Description
So,for Film Analysis Paper #2 you are to analyze the same film scene you used in yourfirst paper. However, there should be significant differences between these two papers. EVEN IF YOU RECEIEVED AN “A” GRADE ON YOUR FIRST PAPER, EXTENSIVE REVISION (AND INCLUSION OF NEW COURSE MATERIAL) NEEDS TO BE MADE. The two papers will be compared to evaluate your growth in the ability to analyze film.Therefore, use the feedback provided from the Film Analysis Paper #1 AND your new knowledge from the text to augment this second paper. The intent of this assignment is for you to demonstrate that you have read the book and applied the feedback from the first paper to improve the quality of your analysis and writing!FIL3854, Film Art: Instructions for Film Analysis Paper #2
For this second paper, we will engage in process-writing to strengthen your critical
thinking and writing abilities. So, for Film Analysis Paper #2 you are to analyze the
same film scene you used in your first paper. However, there should be
significant differences between these two papers. EVEN IF YOU
RECEIEVED AN “A” GRADE ON YOUR FIRST PAPER, EXTENSIVE
REVISION (AND INCLUSION OF NEW COURSE MATERIAL) NEEDS
TO BE MADE. The two papers will be compared to evaluate your growth in the
ability to analyze film. Therefore, use the feedback provided from the Film
Analysis Paper #1 AND your new knowledge from the text to augment this
second paper. The intent of this assignment is for you to demonstrate that you
have read the book and applied the feedback from the first paper to improve the
quality of your analysis and writing!
Here are the basic requirements for the assignment:
1.) Analysis paper must be submitted in .doc, .docx, or .pdf format and
accessible:
Other formats (.odt, .dotx, Google Docs, are just a few examples) will NOT be
accepted and will earn a ZERO for the assignment. Analysis paper documents that
are corrupted or otherwise inaccessible will also receive a ZERO for the
assignment.
2.) Analysis paper must contain content that is solely the student’s original
work and not from a previous assignment. Any brief quotations or concepts
from outside sources must be properly attributed:
Content that is NOT solely the student’s original work, is from a previous
assignment, and DOES NOT attribute work from outside sources is considered
plagiarism. Submission of plagiarized work will result in a ZERO for the
assignment and no credit given for successfully completed extra credit assignments,
with participation in future extra credit opportunities being blocked. Other possible
penalties are the designation of a “F” or “FF” for the course.
3.) A word count must be provided either in the heading or at the end of the
paper and be accurate:
Analysis papers with falsified word counts, especially actual word counts that are
well below the word count provided, will result in a ZERO for the assignment.
4.) The minimum word count for the assignment is 1,250 words.
5.) Your introductory paragraph should include the name of the chosen film, its
director, and the year it was made.
6.) The introductory paragraph is one succinct paragraph that sets up a single pivotal
sequence for readers by explaining context (i.e. a very brief overview of the film,
where the selected sequence occurs in the movie, and why the scene is so impactful)
and essential characters who are in the sequence.
7.) The introductory paragraph must also include a clear and effective thesis
statement that is underlined.
8.) A brief summary paragraph that provides an overview of the action of the
sequence that provides important background information relevant to the
analysis
9.) The body of the paper must be a formal analysis of how 3 specific tools of
cinema and/or aspects of mise-en-scene were used to forward the narrative of
the chosen sequence with strong topic sentences:
Failure to examine a single pivotal sequence from a formal perspective in the
analysis paper, including tools used by the director to elicit a response from the
audience were identified and interpreted in an academic manner, will result in a
ZERO for this set of criteria.
10.) A satisfying concluding paragraph must be included
11.) Paper must be written and formatted in MLA-style format
12.) The writing style of the paper must be clear and free of spelling and
grammatical errors
13.) The paper should demonstrate extensive revision and improvement
throughout the paper. The second analysis paper must show significant growth
from the first analysis paper in terms of understanding how formal elements of
film function to help filmmakers communicate with their audience:
Submitting a paper that has little revision or is an exact copy of the first analysis
paper will earn a ZERO for the assignment.
Please review the Film Analysis Paper Two rubric and be sure to satisfy all the
requirements therein. As you can see, many of the requirements for this paper are
the same as the first one, but with one important difference – there is an additional
requirement for this assignment that is key to receiving a good grade for this
assignment – extensive revision and improvement from the first analysis paper must
be evident throughout the second version of your essay. Using the feedback
provided for the first analysis paper and taking advantage of the Writing Studio
Extra Credit opportunity will provide a great deal of constructive guidance for
crafting a superior second analysis paper. However, if you choose to submit a paper
with little-to-no revision (regardless of the grade you received for the first analysis
paper) you will earn a ZERO for the assignment.
All assignments must be turned in by the deadline. Late work will NOT be accepted,
which will result in a ZERO for the assignment. If you suspect that there is a
problem with your submission properly uploading to CANVAS, send me an email
(with the correct file attached) BEFORE the 11:59 p.m. (EST) deadline on the
assigned due date. Emails and assignments received after the deadline will not be
accepted.
Finally, any work that is received by the deadline, regardless of whether it is an
incorrect or incomplete file, will be what it is graded. Therefore, I cannot stress
enough the importance of making certain that the correct and complete file has
been fully uploaded. Double-check, even triple-check, to make sure that your
assignment is properly submitted and populating the correct submission
module.
