Film Studies Homework
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In a move that ESPN calls "unusual, if not unprecedented," Kyler Murray's contract extension with the Arizona Cardinals includes a clause stipulating that he has to study film for at least four hours each week outside of mandatory team meetings.
But clearly, reading between the lines of the contract, he's not a fan of film study. The details of the so-called "independent study addendum" are pretty funny, provided you're not a Cardinals fan. For one, there's a section demanding that he studies the materials "in good faith." It actually specifies things he can't be doing while he's studying, from video games to watching TV to browsing the internet. If he screws it up, he'll be in default of his contract, with attendant financial penalties that could total up to $100 million.
Looked at from a distance, this is a "good idea," the same way it's theoretically a good idea for a struggling husband and wife to write up a marriage deal where they have to go out to dinner once a week, or something. But the fact that it has to be written in the first place? That implies trouble. Studying film on your own is part of the gig for an NFL quarterback, and anyone interested in playing for a long time at an elite level shouldn't have to be told to do the bare minimum. And four hours feels like the bare minimum, plus a very very reasonable ask for $200+ million.
But what sports has shown us, over and over and over again, is that it's hard to teach motivation. Murray may be extremely motivated in other aspects of the game, but he's not a film guy, and it's not at all clear that you can just "create" a film guy where none existed before. Mini-dramatics like the social media scrubbing only tend to get worse with time, and you have to wonder if the Cardinals will regret the massive contract extension far sooner than they would like.
The film consists almost exclusively of interviews with a number of pupils and two fathers of pupils at Shahid Masumi school who are asked to give their opinion on the traditional teaching practice of assigning homework. Issues such as some parents' illiteracy and their inability to help their children with the homework are raised. The children don't always succeed in hiding the more embarrassing aspects of their family life (corporal punishment, poverty, etc.).
Media Studies is a focus area with the broad discipline of communications. Media studies examine, research, and analyze the various types of media used to communicate information, influence opinions, and educate. Media studies typically have a particular relationship to mass media. Media studies is an academic field of study rather than a professional program.
After brainstorming, you can draft an outline of your film analysis using the same strategies that you would for other writing assignments. Here are a few more tips to keep in mind as you prepare for this stage of the assignment:
As you consider your notes, outline, and general thesis about a film, the majority of your assignment will depend on what type of film analysis you are conducting. This section explores some of the different types of film analyses you may have been assigned to write.
Semiotic analysis is the interpretation of signs and symbols, typically involving metaphors and analogies to both inanimate objects and characters within a film. Because symbols have several meanings, writers often need to determine what a particular symbol means in the film and in a broader cultural or historical context.
Narrative analysis is an examination of the story elements, including narrative structure, character, and plot. This type of analysis considers the entirety of the film and the story it seeks to tell.
For example, the clip from Vertigo depicts a man observing a woman without her knowing it. You could examine how this aspect of the film addresses a midcentury social concern about observation, such as the sexual policing of women, or a political one, such as Cold War-era McCarthyism.
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We provide Film, Video and Television tutoring online with qualified tutors covering a range of communications-related subjects. Our tutors have backgrounds in teaching at the college level and professional experience in communications fields. They can provide live tutoring sessions and homework help for a variety of problems in different media study areas.
Our tutors are available for all subfields, such as video production and media content writing for entertainment, journalism, and general storytelling. Our tutors can work with assignments at all college levels; whether you're pursuing your associates degree, bachelors degree, master's or PhD, we have you covered. Each tutor can assist you in both live tutoring sessions and homework at any degree level.
More traditional video production, such as production of feature films, documentaries, advertisements, infomercials, public service announcements and instructional technical videos, among others, remains a valuable skill in all settings. Emerging alongside older cinematic structures are newer, more experimental cinematography techniques that have become more popular in the age of computers.
If you have a specific communications assignment in mind, we also have Film, Television and Video homework that has been completed. You can use past assignments to help you work through current homework assignments. Our homework library hosts a vast amount of completed communications homework assignments so you can find a piece that matches your needs.
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Our tutors are just as dedicated to your success in class as you are, so they are available around the clock to assist you with questions, homework, exam preparation and any Film, Video, Television related assignments you need extra help completing.
Studies film as an aesthetic and cultural medium. Teaches the fundamentals of film, including narrative form, mis en scene, cinematography, editing, sound, and non-narrative forms. Teaches film analysis, including ideological approaches, and considers film as a cultural institution. May be delivered hybrid.
Raises cultural awareness through aesthetic, critical, and interdisciplinary examination of the evolution of the representation of race, class, and gender in American cinema. Focuses on both Hollywood and independent minority filmmakers. Some films screened may carry an "R" rating.
Explores the development of the feature film, both in America and abroad from 1895 to 1945. Covers the evolution of motion pictures from conception as an entertainment novelty (c. 1895) to the mass-audience, commercial art form of the 1940's. Examines film as a serious historical study of a form of mass communication, which has had ethical, social, and political consequences on society. Includes lecture, screenings, and demonstrations with critical discussions of assigned readings and films.
Explores the development of the feature film, both in America and abroad from 1940 to the Present. Emphasizes the continuing evolution of motion pictures from the height of the Studio System 1930s through to its status as one "form" of digital entertainment in 2010. Examines film as a serious historical study of a form of mass communication, which has had ethical, social, and political consequences on society. Includes lecture, screenings, and demonstrations with critical discussions of assigned readings and films. (Note: Some films screened may be considered controversial and carry an "R" rating.)
Covers a single national cinema tradition from the early days of film to the present. Explores representative films from a nation's cinematic chronology, considering major themes, movements, controversies, and artists. Considers social and political contexts as related to the national film output. May be repeated for a maximum of 9 credits toward graduation.
Examines major theoretical approaches to the screen arts. Explores how cinema and television reflect and are created by historical and contemporary cultural contexts. Includes the study of various approaches such as fan studies, spectatorship, stars, authorship, genre, long-form narrative and production. Includes lecture, film and media screenings, and critical discussions of assigned readings.
Covers cinema directors, genre, theory, and social change on a rotating basis. Explains course focus, defines terminology involved, then studies evolution and/or specific texts or contexts, and considers theoretical discourse. May be repeated for a maximum of 9 credits toward graduation. Some films screened may carry an "R" rating. Course fee of $40 for support applies.
Covers history of documentary film, studies current modes and models of documentary film, includes attending Sundance film festival documentaries. May be repeated for a maximum of 6 credits toward graduation. Some films screened may carry an "R" rating, or may not be rated but would carry an "R" rating. Course fee of $50 for support applies.
The Host (2006)This South Korean movie by director Bong Joon-ho features a team of siblings that together fight a monster that has emerged from the Han River in Seoul. To the eyes of biologists studying frogs, this monster clearly looks like a giant tadpole in the midst of metamorphosis (even if it was supposedly inspired by a deformed fish). This film was made early in the era of smartphones with cameras, and one of my favorite parts is seeing people taking pictures on their camera phones when the monster first appears. 2b1af7f3a8
