1. Submit rough draft to turnitin.com before class on Friday. The class ID is 3635236 . Password is fall10. Once you register, it will be easy to submit your final paper next week. I will count this as your rough draft submission grade.
2. Tomorrow (Thursday) are the online chat conferences. I can clear up any questions you have about annotations, citations, grammar, sentence wording, etc. Log on and send me your questions. If you can't log on at your scheduled time, log on with a friend. I'll be online beginning sometime in the 9:00 am hour through the 2:00 hour. This conference counts as class time. I am not paid for this; I am doing this because I want you to succeed.
3. Face to face group meetings will be Friday and Monday. Here's the schedule:
Friday starting at 11am : "Bible", "Deliver Us", "Electric Car", "Inconvenient Truth" (I moved you guys-- is that okay?)
Monday starting at 11am: "Jesus Camp", "Sicko", "Supersize Me"
** I must meet with every student. Bring your rough drafts AND your annotated bibliographies.
4. What will you be doing on Friday and Monday when you aren't meeting with me? Peer editing and presentation planning.
5. Group presentations will start on the Monday we return from the holiday. Attendance to ALL presentations will be graded. We will meet in room 315 for the presentations due to the computer volume not working in our room. You'll be graded on 1. A handout 2. showing a movie clip (or trailer) 3. enthusiasm and knowledge 4. content 5. attendance to the other presentations
I will grade a bit "harder" on this one; I expect to hear equally from everyone. Speak up-- show what you know. Have a positive attitude. Bring props, refereshments, etc. Anything that can convey the message of your film is welcomed. Extra credit is up for grabs for students who go above and beyond to make their presentation special.
Monday: "Bible" and "Jesus Camp"
Wednesday: "Sicko" and "Super Size Me"
Friday: "Electric Car" and "Inconvenient Truth"
**"Deliver Us" group: Come ready to present everyday. I will try to fit you in on one of these days if time permits. If we can't, then you will have to present on finals' day. However, we will be back in 310 and won't have volume!
Our final is Monday 06 Dec. at 11am. Bring your textbook. It will cover everything you learned in class this semester. Does anyone want to collect money and pick up pizza for the class?
You might be interested in reading this. I'd like to know what you think. http://chronicle.com/article/The-Shadow-Scholar/125329/
Hollie Domingue, English Instructor, NCTC-- Corinth Campus "Either I do not corrupt the young, or if I do, it is unwillingly"-Socrates
Choose two of these to include in your body paragraphs 3 and 4... let your film reviews guide your discussion... scroll down to watch a video: Film Art
The art of the frame (composition of a particular shot; each image is crafted to communicate particular ideas or elicit particular emotions)
- Camera movement (tracking shots left or right, up or down, panning, lens movement in or out)
- Symbolic placement of objects within the frame--an object in the foreground comments on background objects; when characters are placed on the center vs. edges or top vs. bottom of the frame, different interpretations are possible; interpretations of actions also vary depending on the distance between characters/persons within the frame
- Type of shot: interpretations vary depending upon type of shot: extreme long shot, long shot, medium shot, close-up, extreme close-up
Editing is the basis of filmmaking. Viewers judge meaning based on the comparison of shots and scenes within the documentary.
- Uninflected cuts: Filmmakers want to communicate meaning with the cut, with the shift from one piece of visual information to another piece of visual information; as soon as the cut comes in, the viewer should have sufficient information to form new judgments. An uninflected cut is one that offers one primary piece of visual information (even in the context of other visual information in the shot, a primary segment of visual information stands out) in order to make one significant point to the viewer.
- Insert close-ups: One way filmmakers break down narrative scenes is by inserting a close-up in an unexpected context; when this is done the shot is often a close-up in order to draw our attention to the image/object and facilitate our judgment of the action.
- Reaction shot: a primary means of conveying meaning within the context of narrative is through the use of a reaction shot--a medium shot or close-up of a character/person just after significant action occurs within the scene. The shot of the character/person provides a visual marker for his/her response to that action. In film we follow action by means of visual cues like reaction shots--we need to see the face of the character/person in order to "read" that character/person's response.
Point of view shot (we see an image or scene from the perspective of one of the characters or subjects; allows audience to identify with the individual from whose point of view we see the scene; often used when camera moves down a hallway or sidewalk or through a room to heighten that identification
- first-person point of view pushes the identification of audience with person whose point of view is being shown (in this context we "become" the eyes of that person)
Direct cinema (people filmed in uncontrolled situations; usually no added music; usually no use of narration; lengthy scenes to reveal glimpses of character; suggests an objective observing of reality by audience; requires active participation on the part of the audience)
Reenactment (staged reenactments of events from the past in order to recreate the feel of real life events; the settings may be recreated or staged, and the people involved are all actors)
Archival footage (use of direct cinema or other documentary footage or photographs from the past in order to review events that took place in the past or provide some perspective on events from the past)
Ambient Sound : This is sound that is present, or available, in the context of the scene being filmed. It may consist of the background sounds (of traffic, birds, wind, planes flying overhead, machines working, children playing, etc.) It is always applied synchronously; that is, the sound emanates from within the scene (not external to the scene). If we hear music, for instance, we hear it because someone is playing a car radio or is attending a performance or is present in a scene where music is playing.
Other Documentary techniques
Direct Interview technique (we see subject talking on camera, and we see and hear the interviewer asking questions in the same shot or in part B of a two‑part parallel track; suggests journalistic basis of reporting).
Indirect Interview technique (we see subject talking on camera, but we don't see or hear the interviewer asking questions in the same shot; this gives the impression of the character speaking directly to the viewer.
Voiceover narration (in one case, we hear a character speaking about some issue/problem/conflict), and we may or may not see that person engaged in some action on the screen at the same time; gives impression of audience overhearing the character reveal thoughts and feelings / in another case, the voiceover is done by a narrator (someone not seen in the film) who comments on action; this suggests a more objective voice than the prior example)
Direct narration (we see and hear the narrator of the film as the narration is presented; suggests an intimacy between narrator and audience; this type of narration is seldom objective‑‑its biases reflect the speaker's background, conflicts, values)
Graphics : Use of titles or other written information displayed on the screen; often used in Ken Burns' documentaries to suggest divisions (like chapters) of the film.
Music : or sound, within scenes or through scenes, to complement visual images; sound track, theme, montage-music, all applied external (asynchronous) to the visuals.
Film resource written by Robert Yahnke
Copyright, Robert E. Yahnke, © 2009
Professor, Univ. of Minnesota
Request permission from the author to reprint this resource--for educational use only
http://www.youtube.com/watch?v=H9adF3G0uWE
There are others... this is just an overview.
Overview of class today... scroll down for lots of helpful information on bibliography and citation! 1. Everyone should have a minimum of 8 cited sources in the essay. 3 movie reviews, 3 topic-based research, your textbook, and your film. Everyone should include an "update" to their issue (news-based research surrounding current events pertinent to your topic). You can include one of these types of articles as your "topic-based research", but better still, you can have an extra article or two about this. If you have more than 8 sources, that is FINE. Just make sure you cite all of your sources in your essay and in the bibliography. 2. The outline is due Wed. The template for the outline is on the research tab of the class website. You need 6 paragraphs (intro, about the topic, 2 on film critique, 1 on concession and fallacy, conclusion). Further information about this can be found on the class website. 3. Everyone signed up for an online chat session with me on Thursday. To do this, simply log on to the class website at your assigned time, and click on "chat". Start chatting with me. I can do this one on one or with a group-- you decide. 4. Each group needs to sign up for face to face time with me either on Friday or Monday. I will pass around this sign up on Wed. We will go over your drafts. Hopefully Andie will also be here to help where needed. 5. Here are the presentation requirements: A. You present as a group. B. You need a handout (about the movie and topic). C. You need to show the movie trailer or a clip from the movie. I will request we meet in a room with a working computer. D. You must show up to ALL presentation days. E. Be enthusiastic, clear, knoweldgable and organized. F. Extra credit is possible. G. 10 minutes to present, 10 to discuss. Here's a sample of what an annotated bibliography should look like: Annotated Bibliography
Brasor, Philip. “Going All the Way Over the Wall.” Rev. of Hedwig And The Angry Inch dir. by John Cameron
Mitchell. The Japan Times online. The Japan Time, 27 February 2002. Web. 21 February 2010.
This review gives a backdrop and short synopsis of the film. Brasor incorporates the songs and their meanings into his review. He speaks more about the music and what they mean than the film. He states that this film described more as burlesque, but has a deeper meaning. “Mitchell’s themes are more formidable, and he makes rock serve these themes rather than the other way" (par. 4). He also talks about the characterization of Mitchell’s Hedwig. I used this in my paper to describe the song, “The Origin of Love”.
Holden, Stephen. “Betwixt and Between on a Glam Frontier.” Rev. Hedwig And The Angry Inch” dir. by John
Cameron Mitchell. The New York Times online. The New York Times. 20 July 2001. Web. 21 February 2010.
