ONLY USE these resources for citations in essay: Closely Watched Films by Marilyn Fabe or films from Edison films (Monkeyshine No 1, Monkeyshine No 2, Greetings, The Kiss, Sandow, Serpentine Dancer) or Lumiere Brothers films (Lumiere Factor, Arrival of Train, Baby Eating, DragonCrossing, Childish Quarrel, Lion, Demolition of Wall, Tranformation, Poultry Yard, Snowball Fight, Card Party)
You are expected to use ONLY course materials (the films, Fabes book, assigned readings, the recommended textbook, lecture slides and notes) to help you answer the questions. These are the only sources that you are permitted to use for your answers. Do not use any other sources, print or online.
You must properly cite your uses of the texts, including but not limited to quotations. Please use either Chicago or MLA style. All exams will be checked for plagiarism. Plagiarism is grounds for failing the exam and disciplinary action. Please work alone and do not confer with your classmates. If you wish to cite the lectures you can mark them in a footnote or parenthetical citation by the video number and time code (eg., Module 4.3, 15:38)
*TIP: When using texts in your answer, you are looking to support your claim. This does not necessarily mean finding a moment in which the author says something directly about the film you are discussing. It might mean looking to her on a certain topic (like on editing, or a type of shot, or a definition of modernism, etc. etc.). Just because the author doesn’t write about the specific film you are discussing, this does not mean that she doesn’t have anything to say that will support your claim.
Chicago Style Citations: http://www.chicagomanualofstyle.org/tools_citationguide.html
(Links to an external site.)
MLA Style Citations: https://owl.english.purdue.edu/owl/resource/747/02/
(Links to an external site.)
All exams are checked for plagiarism by OSUs software and by the teacher and TA.
This exam is worth 25% of your final grade and will be graded out of 200 points. (Each essay will be given a standard grade out of 100, adding up to a total of 200 pts for the exam). The grading rubric is attached. Please refer to it closely!
Because of the large number of students in the class, the TA will only be able to provide limited feedback. If you have questions about your exam after it has been graded, please contact your TA for an appointment to discuss your exam in depth.
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QUESTION 1 (100 points)
Georges Mliss A Voyage to the Moon (1902) and Edwin S. Porters Great Train Robbery (1903) were two early films that greatly influenced future filmmakers.
Choosing one of these two films, please write an essay explaining the directors style and his innovative uses of mise-en-scne, cinematography, and editing. Please explain why they were innovative and give specific examples and details. What were the effects (on the audience, on the cinema) of these innovations?
You should discuss all three of these categories in your essay. If the director was not innovative in one of the three categories, please explain why or how.
Support your essay and all of its claims with references to the readings and descriptions of specific moments from the film.
QUESTION 2 (100 points)
Recently we have focused our discussion on Modernist film. Please write an essay explaining what Modernism is and how it relates to realism. Select one modernist film from the list below and write an essay arguing how it enacts and engages with the concepts of modernism.
Is the film Dadist, Surrealist, Expressionist, or Constructivist, and why?
What are the specific traits of that particular modernist genre? What are the effects of the modernist techniques used in the film?
How does the film break with Realist practices and what are the conceptual or aesthetic consequences of that break?
Please refer to specific scenes and shot sequences from the film to support your answer. Draw upon the readings and the lectures to support your argument.
Films (choose one): Man Ray, Return to Reason (1923); Marcel Duchamp, Anmic Cinma (1926); Luis Buuel and Salvador Dal, Un Chien Andalou (1929); Robert Weine, The Cabinet of Dr. Caligari (1920). Sergei Eisenstein, Battleship Potemkin (1925)
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