to the development of early narrative film? In what sense did Porter build upon the innovations of contemporaneous filmmakers, and for what purposes?
4. What is the difference between vertical integration and horizontal integration?
5. 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?
6. 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?
7. 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.
.
Directions Using 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.
Explain the role of the Kinetoscope during the period of cinema's invention.
How did the Kinetoscope modify the capabilities of earlier camera and projection systems?
2.
What steps did France's Lumière brothers take to make cinema a commercially viable enterprise?
What kinds of Lumière movies were the most popular?
How did the Lumières' activities influence the development of world cinema?
3.
What were Edwin S. Porter's significant contributions to the development of early narrative film?
In what sense did Porter build upon the innovations of contemporaneous filmmakers, and for what purposes?
4.
What is the difference between vertical integration and horizontal integration?
5.
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?
6.
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?
7.
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.
the ebook can be found at
http://allied.coursesmart.com/0077785282/firstsection
.
[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.
.
History of editing
this is a short presentation on the history of editing for as part of my coursework for media
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. In a certain sense, cinema began as an optical trick.” The initi.docx
1. In a certain sense, cinema began as an optical “trick.” The initial appeal of the Zoetrope, for example, was that it made flat, static images appear to move. Film, therefore, has always owed a debt to the public’s fascination with special effects. As we move through the 1930s, King Kong, the Wizard of Oz, even Dracula, all rely on the appeal of making the impossible seem real. Nevertheless, there are drawbacks to special effects. Think about it; have you ever seen a film or part of a film that was heavy with miraculous special effects that you found “silly,” or actually bored you? Name that film, the special effects presented, and try to explain why it bored you. Why do special effects sometimes spoil a film?
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.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?
.
German Expressionism's influence on China's 5th Generation Filmmakers
German Expressionism's influence on China's 5th Generation Filmmakers and their continued relevance in Cinema today
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.
Final PaperIt was a pleasure to be with you all and you made it fu.docx
Final Paper
It was a pleasure to be with you all and you made it fun and interesting
Based on your knowledge about political leadership of women in Africa, I would like you to discuss why today African women joined the political scene in mass. Do you think that this move to politics is good for the progress of political leadership in the continent? Why or why not.
Good luck
.
Final PaperOne reason that California have been known as the Gol.docx
Final Paper
One reason that California have been known as the Golden State is because of the influence of Hollywood. The well-known reputation of the entertainment of Hollywood has been showed the natural advantages of California, such as the weather, coast, and the natural resources. Also, the Hollywood shows another side of California, which is the world-leading level of technology companies. However, it is controversial to state that California is shown to the world by Hollywood. In fact, I prefer the saying that the history and the multicultural environment breed the great potential of the newborn Hollywood at the first place. While Hollywood shows the diverse cultures in California, it expresses in the influence of the California history by showing the images of different racial people in the films.
California have been a state of immigration, attracting people from the world to migrate the family and invite them to contribute for the development of California. It is fair to say that California was built by the people with different ethnical backgrounds. However, Hollywood has not been treated equally to the contributors with different races. White can be always be the lead of the movie. For example, a white actor can play the role with quality of richness, smartness and toughness. A non-white Hispanic actor can play the role of a billionaire, a drug dealer, a villain, a genius, and a special agent. However, Chinese Americans have the least if the scenes in the Hollywood films. Chinese Americans express a very stereotypical image of neediness, Kungfu, or weakness. In historical speaking, the Chinese were first shown in California in the event of Gosh Rush in the 1800s. The image of Chinese miners in Gold Rush is influent to the image of the Chinese Americans from Hollywood firms. It is hard to truly know the Chinese culture through the media. I doubt that Chinese culture does not assimilate to the society of California. In the Chronicling California, it pointed out that the Chinese culture was not quite “fit” into the California society: “the expulsion of the Chinese is not demanded on the ground that they represent cheap labor... they are regarded by the thoughtful as objectionable because they represent a substitution of unchangeable foreign and hopelessly unassimilative material for that which is malleable and assimilative” (100, Hoikkala and Wallis). Most of the Chinese miners had the strong responsibilities to support their families by sending the money to oversea. The loss of currency conflicts with the California society also indirectly caused the Chinese Exclusion Act later in 1882. Comparing to other immigrants, Chinese suffered the unequal treatments, which is why it is hard to see the Chinese cultures in the early Hollywood films.
While Hollywood has published some great firms about the World War II, it emphasized the victory of the United States, avoiding the fact that how the California government treated unfairly to the.
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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.
.
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. 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.
.
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. Explain the role of the Kinetoscope during the period of cinema's invention. How did the Kinetoscope modify the capabilities of earlier camera and projection systems?
2. What steps did France's Lumière brothers take to make cinema a commercially viable enterprise? What kinds of Lumière movies were the most popular? How did the Lumières' activities influence the development of world cinema?
3. What were Edwin S. Porter's significant contributions to the development of early narrative film? In what sense did Porter build upon the innovations of contemporaneous filmmakers, and for what purposes?
4. What is the difference between vertical integration and horizontal integration?
5. 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?
6. 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?
7. 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.
.
Directions Using 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.
Explain the role of the Kinetoscope during the period of cinema's invention.
How did the Kinetoscope modify the capabilities of earlier camera and projection systems?
2.
What steps did France's Lumière brothers take to make cinema a commercially viable enterprise?
What kinds of Lumière movies were the most popular?
How did the Lumières' activities influence the development of world cinema?
3.
What were Edwin S. Porter's significant contributions to the development of early narrative film?
In what sense did Porter build upon the innovations of contemporaneous filmmakers, and for what purposes?
4.
What is the difference between vertical integration and horizontal integration?
5.
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?
6.
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?
7.
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.
the ebook can be found at
http://allied.coursesmart.com/0077785282/firstsection
.