Emily Calkins
FIL3854
7/12/2020
Word count: 1250
Bleeding steel film
I have chosen the bleeding steel film as part of my essay to show different cinema tools and are used to make the movie look attractive. The film takes 110 minutes and is recorded in English and Mandarin. It was produced back in 2017, and the director of this movie is Leo Zhang. I will be discussing the first five minutes of the movie. The film talks of the honest cop Jackie Chan was trying to save the world and protect the daughter. It starts with the special forces go-between Lin spending his root across town, riven amongst the desire to offer the last farewell to the ailing daughter plus the order to bodyguard the bioengineering expert called James to the high-security facility. Because it is the Jackie Chan movie, Lin automatically foregoes personal to fulfill the professional duties. The decision leads to the death of his daughter in the hospital, and almost most of Jackie’s team dies at the hands of Callan Mulvey, the mutant fighter hunting James for serum he invented. The purpose of this essay is to describe different cinema tools and aspects of the mise-en-scene that are used in the Bleeding steel movie.
The bleeding steel, by Jack Chan factually wraps 2017 by reentering every model he dabbled with during that year. Jackie, as the honest cop he is trying to save the world and also protect the daughter, Jackie Chan’s character here is comical father, globetrotting father, and grieving father. All packaged in the futuristic story individuals by mad mutants and scientists, the backdrop shared with the reset. Since he had made the directorial presentation in 2012 at Chrysanthemum to a beast, the gangster riffle starring Chan’s lad Jaycee, turned Leo Zhang from filmmaker to a director (Keast, 8).
The bleeding steel generally is barely groundbreaking by playing the rewritten form of Jackie Chan’s theme song to a 1985 movie “police story” over thespian’s trademark end-credit funny reel, with both the star and the director having an idea to make a throwback.
The first cinema tool used in the production of bleeding steel first five minutes is color and light. According to (Zettl 16), light is a signal that eyes obtain, and the brain decodes into perception. When an individual views a film, the person looks at the light show. Therefore, when images seem at 24 edges per second, human eyes perceive them as moving objects. The phenomena are termed “persistence of vision.” The light might be manipulated by using shadows to generate moods that make audiences “feel and see in a specific way.” In the movie bleeding steel varying marks of the shadows to accentuate suspense, drama, and mystery. Color can still be used by the director in creating atmosphere and mood. We can see that the first five minutes of the movie is acted at night; therefore, the director uses traffic street light and car lights to indicate that it’s during the night.
The second tool of the cinema used by the director in the bleeding steel is the three-dimensional field. On the movie screen, 3-D images are projected onto the 2-D surface. Because of this, the 3-D field on the screen is the illusion. Even though the size of the y-axis and x-axis are limited, the z-axis length is virtually limited in the bleeding steel film. In this film, the director created a delusion of complexity by filming stuff that partially overlay each other. The director used the volume duality aspect in this movie, where he portrayed interplay amongst positive and negative volumes. Moreover, the use of the Z-axis motion trajectory by the director is a strong indicator of the depth, like using camera figurines or zooms away or towards an object (Lathrop et al.).
The third tool of the cinema used by the director in the bleeding steel film is motion and time. Because moving images is the key factor concerning the film, the director was able to control subjective and objective time forms the aesthetic appearance of the rate, tempo, and pace of personal performances. Real time forms the time measured by click and presents the objective quantitative degree of the observable change. Subjective time forms the duration people feel. In this film, the director uses even motion, fast motion, slow motion, camera motion, and editing motion. The motions help to show the shift of events within the movie, like Jackie Chan’s driving to the hospital and his team calling to inform him about the escaped prisoner. The two sides show a shift in the event, and this shift is presented in motion.
The last cinema tool used by the bleeding steel film director is sound. Sound incorporates a full range of sound effects, music, dialogue, and audio narration. Sound is a vital aesthetic component for establishing the mood of any cinematic movie. The director uses literal and nonliteral sounds, where the literal tells the watcher where they are and the time of the day. Nonliteral sounds don’t have a literal meaning, and this sound does not signify a specific event or thing. The director used expressive music to create the background sound for the film. Chan uses a car siren to make people create a way so that he can rush to the hospital to say the final words to her daughter. There is still the siren from the police cars to show that there were police on the road.
In bleeding steel film, the director uses the costuming element of the Mise-En-Scene, where the Jackie Chan team was wearing the police clothes, bulletproof, and a pistol in their hands. There is a hospital setting where actors are dressed like doctors with their light blue coats and surgical masks. The hospital is equipped with all medical equipment, and everyone there is dressed in medical attires. Jackie Chan is dressed in formal wear to show that he is a special forces agent. Therefore, the costuming of the characters in the bleeding steel film makes sense in the Mise-En-Scene (Zettl, npg).
The director chooses to have the film set to be at night, but the movie was lit and locked on. According to my feeling, night scenes tend to be lit in in their look. Night scenes sense like the dark and lonely internal world. the film is used bleeding colors and rich contrast. The composition is another element of Mise-En-Scene that the director used in bleeding steel film to incorporate different graphical designs.
In conclusion, if the film relies on dialogue, only that could be a disappointment of a director. Using sound as the tool conquering the visual isn’t ideal cinema. But the use of delicate editing, camera angles could improve quality as a cinema. In the scene mentioned above, the needed impact is generated with a combination of the audio. Even though Mise-En-Scene is not firmly the production term, Mise-En-Scene is certainly something that the filmmaker should consider all through the artistic process. In bleeding steel, the director used all these elements of Mise-En-Scene effectively to make the product attractive and interesting to the audience. The film incorporated sound, light, and 3-D images to make the cinema more attractive and meet the standards of quality film.
Work cited
Zettl, Herbert. Sight, sound, motion: Applied media aesthetics. Cengage Learning, 2013.
Lathrop, Gail, and David O. Sutton. “Elements of mise-en-scene.” Retrieved on January 3 (2014).
Keast, Jackie. “Courting China.” Inside Film: If 174 (2016): 8.