Below I have listed the prompt and instructions for the Final Essay. Please read through it carefully. The essay does not require any outside sources. It just requires you to incorporate information from the movie, The Time that Remains (Elia Suleiman, 2009) itself, and information we were given about the film in class. I will attach discussion board statements and the notes for the film to help aid in formulating the essay. Do NOT copy and paste the notes/discussion statements on the word document. Put it in your own words and use it to answer the prompt. Please watch the film and write a good essay on it. Film can be fouon amazon or youtube. If you have any questions, PLEASE reach out and ask me. I have had individuals send me essays on completely the wrong film. Please, please don’t assume and ask. Thank you.
Essay Prompt: Discuss the representation of occupation/state of emergency/incarceration in the film The Time that Remains. You might consider the following: How does the film use representations of space as a way to express a sense of occupation, restriction, and emergency? When are spaces carceral? When are they open and free? Are there times when a particular familiar type of space is made to seem strange? If so: how is that strangeness achieved and what does it express?
Sources: You are not required to do any research beyond the scope of the syllabus. An A-to-B paper will demonstrate that you have at least read the Prezi and the relevant required readings. You will not earn above a B- if you do not engage in some kind of meaningful way with something from the syllabus other than the movie.
Build on earlier work: Some of the prompts below draw from discussion board questions; you may rework your responses there, developing them into a full-blown paper. You may not just cut and paste.
All film titles should be set in italics. I will take points off if you put the title in “” or ALL CAPS instead of italicizing it.
Use characters’ names (when they have them) when talking about them. (For example: don’t refer to Laurita in Madame Satã as “the prostitute/sex worker” or “the main character’s friend with the child”). A useful cheat: IMdB lists characters’ names when it tells you the cast of the film. Take the extra three seconds to look that kind of information up.
When you say things like “the viewer feels,” “the audience wonders,” “the spectator sees,” you are projecting your own experience onto the whole imaginary audience who ever saw the film. Don’t do this. Ever. For any reason. Please!! It’s better to focus on what the film gives you than on what you imagine some imaginary group of people might be thinking.
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