[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.
.
History of editing
this is a short presentation on the history of editing for as part of my coursework for media
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. In a certain sense, cinema began as an optical trick.” The initi.docx
1. In a certain sense, cinema began as an optical “trick.” The initial appeal of the Zoetrope, for example, was that it made flat, static images appear to move. Film, therefore, has always owed a debt to the public’s fascination with special effects. As we move through the 1930s, King Kong, the Wizard of Oz, even Dracula, all rely on the appeal of making the impossible seem real. Nevertheless, there are drawbacks to special effects. Think about it; have you ever seen a film or part of a film that was heavy with miraculous special effects that you found “silly,” or actually bored you? Name that film, the special effects presented, and try to explain why it bored you. Why do special effects sometimes spoil a film?
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.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?
.
German Expressionism's influence on China's 5th Generation Filmmakers
German Expressionism's influence on China's 5th Generation Filmmakers and their continued relevance in Cinema today
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.
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. What factors lay behind the upscaling of Hollywood film g.docx
. What factors lay behind the upscaling of Hollywood film g.docx
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[INSERT TITLE HERE] 11.How did the Paramount decision of 1948 c.docx
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1. In a certain sense, cinema began as an optical trick.” The initi.docx
1. In a certain sense, cinema began as an optical trick.” The initi.docx
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German Expressionism's influence on China's 5th Generation Filmmakers
German Expressionism's influence on China's 5th Generation Filmmakers
milies (most with teenage children) and the Baby Boomers (teens and .docx
milies (most with teenage children) and the Baby Boomers (teens and .docx
Understanding cinema:french new wave,italian neorealism and indian parallel c...
Understanding cinema:french new wave,italian neorealism and indian parallel c...
More from charlottej5
Final PaperIt was a pleasure to be with you all and you made it fu.docx
Final Paper
It was a pleasure to be with you all and you made it fun and interesting
Based on your knowledge about political leadership of women in Africa, I would like you to discuss why today African women joined the political scene in mass. Do you think that this move to politics is good for the progress of political leadership in the continent? Why or why not.
Good luck
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Final PaperOne reason that California have been known as the Gol.docx
Final Paper
One reason that California have been known as the Golden State is because of the influence of Hollywood. The well-known reputation of the entertainment of Hollywood has been showed the natural advantages of California, such as the weather, coast, and the natural resources. Also, the Hollywood shows another side of California, which is the world-leading level of technology companies. However, it is controversial to state that California is shown to the world by Hollywood. In fact, I prefer the saying that the history and the multicultural environment breed the great potential of the newborn Hollywood at the first place. While Hollywood shows the diverse cultures in California, it expresses in the influence of the California history by showing the images of different racial people in the films.
California have been a state of immigration, attracting people from the world to migrate the family and invite them to contribute for the development of California. It is fair to say that California was built by the people with different ethnical backgrounds. However, Hollywood has not been treated equally to the contributors with different races. White can be always be the lead of the movie. For example, a white actor can play the role with quality of richness, smartness and toughness. A non-white Hispanic actor can play the role of a billionaire, a drug dealer, a villain, a genius, and a special agent. However, Chinese Americans have the least if the scenes in the Hollywood films. Chinese Americans express a very stereotypical image of neediness, Kungfu, or weakness. In historical speaking, the Chinese were first shown in California in the event of Gosh Rush in the 1800s. The image of Chinese miners in Gold Rush is influent to the image of the Chinese Americans from Hollywood firms. It is hard to truly know the Chinese culture through the media. I doubt that Chinese culture does not assimilate to the society of California. In the Chronicling California, it pointed out that the Chinese culture was not quite “fit” into the California society: “the expulsion of the Chinese is not demanded on the ground that they represent cheap labor... they are regarded by the thoughtful as objectionable because they represent a substitution of unchangeable foreign and hopelessly unassimilative material for that which is malleable and assimilative” (100, Hoikkala and Wallis). Most of the Chinese miners had the strong responsibilities to support their families by sending the money to oversea. The loss of currency conflicts with the California society also indirectly caused the Chinese Exclusion Act later in 1882. Comparing to other immigrants, Chinese suffered the unequal treatments, which is why it is hard to see the Chinese cultures in the early Hollywood films.
While Hollywood has published some great firms about the World War II, it emphasized the victory of the United States, avoiding the fact that how the California government treated unfairly to the.
Final PaperIndia and China provide two fascinating country case st.docx
Final Paper
India and China provide two fascinating country case studies for comparing political systems, political cultures, economic growth and the future of the world’s two largest populations. Write a research paper comparing the systems, process and policy of these two countries and hypothesizing the future of each political system.
Students must address and compare the following areas:
Political System- to include the political environment, political structure and its functions.
Political Culture- to include system, process and policy levels to include how political socialization occurs in each country and what are the key agents for socialization in each.
Interest Articulation & Aggregation- describe how this occurs in each country.
Compare how public policy is crafted in these two countries
In conclusion, students will hypothesize the direction in which they believe each country will head in the future. Will these countries become more or less democratic? How will their political cultures change with increased economic prosperity? How might interest aggregation and public policy creation change in the future?
Restrict you sources to major newspapers, magazines, news outlets, and professional journals available in the Ashford University Library. Your textbook can also be used as a source.
Writing the Final Paper
The Final Paper:
Must be 10 to 12 double-spaced pages in length, and formatted according to APA style as outlined in the Ashford Writing Center.
Must include a title page with the following:
Title of paper
Student’s name
Course name and number
Instructor’s name
Date submitted
Must begin with an introductory paragraph that has a succinct thesis statement.
Must address the topic of the paper with critical thought.
Must end with a conclusion that reaffirms your thesis.
Must use at least six scholarly resources, including a minimum of two from the Ashford University Library.
Must document all sources in APA style, as outlined in the Ashford Writing Center.
Must include a separate reference page, formatted according to APA style as outlined in the Ashford Writing Center.
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Final PaperMust begin with an introductory paragraph that has a .docx
Final Paper
Must begin with an introductory paragraph that has a succinct thesis statement.
Must address the topic of the paper with critical thought.
Must end with a conclusion that reaffirms your thesis.
Must use at least five scholarly resources, including a minimum of two from the Ashford University Library.
Prepare a paper that details the entire criminal justice process for a felony criminal charge filed in a state court. Your paper will:
Summarize all of the steps between arrest, pre-trial, trial, and appeals (both state and federal appeal possibilities).
Address contingencies for each stage of the proceedings and examine all possible outcomes.
Outline the chronological timeline of the criminal justice process.
Analyze how constitutional protections for the defendant work at each stage of the proceeding.
Evaluate whether the system effectively deals with criminal prosecutions, or whether changes or improvements are required.
Create suggestions to make the system more fair and ethical for all those involved.
The paper must be eight to ten pages in length and formatted according to APA style. You must use at least five scholarly sources (at least two of which can be found in the Ashford Online Library) other than the textbook to support your claims. Cite your sources within the text of your paper and on the reference page
.
Final PaperFinal Paper SynopsisThe purpose of this paper .docx
Final Paper
Final Paper Synopsis:
The purpose of this paper will be to simulate a professional analysis of a segment of technology that will contribute to the success of your fictional company. Each student will use the same company. You will choose one of five technologies on which to focus. The complete guidelines are below beginning with the scenario.
Scenario
Overview
JK Incorporated is a 50-year-old retail and distribution grocery company that owns and operates 3,000 stores under different banners across the United States. The mix of products includes products purchased from other manufacturers as well as product that JK manufactures itself. This results in national brands and private labels sold side by side. JK has stores, warehouses, manufacturing facilities, and its own distribution fleet of trucks.
JK has enjoyed many years of success using methods that are now considered out of date and is now no longer leading in the industry. Technically progressive companies have entered the grocery industry and are threatening to disrupt JK and put it out of business entirely. JK has many areas that are in need of analysis to identify the positive impact that newer technology may have on its business.
You have been assigned to choose one of the 4 “current state” issues below and articulate the benefits of using the new technology.
Current State Issues
1. JK is using multiple regional data centers with older and less reliable hardware to deliver technical capabilities like point of sale, distribution logistics, loyalty programs, etc. Each of these data centers has high overhead with regard to management (labor), administration (skills), facilities (buildings, environmentals, security, network, and energy). This issue may be a candidate for the analysis of cloud computing.
2. JK has many distribution centers and trucks. These distribution centers do not integrate with the store systems for the timely tracking of deliveries. The current systems do not allow the store managers to answer simple questions like “where’s my truck” or “where’s my order”. JK also has a limited home delivery or “buy online and pick up in store capability. In essence, the distribution channel stops at the store rather than at the customers home as opposed to up and coming rivals. This issue may be a candidate for an overhaul of the enterprise Warehouse Management System and supply chain optimization.
3. JK has limited knowledge of it’s customers. The company relies primarily on random coupons based on products that need to be moved quickly. The marketing and promotion campaigns rely heavily on newspaper advertisements that promote based on time of year, holidays, or weekly bargains that represent overstock or third party promotions that they pass on to customers. There is a limited mobile and web experience with regard to meal planning, shopping list, personal preferences, allergies, or other localization items. This issue may be a candidate.
Final Paper, Essay Proposal, & Outline·The final essay should .docx
Final Paper, Essay Proposal, & Outline
·
The final essay should be about
6-7 pages
in length
·
The focus of this essay will be to state, explain, develop, and defend a particular thesis based upon some theme in philosophy of religion related to the texts we’ve been reading.
·
The thesis needs to make some specific
claim
(or closely interrelated set of claims) about some topic or theme that we’ve touched on this term, (see list of possible topics below).
·
This claim needs to be stated clearly, explained carefully, fully developed in relation to the kinds of arguments and objections we’ve encountered in texts, by at least two different authors, and defended with philosophical arguments and reasons drawing upon texts we’ve read, ideas of your own, and your own experiences and beliefs.
·
Be sure to relate the theme of your essay to our lives. Why does this claim matter? What difference does it make if you’re right about the thesis?
Topics:
Possible theses can respond to the following topics…
·
Is it appropriate to claim that there is only one true religion?
(Please don’t pick this one, if your answer is “no…”).
·
Do all religions share some common core, so that differences don’t really matter?
·
Does the existence of evil and suffering logically disprove a good all-powerful God?
(Please don’t choose this one if your answer is “yes…”)
·
Does the amount and kind of evil and suffering count against the existence of God? Is any evil truly pointless?
(Again, please don’t choose this one if your answer is “yes…”)
·
Does claiming we cannot know whether any evil is pointless also entail that we cannot know (apart from divine revelation) that God really intends our good?
·
Is it possible for God to make genuinely free creatures who are guaranteed never to do wrong (Please don’t choose this one if your answer is “yes…” either).
·
Is evil and suffering in the world justified by bringing a greater good?
(Please don’t choose this one, if your answer is “no…”).
·
Does Christian belief in the incarnation, suffering, , death, and resurrection of Jesus make a difference for the problem of evil and suffering?
·
What is the nature of evil? Is it a “thing” in this world or is it merely the privation of good?
·
Do even secular values (moral, political, social, etc.) function ultimately in a kind of religious way? What are the limits of tolerance?
·
How can a loving God judge evil and how can God allow some people to choose an ultimate destiny that ends in their own destruction (i.e. Hell)?
·
If Darwinian explanations of the natural order of the world are true, does that exclude the existence of God or make God’s existence superfluous
(Please don’t choose this one if your answer is “yes…”).
·
If Darwinian explanations of the natural order of the world are true, what does that suggest about the nature of divine providence and God’s relation to the creation?
(Please try not to pick this one; thank you)
.
Final Paper – Possible topics You propose the topic, b.docx
Final Paper – Possible topics
You propose the topic, but you must meet with me to clear it. I help you with your thesis
statement and outline. Use your preferred themes learned in class and apply it to a specific
tradition or two traditions if you prefer to write a comparative paper.
Choose a religion and elaborate on one of the following topics:
- Hinduism
- Buddhism
- Taoism
- Confucianism
- Judaism
- Christianity
- Islam
- Indigenous traditions
- Other
- Sacred societies
- Concept of the Divine
- View of the Human Problem/nature
- Justification for Evil (Theodicy)
- Ways of salvation
- Rituals, symbols, myths.
- Historical Development
- Sacred Scriptures
You can also relate your topic to your interests or major. The following are broad categories,
make sure to propose a narrow topic within it.
- Religion and political movements
- religion and environmentalism
- Religion, gender and sexuality
- religion and the problem of evil, war / violence
- religion and science
- religion and pop culture / fashion / food
- religion and education
- Religion and biology/medicine
- Religion and technology
- Religion and economics
- Religion and secularization
- Religion and Justice
- Religion and afterlife/salvation
- Religion and psychology
.
Final Paper The summative assignment for this course is to write a .docx
Final Paper The summative assignment for this course is to write a Final Paper on GROUP DEVELOPMENT MODELS focus on a dimension of group activity relevant to the field of human services. Requirements for this assignment are specified very broadly, enabling you to define your topic narrowly or broadly. These are as follows: •Identify a topic or topic area that defines management group activity relevant to human services. This identification will be part of the Week 4 Annotated Bibliography and Final Paper topic choice assignment, which also requires that you identify and annotate no fewer than eight scholarly resources to support your work. Click here to view a list of plausible topics, any of which may provide a plausible starting point for your topic selection. •Summarize what is known and what has been researched in the field surrounding your topic of choice. Include reference to two or three of the most current and important issues, questions, or debates that are guiding practice and research. •Select one of the issues, questions, or debates identified in the previous bullet and provide focused analysis of this subtopic, providing discussion of why the subtopic is important and evaluating the most prominent positions argued. •Support all analysis and argumentation with relevant theory, argumentation, evidence, and research provided in the course and outside sources. Your paper: •Must be 2,000 words in length. •Must cite and integrate no fewer than eight scholarly sources that were published within the past 6 years. No more than two sources published more than 6 years in the past may be cited and integrated if they are recognized as seminal works (classics in the field). •Proper APA format required, including cover page, citations, and reference page
Please complete paper and continue paper that is in attachment below!!!!!
Resources Required Text
Adams, K., & Galanes, G. (2017). Communicating in groups: Application and skills (10th ed.). New York, NY: McGraw-Hill Chapter 10: Applying Leadership Principles Required References Active Presence. (2013, October 7). Facilitation skills: Best & worst facilitator practices [Video file]. Retrieved from Facilitation Skills: Best & Worst Facilitator Practices (Links to an external site.) American Psychological Association. (2004). Are six heads as good as twelve? [Web page]. Retrieved from http://www.apa.org/research/action/jury.aspx (Links to an external site.) Frederick, J. (2017, June 28). Understanding jurors' nonverbal communication (Links to an external site.). GPSolo eReport, 2(1). Retrieved from https://www.americanbar.org/groups/gpsolo/publications/gpsolo_ereport/2012/august_2012/understanding_jurors_nonverbal_communication/ Lucas, A. (2015, April 15). The Importance of Verbal & Non Verbal Communication [Web page]. Retrieved from https://www.livestrong.com/article/156961-the-importance-of-verbal-non-verbal-communication/ (Links to an external site.) MindTools. (n.d.). .
Final Essay Stage Two ah W334 A.docx
Final Essay Stage Two
ah W
334: ARTH
Outline and Annotated Bibliography
June 27, 201
2
Outline & Annotated Bibliography
The option I chose for the final project was option (b), to select and write about a feature length film made between 1970-2000. The film I chose is a story by Stephen King, ‘The Green Mile’, directed by Frank Darabont. Below I will outline my final paper for the course, as well as list and discuss a few sources that I will be citing.
· Introduction
· Discuss the making of the film
· The film’s success (box office/awards and nominations)
· Critical reaction to the film
· Personal reaction to the film (what I liked/did not like, critique of main character roles and actors/actresses who played them)
· Discuss direction of film (montage/sound and music)
· Discuss direction of film cont. (cinematography/ special effects)
· Conclusion
· Bibliography
Cinematography of The Green Mile. (2014). Cinematography of The Green Mile. Retrieved 27 June 2017, from https://bnyce82.wordpress.com/
This reference is specific to the cinematography techniques used in the film, ‘The Green Mile’. It provides insight into the various aspects of cinematography, such as the tone of the film, the camera angles and lighting, as well as the dialogue between the characters. This reference will help backup the information I will provide in my final paper.
Darabont, F. (1999). The Green Mile. Retrieved from https://www.youtube.com/watch?v=VslrToVsu80
This reference is the actual film, ‘The Green Mile’, found on YouTube. I will be watching the entire film to gather information for my final paper. The information I will be looking for while watching this film are the editing techniques used by the director, as well as my personal reaction to draw a general conclusion from.
Ebert, R. (1999). The Green Mile Movie Review & Film Summary (1999) | Roger Ebert. Rogerebert.com. Retrieved 27 June 2017, from http://www.rogerebert.com/reviews/the-green-mile-1999
The movie review of, ‘The Green Mile’, by the late Roger Ebert is a perfect reference to gain insight to the critical review of the film upon its release. I will be referencing opinions and points made by the infamous film critic, as he discusses the direction of the film, as well as the actors’ performance.
Kuhn, A., & Westwell, G.(2012). cinematography. In A Dictionary of Film Studies. : Oxford University Press. Retrieved 28 Jun. 2017, from http://www.oxfordreference.com/view/10.1093/acref/9780199587261.001.0001/acref-9780199587261-e-0124.
This general reference on cinematography is from the Oxford Dictionary of Film Studies. I found this entry very useful during week 4 of the course when it was presented and will use it as a reference for my final paper, as well as future discussions. The entry defines cinematography in film making as capturing movement on film, as well as explains the role of a cinematographer on a movie set.
Week 5 - Assignment: Analyze the Global Sourcing .
final draft requires minimum of 5 pages in length, 12-point Times Ne.docx
final draft requires minimum of 5 pages in length, 12-point Times New Roman Font, double-spaced.
the prompt is
How are “poor teeth” a mutable and/or immutable trait?
Given your response, how do “covering demands” (Yoshino 4) apply to those affected by “poor teeth” and other traits perpetuated by “the privitisation-happy US” (Smarsh 2)?
.
Final Draft should be based on the topic Decision MakingThe .docx
Final Draft should be based on the topic "Decision Making"
The paper should be at least 10 pages long (including the cover and reference pages), double-spaced, using a 12-point Times Roman font. There should be a minimum of 10 sources, including at last five from scholarly journals, such as Management Communication Quarterly, Applied Communication Research Journal, Communication Monographs, Human Communication Research, Journal of Applied Psychology, Academy of Management Journal, and Administrative Science Quarterly. Recent news articles, particularly those in business publications such as Harvard Business Review, may also be used. Any web-based information should come from a credible and recent source.
.
Final Digital Marketing PlanFinal Digital Marketing .docx
Final Digital Marketing Plan
Final Digital Marketing Plan PowerPoint Presentation,
Introduction
In this PowerPoint presentation, we will present our Final Digital Marketing Plan for our product the Concussion Protocol Sensor (CPS). This product idea was created by Simone Harvey and voted on by the remaining team members in team D to implement as our product idea. In the first phase of the marketing plan we outlined a target market and included a segmentation criteria for the Concussion Protocol Sensor. Second, we will developed a digital advertising strategy and included two sample banner ads and a mock landing page for the website in our marketing plan. Third, the presentation will provide examples of three mock web ads and include specifics of where they will be placed. And we will create a budget for a two week advertising campaign.
The second phase of the marketing plan will summarize our plan to reach consumers. Our goal to reach our consumers is by using email marketing to directly send out email advertisements to consumers through the assistance of AWeber. In today’s day and age, social media and instant connection is the best most popular way of connecting with not only friends and family but consumers as well. There are many different forms of social media out there today such as Twitter, Facebook, LinkedIn, YouTube and Instagram. We will utilize these platforms in our marketing strategy in an effort to reach as many consumers as possible.
Image:
https://www.google.com/search?q=introduction&source=lnms&tbm=isch&sa=X&ved=0ahUKEwis697BrJHYAhWD6CYKHVKYDw4Q_AUICigB&biw=1600&bih=805#imgrc=GQKHgrtgNyoTyM:&spf=1513524076251
Target MarketYouth Sports Programs focused on young athletesHigh School students interested in sportsCollege Athletic ProgramsCoaches involved in sports programs
The target market for the CPS would be youth sports programs focused on young athletes, age 6-13; high schools students interested in sports, age 14-18; University athletic programs, and coaches involved in sports.
The ages that would benefit would span from very young children all the way to adults that are active in sports or other activities that could be extreme enough to lead to potential head injuries.
Image source:
http://www.foxphotography.org/
https://www.workinsports.com/blog/high-school-sports-conquering-the-final-frontier-of-sports-broadcasting/
https://www.cbssports.com/college-football/news/ranking-the-top-25-power-five-college-football-coaches-entering-2016/
Demographic Market Segmentation
As it relates to the segmentation criteria we used to determine the target market for the CPS, we chose the Demographic Market Segmentation’s, as it works best with our marketing strategy since the data is easily available and drastically affects buying patterns. Age, income, gender, ethnic background and family life cycle are all important factors of demographic segmentation.
The CPS is going to use an age range of 5-34 years of.
FINAL COURSE PROJECT PRESENTATION (SIGNATURE ASSIGNMENT)You .docx
FINAL COURSE PROJECT PRESENTATION (SIGNATURE ASSIGNMENT)
You will create a 12 to 15 minute presentation via a PowerPoint® presentation that is set up for automatic transitions of slides with voice narration or a Narrated Video Presentation. You will present an overview of the project and provides the project sponsor with an overall view of the project plan. In some cases, the business sponsor/executive will not have time to read the entire plan, so they would prefer a presentation highlighting the key points of the project. You should include the project baseline start and finish dates for the project. You should also include a short table with the high-level budget that indicates the baseline total planned budget amount for the overall project within your presentation. The following sections and information should also be included.
Section A: Summary
Part 1: Planning, Monitoring, and Execution
Part 2: Communication Plan
Part 3: Project Status including Quality and Performance Levels
Section B: Project Plan
Part 1: Milestones
Part 2: Review of MS Project® Schedule
Part 3: Review of MS Project® Resources
Part 4: Review of MS Project® Budget
Section C: Project Budget/Schedule Analysis
Comparison of Actual vs Budgeted Costs
Explanation of Cost Variances (EV)
Explanation of Schedule Variance (EV)
Section D: Project Overview
Needs Assessment and Business Strategy
Leadership & Management (Project Organization & Leadership Style)
Section E: Conclusion
Section F: Lessons Learned Report
Please review the rubric for this presentation to ensure all requirements are accomplished with your presentation. This presentation will be submitted by the end of week 7.
You will automatically be assigned to two other presentations to conduct your peer reviews that will be due by Saturday of Week 8.
Note!
The video or presentation will involve a process-orientated task by analyzing the process of completing the project, analyzing the results of the project, and evolving transformation of the results and issues of the project into a summary of the project along with a lessons-learned report (Processes). The collection of data from performing the project would be conducted by the student, which will be analyzed and synthesized. The student through whatever means that is effective that can include Excel® and/or Microsoft® Project® will transform this data into a final management report (Data). After using tools such as Excel® and/or Project®, the student will use a microphone to create narration for a slide presentation via PowerPoint® with automatic transitions, Movie Maker, PowerPoint® Video Tool, or other such presentation/video tools available to the student. Either the PowerPoint® or resulting MP4 video will be embedded to a discussion thread for asynchronous discussion activity (Devices). Finally, a peer review process will follow the submission of the presentation that provides an integral network of outsiders.
Final Course PaperWrite about the impacts of health informatic.docx
Final Course Paper
Write about the impacts of health informatics on various sectors of health care practice
(including
patient safety, consumer engagement in health care, telemedicine, public health, disease management
)
using evidence based references as needed
.
It should be about 6-7 pages (not including the title and reference pages) long, 12 font size, double spaced.
Please use APA style for citations and references.
Citation/references should be included both within the text and in the list of bibliography/references at the end of the paper.
This assignment is due on Saturday 22 February 2020 by 6 PM PST.
Grading Rubric for Week Three Writing Assignment:
Title page (APA style) 2 pts
Appropriate Introduction 5 pts
Evidence based discussion of all listed topics (each topic is worth 7 points) 35 pts
Grammar, spelling, clear expression 3 pts
Citations and References (APA style)
5 pts
.
Final Communication ProjectNew Testament 1.) Pick a Scriptur.docx
Final Communication Project
New Testament
1.) Pick a Scripture that interested you throughout your studies this semester.
Hint: Either a couple verses or chapter of scripture. Don’t try to do a whole book or a whole letter. That is too much.
2.) What is your medium? (painting, mini thesis paper, music, poetry, film, etc.…)
3.) What is your context?
4.) Reflection/written explanation of your project
5.) (What passage are you focusing on?)
Hint: Before you present, is there anything we need to know beforehand?
Grading Rubric:
20% Clear communication
Hint: Do we know what you are communicating?
20% Confidence/well-prepared for presentation (dress: business casual)
20% Interaction with Scripture
20% Interaction with audience
20% Meets time frame (10mins)
*Student Grading will be a rate base 1-5 on each category and will go towards your interaction with audience.
Total Pages: 2
In corporate answers to these questions in your reflection.
-What is your medium and why?
-What scripture did you choose?
-What is the context the scripture finds itself?
-Why is this text important to you?
-How does this text speak to the Gospel (good news of Jesus)?
1. According to Fanon, what is the “colonial personality” (p. 250)?
2. Explain: “railways across the bush, the draining of swamps and a native population which is non-existent politically and economically are in fact one and the same thing” (p. 250).
3. How did the French behave during the Algerian Revolution (1954-1962)? How about the Maquis (resistance)?
4. Do you think there are numerous cases of psychological symptoms such as Fanon describes happening to people in war zones right now—say, Syria, Iraq, Afghanistan, etc.? Why or why not?
5. What insights does Fanon gain through treating the psychological problems of both French and Algerian patients?
6. Explain: “you’ve got to cure me, doctor… he asked me without beating about the bush to help him go on torturing Algerian patriots without any prickings of conscience, without any behavior problems, and with complete equanimity” (p. 270).
7. Explain: “Had there ever been a European arrested and sent to prison for the murder of an Algerian? I replied that in fact I had never seen any Europeans in prison” (p. 271).
8. After reading about all the visceral screaming that took place during the Franco-Algerian War, does this help you to understand what Guantanamo Bay (and other such interrogation centers around the world) must sound like?
9. Explain: “if I were an Algerian girl, I’d be in the Maquis” (p. 277).
10. Do you realize that this is what the vast majority of postcolonial struggles for independence from European and North American hegemony actually looked (and sounded) like? Are such things still happening today?
11. How angry and sad did this reading make you? What might Fanon’s goal here be?
12. Why would this book directly inspire countless revolutionaries and other leftist activists (e.g., postcolonial.
Final Case Study and Strategic PlanRead the Walt Disney Company .docx
Final Case Study and Strategic Plan
Read the Walt Disney Company case, and from the perspective of an executive with the firm, prepare a strategic plan to grow the business over the next three years. The years are 2020, 2021, 2022 and beyond..
http://robins.richmond.edu/documents/cases/WaltDisney.pdf
Your strategic plan must be future-oriented and include the following:
1. A critique of the company’s mission statement based on the article ‘Mission Statements ’ http://onstrategyhq.com/resources/mission-statements/#Defining%20Your%20Mission
2.
a. "The mission of The Walt Disney Company is to be one of the world's leading producers and providers of entertainment and information. Using our portfolio of brands to differentiate our content, services and consumer products, we seek to develop the most creative, innovative and profitable entertainment experiences and related products in the world."
3. One- to two-sentence vision statement for the company.
4. An assessment of the targeting and segmentation strategy of the company within its five major segments.
5. An evaluation of the external environment (industry, market, and the general environment), and the internal situation (core competencies, brand reputation and loyalty, and customer-value proposition) of the company.
