Film analysis essay : Man with a Movie Camera

In this film analysis essay we will focus on man with a Movie Camera. This assignment asks you to focus on the form, style, and techniques of film making in order to better understand the content and meaning of the film.

Film analysis essay : Man with a Movie Camera.

ASSIGNMENT: Firstly, write a detailed shot-by-shot analysis of a short (about 5-minutes) sequence from Nanook of the North, Man with a Movie Camera, or The River. This type of writing is a basic building block of being able to write about film. I am looking for a very specific approach in this formal analysis. Additionally, each paragraph should focus on a shot or two at most. In that paragraph be sure to explain how the shot works to create meaning in the film. For example, if the shot is a long shot rather than a close up—how does this contribute to the message of the film? Be sure to cover three aspects of each shot: the visual elements, the textual/verbal elements, and music/sound. This paper should be about 4 pages, double-spaced, 12-point font, with 1-inch margins.

Film analysis essay : Man with a Movie Camera.

Nanook of the North: Man with a Movie Camera: The River:  GUIDELINES AND TERMINOLOGY Before going on to conduct a critical analysis of the ideas, themes, issues, or social context of any film you have to be able to analyze the documentary as film. This assignment asks you to focus on the form, style, and techniques of film making in order to better understand the content and meaning of the film.

Film analysis essay : Man with a Movie Camera.

As you watch the first three films we are viewing, pay attention to the visual elements of a particular sequence. A clear though perhaps arbitrary section of the film made up of a series of scenes. Which are themselves made up of a series of shots). In this assignment, analyze or “read” that sequence for what David Bordwell and others call its “poetics.” In this usage, “poetics” has little to do with what you might think of as poetry. The term goes back to Aristotle who developed a way of explaining how classical Greek tragedy did what it did–have an emotional effect on the spectator.


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