Get personal help with your studies from any of the 45,000 experienced experts on Studybay

  • No intermediaries
  • No plagiarism
  • Any Subject
  • Always on time

Here’s an example of project completed by our experts:

Cinema Studies essay (Example)

Document Preview:

Student’s Name Professor’s Name Course Date Cinema Studies Essay Question 1 Laura Mulvey through her work in Visual Pleasure and Narrative Cinema that was published in Screen in the year 1975 explains her ideas about the spectatorial pleasure that is derived from the ways of looking. She describes the way spectatorship works while referring to Rear Window and The Purple Role of Cairo. She explains that the looks in film is based on who is doing the looking. She says that spectatorship is based on the pleasure that is derived from looking while the eyes acting as the mode of access (Hollows p 43). On the other hand Manthia Diawara uses psychoanalytical theories on his idea of spectatorship to explain that race has no any impact on the spectator’s reading of the films. He says that when it comes to spectatorship the viewers have the potential to resist some against the development of story line…” (James p 3). This was very different from what Bazin and Kracauer’s understanding of film which is believed to have been based on the theories of realism. In addition to this Mulvey talks of camera’s gaze and the forth wall to disagree with Bazin’s realism in film. According to Mulvey the forth wall is a convention that whatever is seen on screen is authentically real and not fiction that is constructed by the script acting and the camera’s chosen perspective. This one not what is supposed by Bazin in his understanding of film making thus forming the source of disagreement. Works cited Hollows Joanne. Feminism Femininity and Popular Culture. New York: Manchester University Press 1999. Print. James Robin. "Mulvey’S “Visual Pleasure & Narrative Cinema” Without All The Psychoanalytic Theory." Its-Her-Factory.Com 2017 Taylor Paul C. Black Is Beautiful: A Philosophy of Black Aesthetics. 2016. Internet resource. [...]

Order Description:

or the exam you will write two separate essays. Type them in one stand-alone document that you will upload to Canvas when you are done. Your document should be double-spaced and typed in a standard 12-point font with standard 1-inch margins. Please make sure your name is at the top of your document. Integrate direct quotes and paraphrasing into your essays, citing page numbers parenthetically. A Works Cited page is not necessary on this assignment. No external texts or web resources should be used on this assignment, though the Corrigan book is fine to use anywhere.ESSAYS (40 points each)Each essay should include at least 4 substantial paragraphs (4 substantial paragraphs is the minimum; writing more than 3, even significantly more, is perfectly fine). Respond to any two of the questions below. Be sure that your essay includes a clear statement of your overall argument, the development of your argumentative position or interpretation that draws on specific examples, and that it demonstrates a substantive engagement with course texts and concepts. Have fun showing off your critical and creative thinking skills!1) Compare and contrast Mulvey, Diawara, and hooks’ ideas on spectatorship. How are we influenced or “positioned” as spectators by film texts for each of these authors? How much agency do we have as spectators for these authors? What differences do you see between Diawara and hooks, on the one hand, and Mulvey, on the other? And what differences do you see between Diawara and hooks on black spectatorship, and what are the implications for our thinking about spectatorship more broadly? Please use a sequence from a film screened in class (or more than one) to help make your case. 2) While it is not fully explicit in her essay, Mulvey’s approach to thinking about film is deeply indebted to the method of ideology critique exemplified by Comolli and Narboni. In what ways, do you think, is Mulvey’s thinking (for example, around visual pleasure, the male gaze, and scopophilia) related to ideology critique? What similarities are there, do you think, between the way Mulvey theorizes patriarchy and a feminist critique of patriarchy and the way Comolli and Narboni theorize ideology and criticism. What relevant differences are there among them, do you think? Please use a sequence, or more than one, from a film screened in class to help make your case.3) Compare and contrast Mulvey and Modleski’s differing views on the male gaze, and and Lisa’s role in Rear Window, in particular. What do each of them see in Lisa, how do they differ, and how does their differing understanding of Lisa’s role relate to their differing ideas on the male gaze and female spectatorship more broadly. To what extent is it possible for a female viewer to have their own perspective on a film text for each of these authors? Use a short sequence from Rear Window as an example in your essay to help make your case. An especially nuanced answer will take account of how Modleski critiques Mulvey and yet also takes some inspiration from Mulvey. 4) To what extent do you think The Watermelon Woman (Cheryl Dunye, 1996) breaks, or disrupts, the male gaze as it is theorized by Laura Mulvey? An answer to this question will be better the more precise it can be, so you analyze a sequence, or more than one, in your response. Note as well that a strong answer to this question is obligated to explain (using quotes and paraphrasing) Mulvey’s idea of the male gaze and how it works before showing how the film challenges it. 5) Diawara is focused on black spectatorship, but his theory has broad implications for how we think about race and ethnicity in relation film spectatorship. Using The Searchers (John Ford, 1956) as an example, compare and contrast Shohat and Stam and Diawara’s ideas of film specatorship: what do you think each of these authors would say about how are we positioned as spectators by this particular film? Would they agree or disagree in their arguments? Would they agree on some points and disagree on others? If so, which ones and why. An answer to this question will be better the more precise it can be, so you analyze a sequence, or more than one, in your response. 6) Were Mulvey to speak directly back to Kracauer and Bazin, what do you think she would say to these authors? Be as specific as possible about the particular claims that Kracauer and Bazin make that she would want to take issue with. Put another way, which claims or which aspects of Bazin and Kracauer’s ideas do you think Mulvey would disagree with? On what grounds do you think she would disagree with them and what exactly would she say? Try to use a sequence, or more than one, from a film screened in class to help illustrate your points

Subject Area: Film

Document Type: Reports

This project has already been completed by one of the Studybay experts. The client rated this project:

Project's rating is 5/5

Price $35

Words 1100

Pages 4

Completed in 6 days

Expert writerkevin

Client Review

Great job !!!


Similar projects

Subject of the project is Film   Type of the project is Reports

Harold and Maude

Subject of the project is Film   Type of the project is Reports

The Godfather

Subject of the project is Film   Type of the project is Reports

FIL2000 Spring Paper

Subject of the project is Film   Type of the project is Reports

Midterm paper

Subject of the project is Film   Type of the project is Reports

Fargo Mis-en-scene

Subject of the project is Film   Type of the project is Reports

Mise-en-scène Paper

Need Help With a Project on This or Another Topic?

Cooperate with seasoned experts directly — create your project now and start getting help in 2 minutes.

Studybay top experts

Reviews from Studybay Community

  • Our Studybay rating is:
  • Our ReviewCentre rating is:
  • Our SiteJabber rating is: