midterm sequence analysis essay

Introduction to Film Studies
Sequence Analysis paper prompt
via the assignment section on Canvas.
Format: typed, double-spaced, 12 pt. font, with correct margins (1 in), docx file (PDF, Pages, or
Google Doc link will not be accepted).
This assignment has two parts, a descriptive one and an analytic one. Please submit them as one file.
Part I. Description
Pick one of the following four clips. Then, isolate what you take to be one cohesive and
meaningful segment:
1. Rear Window
https://vimeo.com/330638322 (password: midterm1)
2. In the Mood for Love
https://vimeo.com/792971422 (password: midterm2)
3. Billy Elliot
https://vimeo.com/792420261 (password: midterm3)
4. Man with a Movie Camera
https://vimeo.com/330682883 (password: midterm4)
As you watch (and repeatedly re-watch) your chosen segment, you should take note of as much
information as you can about its formal elements. This includes elements of the mise-en-scene
(i.e., sets, costumes and make-up, lighting, performance and staging); elements of the
cinematography (i.e., photographic qualities including tonality, speed of motion, varieties of
perspective, framing including aspect ratio and all aspects of camera placement, mobile framing,
on/off-screen spaces, shot duration/long take); devices of editing; elements of music/sound
(mainly, diegetic or non-diegetic—you do not need to use other technical vocabulary of
music/sound since we have not covered this unit yet).
You can use the shot-by-shot analysis form below (available on Canvas too) to document your
observation. There is no page limit for this part. The length of your form depends on your chosen
segment and the thoroughness of your engagement with it.

Part II. Analysis
After you have finished the descriptive part of the assignment, write an essay of 1200 words (+/-
10% acceptable, reference included) that proposes a reading of how one or two stylistic elements
function in your chosen segment. Discuss how your chosen stylistic elements are deployed 1) to
engage the viewers’ attention and to shape their understanding of the immediate action; and 2) to
engage the film’s larger thematic, ideological, socio-political, and/or philosophical concerns. Your
analysis should aim to propose an original reading of the film; it should marshal your segment’s
formal features as evidence to support your interpretation. Put another way: you are asked to
mobilize your formal analysis to say something illuminating about your chosen segment and about
the film as a whole.
As you make your argument, you should include a discussion of at least one assigned reading
we’ve covered so far. You are welcome to use additional material sourced from your own research but only in addition to the assigned reading. The reference to the text should be used to help you
make sense of the significance of the formal experimentations on display in your chosen segment.
Please make sure that your citations and bibliographies are formatted correctly according to the
Chicago Manual of Style. Adopt the notes and bibliography system:
https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-1.html
Don’t forget to title your essay.
Grading Criteria
• 85 and above: outstanding, publishable material.
• 75 and 84: excellent audiovisual analysis supported by accurate descriptive language; well-
grounded argument with high stakes and refreshing insights.
• 65-74: very good audiovisual analysis with no or a few mistakes in descriptive language;
valuable argument with sufficient stakes.
• 50-64: good audiovisual analysis with some mistakes in descriptive language; sufficient
argument but with low stakes.
• 49 and below: inaccurate audiovisual analysis with several mistakes in descriptive language;
insufficient or no argument; lacking in originality.
Ostensible failure to adhere to the standards of the Chicago Style (such as improper formatting of
the title of a film or an article/chapter or a book; inaccurate citation of the references; incorrect use
of footnotes; incomplete bibliography) will result in a deduction of 10 points from the final grade of
your paper.
*Under no circumstance will plagiarism be tolerated.
** Typo, grammatical error, punctuation error, among other writing mistakes will significantly hurt
your grade. Please proofread.
Reading list
Bordwell and Thompson, “The Significance of Film Form,” 50-71.
Workshop on the conventions of film writing and Chicago Style citation format (note-only
system + notes and bibliography system).
R. Barton Palmer, “The Metafictional Hitchcock: The Experience of Viewing and the
Viewing of Experience in Rear Window and Psycho.”
Bordwell and Thompson, “The Relation of Shot to Shot: Editing,” 216-262
Sergei Eisenstein, “The Cinematographic Principle and the Ideogram.”
Sergei Eisenstein, “Montage of Film Attractions.”
Bordwell and Thompson, “The Shot: Mise-en-scène,” 112-158
Bordwell and Thompson, “The Shot: Cinematography,” 159-215
** Typo, grammatical error, punctuation error, among other writing mistakes will significantly hurt
your grade. Please proofread.
Reading list
Bordwell and Thompson, “The Significance of Film Form,” 50-71.
Workshop on the conventions of film writing and Chicago Style citation format (note-only
system + notes and bibliography system).
R. Barton Palmer, “The Metafictional Hitchcock: The Experience of Viewing and the
Viewing of Experience in Rear Window and Psycho.”
Bordwell and Thompson, “The Relation of Shot to Shot: Editing,” 216-262
Sergei Eisenstein, “The Cinematographic Principle and the Ideogram.”
Sergei Eisenstein, “Montage of Film Attractions.”
Bordwell and Thompson, “The Shot: Mise-en-scène,” 112-158
Bordwell and Thompson, “The Shot: Cinematography,” 159-215

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