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The document analyzes Tania Modleski's essay "The Women Who Knew Too Much" about the film Vertigo. It discusses how the film fascinates with femininity through Scottie's preoccupation with women's clothing and the construction of femininity. It also argues that Vertigo opens up space for the female spectator by not having the spectator simply identify with the male perspective, going against Mulvey's theories.
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Section c – exam advice
This document provides exam advice and discusses key topics to analyze for the film Vertigo. It recommends doing either the Critical Review/Writing question or the Specific question as they are easier than the Critical Approaches question. For Vertigo, some of the main debates that could be analyzed are how it is a film about film through identification and obsession, its portrayal of the gendered look and female object, use of recurring motifs and symbols, and interpretation of the Madeleine and Judy characters. It also lists debates around the spectator relationship to the character Scottie, use of locations, success as a thriller, problems from a narrative realist perspective, its undisputed status, and critical reception.
Section c – exam advice
This document provides exam advice and discusses key topics related to analyzing the film Vertigo using different film theory approaches. It recommends doing the critical review/writing question first as it is easier than the critical approaches question. It then lists several common film theories like feminist, narrative, genre, and auteur theory. For the Vertigo analysis, it outlines the major debates around interpreting the film's narrative, characters, symbolism, locations, genre, and critical reception.
Questions and answers
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Revision summer2014fm4
The document outlines a revision session plan for a 2 hour and 45 minute exam divided into three sections: World Cinema, Spectatorship Topics, and Close Critical Study. Section A focuses on contextual and textual questions about world cinema films. Section B requires applying ideas about spectatorship and readings to documentary films. Section C involves critically analyzing a single chosen film and demonstrating awareness of critical debates around the film. The revision plan provides sample questions and approaches for successfully answering different question types in each exam section.
Transformationscene
After Judy dyes her hair blonde, Scottie is still not satisfied because she has not styled her hair in the neat bun that Madeleine wore. He insists she put her hair up, demonstrating his desire to transform Judy into his idealized version of Madeleine. Judy allows herself to be controlled by Scottie in this way in order to gain his love. The scene illustrates Scottie's obsessive need to recreate Madeleine and Judy's willingness to become the object of his desires.
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While big budget Hollywood films are common, some low budget films have achieved great box office success. The Conjuring (2013) had a budget of $20 million and grossed $318 million worldwide. Saw (2004) was made for $1.2 million and grossed $103 million globally. Napoleon Dynamite (2004) had a tiny $400,000 budget but grossed $46 million. The Blair Witch Project (1999) cost only $60,000 to make and grossed $248 million worldwide.
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Section c – exam advice
This document provides exam advice and discusses key topics to analyze for the film Vertigo. It recommends doing either the Critical Review/Writing question or the Specific question as they are easier than the Critical Approaches question. For Vertigo, some of the main debates that could be analyzed are how it is a film about film through identification and obsession, its portrayal of the gendered look and female object, use of recurring motifs and symbols, and interpretation of the Madeleine and Judy characters. It also lists debates around the spectator relationship to the character Scottie, use of locations, success as a thriller, problems from a narrative realist perspective, its undisputed status, and critical reception.
Section c – exam advice
This document provides exam advice and discusses key topics related to analyzing the film Vertigo using different film theory approaches. It recommends doing the critical review/writing question first as it is easier than the critical approaches question. It then lists several common film theories like feminist, narrative, genre, and auteur theory. For the Vertigo analysis, it outlines the major debates around interpreting the film's narrative, characters, symbolism, locations, genre, and critical reception.
Questions and answers
Documentaries claim to show reality but actually show a version of it from a certain point of view. There are three main modes of documentary: expository documentaries guide viewers through material using voiceovers, interviews and footage; interactive documentaries feature the filmmaker who actively engages with the material; and reflexive documentaries play with conventions and do not push a particular position, instead raising questions about objectivity and truth. Most documentaries contain elements of different modes and cannot be easily categorized.
Revision summer2014fm4
The document outlines a revision session plan for a 2 hour and 45 minute exam divided into three sections: World Cinema, Spectatorship Topics, and Close Critical Study. Section A focuses on contextual and textual questions about world cinema films. Section B requires applying ideas about spectatorship and readings to documentary films. Section C involves critically analyzing a single chosen film and demonstrating awareness of critical debates around the film. The revision plan provides sample questions and approaches for successfully answering different question types in each exam section.
