Essay on Film

*MAKE CERTAIN TO SIGNIFICANTLY CITE SOURCES, with extra creditconsideration a distinct probability for citations from significantother readings. Lack of, or scantcitations, will result in a far poorer grade, regardless of your writingproficiency.Include a cover sheetcontaining an essay title, your name, course number and date.Number your pages (bottomcenter preferred).Make certain toavoid the following pitfalls:1.Do not write plot summaries. (Elements of the story or the plot of a filmshould be used as specifically brief details to explain or discuss the ideas ofthe film, and its relation/significance to our course topics.)2.Avoid vague andunnecessary evaluative terms like “beautiful photography,” “superb acting,” or“tight direction.”3.Always support general arguments with specific film examplesdescribed as accurately as possible.4.Use the characters’ names–notthe actors’–when discussing the film but give the actor’s name in parentheseson first use.5.Underline or italicize film titles. Do not place them “in quotes.”6.DO NOT indulge in loose and careless use of terms like symbolism orforeshadowing; indeed, you would probably be better off avoiding themaltogether. So too, DO NOT use the phrases “throughout the film…” or “…givesthe feeling of…,” for they invariably get absurdly repetitive. Do not refer to the viewer or audienceor use expressions like “we see” or “you hear” as these alsobecome woefully, nauseatingly repetitious.7.Do not describethe film using first person (I/we) or second person (you) pronouns. Comments like “we see Baby and Johnnytogether for the first time . . .” would be better written as “Baby and Johnnyare together for the first time . . ..”8.Do not mix yourtenses and always keep your verbiage in the present tense! (i.e., “The character IS /DOES / HAS” rather than was, did and had.)9.Properly,indeed meticulously, PROOF & EDITyour work before submitting. Grades dropprecipitously with each instance of poorly proofed errors.
Employ any of these as a springboard by which to approach your interim and final essay analyses of the unique style of mise-en-scene and thematics in class screenings and any or as many of the films provided in our Blackboard Course Documents page of Supplemental Screenings.*Any of these prompts are pre-approved. Topics other than these must be granted prior approval.
HAWKS Essay Prompt D:
Certainly a ‘genre director,’ Hawks specialized inthe Western and the “Screwball Comedy.”Three of his screwballs are included in our syllabus, while otherdirectors’ are in our Course Documents Supplements file.When you have recovered from the laughter jags, youmay wish to explore this genre and its tropes, from the ditsy leads to theditsier secondary characters, the conflicts therein, and their sharp insightsinto the human condition, especially as it pertains to the sexes and societalmores of the day (or any day, for that matter.)
HAWKS Essay Prompt E:
Yet another notable Hawks genre is that whichstudies the male relationships in the professional realm, such as ONLY ANGELS HAVE WINGS, THE BIG SLEEP and TO HAVE AND HAVE NOT. Whenexploring this prompt, you would be well advised to compare these to the relationshipsin his Westerns as well, along with an eye to male-female dynamics as opposedto their screwball counterparts. Adirector’s thematic and stylistic thumb is imprinted on all films, regardlessof genre, particularly in Hawks’ case.