6. A SWOT analysis detailing on the strengths, weaknesses, opportunities, and threats that may affect the organization. Choose three or four areas from your SWOT analysis and explain why the areas you have chosen are essential to your strategic plan. NOTE: The student’s previous SWOT analysis is at the very end of this document. Please do not copy word-for-word. Only use the previous SWOT analysis as a reference to complete item #6 of the assignment.
7. An assessment of the implications of digital TV and internet-based business models on the strategies of the company.
8. An evaluation of the factors determined Disney’s international diversification strategies. Use the analytical framework proposed for the study of global media conglomerates (fig 9.4.- on page two.
a. Chan-Olmstead, S.M. (2005). Competitive strategy for media firms. London: Routledge.
It is also highly recommended that you search through the specialized journals in media management (e.g., Journal of Media Economics, Journal of Media Business Studies, International Journal of Media Management, and Academy of Management Journal).
The strategic plan
· Must be 12 to 15 double-spaced pages in length (not including title and references pages) and formatted according to APA style.
· Must include a separate title page with the following:
· Title of strategic plan
· Student’s name
· Course name and number
· Instructor’s name
· Date submitted
· Must use at least five scholarly sources in addition to the course text. Remember to incorporate information that you have learned from this course as well as your personal experience.
· Must document all sources in APA style as outlined in the Ashford Writing Center.
· All wri.
Fina Assessment Project The objective of this project is for stude.docx
Fina Assessment Project
The objective of this project is for students to apply the database design principles to a real-life scenario. This is a practical design project – students must create and submit the database, as well as documentation for the items below. The students will review database requirements and produce the following:
Part One: Database in Access and Rationale Document (0-60 points) Database Design and Rationale (0-30 points)
Access database with normalized tables: A set of tables in at least third-normal form is required for completion of this project. Complete table structures are required; students must also determine if primary or any other keys are required for each table. The student must also describe, in detail, and in a separate document, the rationale he/she used in developing the specified set of tables, as well as the specific fields in the tables.
· Rationale used in developing the specified set of tables, as well as the specific fields in the tables, is provided (Separate file for upload to Blackboard).
· Fieldnames are all single-valued; each column has a distinct name; all the values in a column are values of the attribute that is identified by the column name; the order of columns and rows is immaterial; each row is distinct.
· Database and tables are created in Access.
· Correct table relationships are established in Access.
· Referential integrity, cascade update and cascade delete are used appropriately
Keys (0-10 points)
· All appropriate keys have been identified and their functions described in the rationale document
· Primary key is a minimal collection of columns on which all columns are functionally dependent.
Report Rationale (0-10 points)
Three potential reports described in the rationale document that could be generated in response to user requests; supporting queries and reports must be included (ex.: report of number viewers that viewed each movie each year; correct sorting and grouping) in the Access database. Rationale required in the rationale document for why each report could provide important information for decision-making; queries must specify criteria for record selection, as well as grouping, sorting and any other requirements for the specific report (included in Rationale file described in Database/Tables above.)
· Three reports that could be used in response to user requests are identified.
· Rationale for why each report could provide important information for decisionmaking is provided.
· Reports must be created in Access and use the correct queries as the source.
Supporting Queries (0-10 points)
· Three queries are provided, and specify criteria for record selection, as well as grouping, sorting and any other requirements for the specific report.
· Queries are not simple listings with simple criteria, but must use more advanced functions, such as sorting, grouping and aggregate functions (counts, averages, etc).
Part Two: E-R Diagram (0-10 points)
E-R diagram: An E-.
FIN 571 Final Exam Question 1 Which of the following is c.docx
FIN /571 Final Exam
Question 1
Which of the following is considered a hybrid organizational form?
[removed]
corporation
[removed]
sole proprietorship
[removed]
limited liability partnership
[removed]
partnership
Question 2
Which of the following is a principal within the agency relationship?
[removed]
the CEO of the firm
[removed]
a shareholder
[removed]
the board of directors
[removed]
a company engineer
Question 3
Teakap, Inc., has current assets of $ 1,456,312 and total assets of $4,812,369 for the year ending September 30, 2006. It also has current liabilities of $1,041,012, common equity of $1,500,000, and retained earnings of $1,468,347. How much long-term debt does the firm have?
[removed]
$1,844,022
[removed]
$2,303,010
[removed]
$2,123,612
[removed]
$803,010
Question 4
Which of the following presents a summary of the changes in a firm’s balance sheet from the beginning of an accounting period to the end of that accounting period?
[removed]
The statement of working capital.
[removed]
The statement of cash flows.
[removed]
The statement of retained earnings.
[removed]
The statement of net worth.
Question 5
Efficiency ratio
: Gateway Corp. has an inventory turnover ratio of 5.6. What is the firm's days's sales in inventory?
[removed]
57.9 days
[removed]
64.3 days
[removed]
65.2 days
[removed]
61.7 days
Question 6
Leverage ratio:
Your firm has an equity multiplier of 2.47. What is its debt-to-equity ratio?
[removed]
1.47
[removed]
0
[removed]
1.74
[removed]
0.60
Question 7
Which of the following is not a method of “benchmarking”?
[removed]
Evaluating a single firm’s performance over time.
[removed]
Identify a group of firms that compete with the company being analyzed.
[removed]
Utilize the DuPont system to analyze a firm’s performance.
[removed]
Conduct an industry group analysis.
Question 8
Present value:
Jack Robbins is saving for a new car. He needs to have $ 21,000 for the car in three years. How much will he have to invest today in an account paying 8 percent annually to achieve his target? (Round to nearest dollar.)
[removed]
$26,454
[removed]
$16,670
[removed]
$19,444
[removed]
$22,680
estion 9
PV of multiple cash flows:
Ferris, Inc., has borrowed from their bank at a rate of 8 percent and will repay the loan with interest over the next five years. Their scheduled payments, starting at the end of the year are as follows—$450,000, $560,000, $750,000, $875,000, and $1,000,000. What is the present value of these payments? (Round to the nearest dollar.)