Transformationscene
After Judy dyes her hair blonde, Scottie is still not satisfied because she has not styled her hair in the neat bun that Madeleine wore. He insists she put her hair up, demonstrating his desire to transform Judy into his idealized version of Madeleine. Judy allows herself to be controlled by Scottie in this way in order to gain his love. The scene illustrates Scottie's obsessive need to recreate Madeleine and Judy's willingness to become the object of his desires.
Racist ideology
Wikus is an unlikable character who is clumsy, cowardly, and patronizing towards his Black subordinates. However, he is earnest and eager to please, which makes him somewhat sympathetic. The film effectively depicts the aliens as disgusting creatures that embody racist stereotypes, treating them like cockroaches and depicting them as addicted to cat food. It also "others" Nigerians in a similarly disturbing way. By making the audience view the aliens through a racist lens, the film highlights how racist ideologies function to dehumanize and objectify others.
Successful lowbudgetfilms
While big budget Hollywood films are common, some low budget films have achieved great box office success. The Conjuring (2013) had a budget of $20 million and grossed $318 million worldwide. Saw (2004) was made for $1.2 million and grossed $103 million globally. Napoleon Dynamite (2004) had a tiny $400,000 budget but grossed $46 million. The Blair Witch Project (1999) cost only $60,000 to make and grossed $248 million worldwide.
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While big budget Hollywood films are common, some low budget films have achieved great box office success. The Conjuring (2013) had a budget of $20 million and grossed $318 million worldwide. Saw (2004) was made for $1.2 million and grossed $103 million globally. Napoleon Dynamite (2004) had a tiny $400,000 budget but grossed $46 million. The Blair Witch Project (1999) cost only $60,000 to make and grossed $248 million worldwide.
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Using key words in a sentence
The document discusses the themes in the film District 9, including the segregation and lack of assimilation of aliens who are forced to live in a dystopian area called District 9 under harsh conditions, with humans from the MNU corporation controlling and possessing power over the aliens. A theme of xenophobia and racial division exists as the comfortable lives of humans are contrasted with the aliens' struggle to survive in District 9.
The alien as ‘other’ in district 9
The aliens in District 9 are seen as repulsive scavengers forced into make-shift concentration camps where they live in squalid conditions without basic rights. As the film develops, the aliens are shown to be intelligent beings who care for their children and want to return home, representing racial divisions and functioning as an allegory for apartheid and segregated minorities. While physically distinct from humans, the aliens are ultimately victims who are "othered" and denied dignity through physical segregation and an inability to assimilate or leave Earth.
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The documentary film The Imposter examines the bizarre true story of a French man who in 1994 impersonated a missing American teenager. Interviews with the director Bart Layton and producer Dimitri Doganis express their ongoing surprise and confusion over how the imposter, Frederic Bourdin, was able to convincingly convince the teenage boy's family in Texas that he was actually their missing nephew. Both the filmmakers and audiences are left wondering who exactly was conned in this astonishing crime of impersonation.
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- Social realism depicts ordinary people with ordinary problems in an urban drama setting.
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- Moral panic occurs when the media drums up panic about issues affecting society.
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More from smagdeburg (20)
Modleski ho
- 1. May 09, 2013 Modleski'The Women Who Knew Too Much' Before the flashback our identification with Scottie is problematic. transformation Scotties' intimate knowledge of women's clothing preoccupation with female clothing brassiere passive Scottie femininity = lack of freedom"principle of the cantilever bridge" femininity = male construct/ design Nightmare scene First kiss Final bell tower scene Modleski'The Women Who Knew Too Much' possession "I've got you now" destroys masculine identity beheaded face = castration dies Madeline's death plunged into feminine world Scottie has been used"rehearsed.....trained" man as victim
- 2. May 09, 2013 Argues against Mulvey (not as simple as the spectator identifying with the male) The film is fascinated with femininity (opening up a space for the female spectator) Modleski'The Women Who Knew Too Much'