For the balance of the class, your analyses will constitute a longer sequence analysis drawn from one of the films we have screened in class. This will draw upon all the material we have covered over the course of the semester in a systematic analysis of a film sequence, taking into account formal and stylistic properties. The purpose of this is to synthesize the learning objectives.
The analysis will consist of five components, extensively using the film analysis schema provided in class. You will systematically break down shots, editing, sound, and performance, as well as discuss the director’s intent.
Shot by Shot Visual Analysis
Analysis of Editing
Analysis of Film Music/Sound (where applicable)
Analysis of Performance
General discussion of director’s intent, including how the sequence fits into the overall film, and any relevant theoretical or ideological concepts that you see at work.
For parts 1-4 you should use the film analysis schema to name as many components of mise-en-scene, cinematography, mobile framing, and cinematic movement as possible.
For number 1, this is to be done for EACH NEW OR DIFFERENT camera set up.
You will go through the sequence and number each shot. For each shot you will list what type of shot it is as well as capture as many elements as possible from the schema (sections I, II, & III). This should be done in a bulleted format – short, sweet, to the point.
Following this, for each new camera set-up provide a two-sentence statement as to what the effect is of the visual choices made by the director in that shot.
NOTE: If a sequence reuses the same camera set-up, simply note that the shot is a repeat of a previous shot and which number. For example, if a dialogue sequence consists of a shot/reverse shot structure, you will only need to analyze the first camera set-up, UNLESS there is a noticeable difference between the two shots, e.g. change in blocking, lighting, mobile framing etc.. You will need to then address any changes in that new shot.
Once you have completed your visual analysis you will move onto an analysis of the editing. Once again use the schema (section IV), ou should address as many components of this section as relevant to editing. This should be done in a concise and brief paragraph.
Once you have completed the visual analysis and the editing analysis, you will look at the use of film sound/film music (section V in the schema). If relevant, address any points in this section that pertain to that section. This should be done in a concise and brief paragraph.
Once you have completed the visual analysis, the editing analysis, and the sound analysis, you will analyze the performances in the sequence (section VI of the schema). Address the elements of the performance. This should be done in a concise and brief paragraph.
The final component will be the conclusions drawn from your analysis of this sequence. This will be the longest written section of the analysis and will need to address the question of what the director was trying to accomplish and how this sequence reflects the overall film narrative, themes, ideology, theory, or other salient topics that the analysis of this sequence has illuminated for you about the film. It should be no less than 350 words in length.
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