[removed]
$2,615,432
[removed]
$2,815,885
[removed]
$2,431,224
[removed]
$2,735,200
Question 10
PV of multiple cash flows:
Ajax Corp. is expecting the following cash flows—$79,000, $112,000, $164,000, $84,000, and $242,000—over the next five years. If the company's opportunity cost is 15 percent, what is the present val.
FIN 315 Fall 2018 Case Study Assignment due Dec 6 midnightNot .docx
FIN 315 Fall 2018 Case Study Assignment due Dec 6 midnight
Not more than 2 pages single spaced
Instructions & Questions:
Read the HBR case, and prepare a written memo response addressed to me. Answer the following questions a concisely as possible. Restate each question, followed by your response, in the same order as presented. Cite sources used (including the HBR case, and also any other materials you research in helping you answer the questions). The assignment must be submitted through Blackboard ONLY in MS-Word format (no PDF or alternative formats; they will not be graded).
1. Explain the unique aspects of the shadow banking business model.
a. What types of institutions comprise this industry?
b. What is maturity and liquidity transformation?
c. What is the funding profile of these types of institutions?
d. Why does shadow banking exist?
e. What gaps does it fill in the economy?
2. What are the advantages of the shadow banking industry? What are the risks? How can they be
mitigated?
3. Should the shadow banking industry be more comprehensively regulated, and why/why not?
4. GE Capital:
f. In your view, why is (is not) GE Capital a shadow bank? Why should the market/Reddy (Sifnos) care about such a characterization?
g. What does GE Capital’s historical ROE suggest about the profit potential for nonbank financial institutions vis-à-vis traditional commercial banks?
h. Why did GE initiate the GE Capital Exit plan? Was it successful? What would be the impact if GE successfully petitions its SIFI designation?
i. How much equity is tied up in GE Capital’s capital conservation buffer?
UV7199
Oct. 3, 2016
This public-sourced case was prepared by George (Yiorgos) Allayannis, Professor of Business Administration, and Jeffrey Allen (MBA ’16). It was written
as a basis for class discussion rather than to illustrate effective or ineffective handling of an administrative situation. Names of characters and the company
for which those characters work are fictional. Copyright 2016 by the University of Virginia Darden School Foundation, Charlottesville, VA. All rights
reserved. To order copies, send an e-mail to [email protected] No part of this publication may be reproduced, stored in a retrieval system, used in a
spreadsheet, or transmitted in any form or by any means—electronic, mechanical, photocopying, recording, or otherwise—without the permission of the Darden School Foundation.
GE and the Shadow Banking Landscape
Well, my plan is more comprehensive. And frankly, it’s tougher because of course we have to deal with the
problem that the banks are still too big to fail…But we also have to worry about some of the other players—
AIG, a big insurance company; Lehman Brothers, an investment bank. There’s this whole area called “shadow
banking.” That’s where the experts tell me the next potential problem could come from. I want to make sure
we’re going to cover everybody, not what caused the problem last ti.
FIN 320 Final Project Guidelines and Rubric Final Pro.docx
FIN 320 Final Project Guidelines and Rubric
Final Project Part I
Part I Overview
Business professionals typically need to demonstrate a core set of financial knowledge to earn the job and to succeed on a job. For this part of the assessment,
you will be given a scenario in which you are asked to illustrate your financial management knowledge.
This part of the final project addresses the following course outcomes:
Analyze the roles and responsibilities of financial managers in confirming compliance with federal and shareholder requirements
Differentiate between various financial markets and institutions by comparing and contrasting options when selecting appropriate private and corporate
investments
Part I Prompt
You have completed an internship in the finance division of a fast-growing information technology corporation. Your boss, the financial manager, is considering
hiring you for a full-time job. He first wants to evaluate your financial knowledge and has provided you with a short examination. When composing your answers
to this employment examination, ensure that they are cohesive and read like a short essay.
Your submission must address the following critical elements:
I. Analyze Roles and Responsibilities for Compliance
A. Examine the types of decisions financial managers make. How are these decisions related to the primary objective of financial managers?
B. Analyze the various ethical issues a financial manager could potentially face and how these could be handled.
C. Compare and contrast the different federal safeguards that are in place to reduce financial reporting abuse. Why are these considered
appropriate safeguards?
II. Investment Options
A. If a private company is “going public,” what does this mean, and how would the company do this? What are the advantages of doing this? Do
you see any disadvantages? If so, what are they?
B. How do the largest U.S. stock markets differ? Out of those choices, which would be the smartest private investment option, in your opinion?
Why?
C. Compare and contrast the various investment products that are available and the types of institutions that sell them.
Final Project Part I Rubric
Guidelines for Submission: Ensure that your employment examination is submitted as one comprehensive and cohesive short essay. It should use double
spacing, 12-point Times New Roman font, and one-inch margins. Citations should be formatted according to APA style.
Critical Elements Exemplary (100%) Proficient (85%) Needs Improvement (55%) Not Evident (0%) Value
Roles and
Responsibilities:
Examine
Meets “Proficient” criteria and
includes examples in analysis
Comprehensively examines the
types of decisions financial
managers make, including how
these decisions are related to
their primary objective
Examines the types of decisions
financial managers make,
including how these decisions are
related to their primary objective,
but .
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FILM HISTORYThe hand-held camera revolutionized the documentary. .docx
- 1. FILM HISTORY The hand-held camera revolutionized the documentary. The camera put you face to face with real people, real action, happening in real time; unlike the studio documentaries of the 1950s and earlier. Direct Cinema, however, begins to show us that as long as there is a director, anything on film will always be from a certain point of view. 1)Explain in your own words how Direct Cinema explores “truth.” 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
- 2. 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?