In this review, Holden offers a short summary of the movie, but mainly focuses on the musical score comparing it to David Bowie’s music and music of the 70’s rock. Holden does make note of the philosophy in the songs and mentions Plato’s Symposium. Holden explains that Hedwig is in search for her other half, and brings up the symbolism in the comparison to everything being split: “split eggs, phases of the moon, and the division of Berlin" (par. 3). Holden speaks of the film in a positive manner, and mentions “everyone has the freedom to couple however he or she chooses" (par. 5). This is a retort against those who would think of ill of the film. I used this in my paper to support the theme Pausanias’ speech of common love and heavenly love as it pertains to Hedwig’s relationship with Luther.
Hunter, Stephen. “Hedwig: To Halve And Have Not.” Rev. Hedwig And The Angry Inch” dir. by John Cameron
Mitchell. The Washington Post online. The Washington Post. 03 August 2001. Web. 21 February 2010.
This review hardly gives a synopsis of the film, but does discuss the film as a whole. Hunter mentions that precautions should be taken if one decides to watch the film; like a disclaimer. He states that the music of the film is “full of anger, bitterness, self-hatred, and energy.” The songs express all the moods Hedwig feels throughout the film. He speaks in favor of this film. Hunter speaks highly of the director and the music composer, be he also speaks highly about the actors in the film. I used this in my paper to support Mitchell’s work on the film as both director/actor
Hedwig And The Angry Inch. Dir. John Cameron Mitchell. New Line Cinema, 2001.
Murray, Penelope. “The Symposium.” Journal of Hellenic Studies 126 (2006): 211. JSTOR. Web. 21 February
2010.
This article critiques a translation of The Symposium done by Richard Hunter. Hunter not only translated Symposium, but also gave explanation to the dialogue, and highlights “key moments in the dialogue’s reception.” Murray then gives insight to the time for which the dinner party takes place, and parts of some of the speeches made that night especially Diatoma’s dialogue with Socrates. I used this article to support my paragraph including Diatoma’s speech.
Nehamas, Alexander. “Only in the Contemplations of Beauty is Human Life Worth Living, Plato, Symposium.”
European Journal of Philosophy 15.1 (2006): 1-18. Academic Search Premier. Web. 21 February 2010.
This article’s main idea is how to attain being whole through the philosophies of Plato and Gregory Vlastos, who is a critique of Plato’s work. The main speech used in Nehamas’ article is Socrates’ conversation with Diatoma, a prophetess. It speaks of the “ladder of knowledge” (4) and how might be able to ascend said ladder. He touches other speech’s too, but the particular dialogue between Socrates and Diatoma supports “the contemplation of beauty” (5) and its worth to human life. It is a rather long, boring article, but I found it useful to support my paragraph in which I discuss Diatoma’s speech.
Plato. The Symposium. London: Penguin Classics, 1999. Print.
Sypniewski, Holly M. “The Pursuit of Eros in Plato’s Symposium and Hedwig and the Angry Inch.” International
Journal of the Classical Tradition 15.4 (2008): 558-586. EBSCOHOST. Web. 21 February 2010.
This amazing article brings forth the similarities found Hedwig and the Angry Inch and Symposium. Sypniewski juxtaposes the themes of speeches from Symposium and how they’re played in the film. She goes through each speech and gives an explanation to why and how it worked so well in the film. As one reads this article, one can see the difference scenes playing out from the movie. I thought this to be one of the best articles I have read on the subject matter. I used this article to support my paragraph discussing the theme from Aristophanes’ speech, and how Mitchell used it in the film.
Here are samples of types of citations you might encounter: 1. Movie Review:
Holden, Stephen. “Betwixt and Between on a Glam Frontier.” Rev. Hedwig And The Angry Inch” dir. by John
Cameron Mitchell. The New York Times online. The New York Times. 20 July 2001. Web. 21 February
2010. 2. Journal Article: Sypniewski, Holly M. “The Pursuit of Eros in Plato’s Symposium and Hedwig and the Angry Inch.” International
Journal of the Classical Tradition 15.4 (2008): 558-586. EBSCOHOST. Web. 21 February 2010.
3. Film: Hedwig And The Angry Inch. Dir. John Cameron Mitchell. New Line Cinema, 2001.
4. An article in a journal retrieved from an online database: Gorski, Paul. "Rethinking the Digital Divide." Race, Gender and Class
10.4 (2003): 145-76. Ethnic Newswatch. Web. 11 Nov. 2010.
5. An article in a magazine from an online database: Brown, Kathryn. "The Skinny on Environment." Scientific American Jan. 2008:
30-37. Academic Search Premier. Web. 11 Nov. 2010.
If you don't see a type of article (like an interview, etc.) listed here, then look here http://owl.english.purdue.edu/owl/resource/747/01/ or in your textbook.
