i need a film short essays for my film class,
1. METROPOLIS (Fritz Lang, dir.; Germany, 1927)
R.L. Rutsky, in the conclusion of “Between Modernity and Magic,” writes:[1]
Metropolis…may be seen as Fritz Lang’s attempt to mediate between his own directorial attempts to control the cinematic vision…and his fascination with visuality and spectacle. If the pure visuality and spectacle of the film ultimately seem to overwhelm both its ideological premise and its story, this is perhaps the secret of the continuing appeal of Metropolis; for it allows the film to escape from the restrictive structure of head, hands, and heart. Thus, as [Giorgio] Moroder’s pop version of the film makes even more obvious, viewers often enjoy the film less as a serious parable about modern life than as an amusing, often campy pastiche that mixes striking scenes with naïve ideas, cinematic virtuosity with comically over-the-top acting. Yet the paradox of Metropolis is that, however, we interpret it, it continues to fascinate us, to demonstrate the power that vision, images, and cinema still exert over us.
Using Rutsky’s comments as your critical frame of reference, write an essay in which you focus on “the continuing appeal of Metropolis.” Specifically, which film elements[2] contribute to the film’s ability “to fascinate us”? [
2. SCARFACE (Howard Hawks, dir., U.S.A., 1932):
Using Robert Edelman’s comments[3] about the Depression-era gangster-protagonist as your critical frame of reference, write an essay in which you comment on the film’s attitude toward the gangster “hero.” Do you think that Scarface either glorifies or condemns the film’s gangster protagonist? Or do you think that the film’s purpose is, perhaps, more complex? Explain. Provide evidence from the film (and from the handout) to support your assertions.
PART B: ANSWER THE FOLLOWING:
3. Choose one assigned short film (screened in class): A Trip to the Moon (1902); The Great Train Robbery (1903); The Girl and Her Trust (1912); Suspense (1913); The Bank (1915); Eleanor’s Catch (1916); or Sherlock Jr. (1924).
Select two relevant critical approaches from Chapter 4 [“Six Approaches to Writing about Film”]. [This handout, an excerpt from A Short Guide to Writing about Film, was distributed, in class, on Tuesday, Feb. 28.] Write an essay in which you analyze the short film from the two selected critical approaches. Make sure that you refer to Chapter 4 and to the film in your essay.
SUBMISSION GUIDELINES:
· Length of each essay: 550-600 words (minimum range).
· Submit as one attached Word file (.doc or .docx).] Include a title page and a works-cited page. Make sure that your name is on the title page [Your works-cited list should refer to both essays.]
· Double-space the document.
· Each essay should have an introductory paragraph, with a relevant and clearly apparent thesis sentence, several well-developed body paragraphs, and a concluding paragraph. Provide and explain relevant evidence from the texts. Define terms. Underline each essay’s thesis sentence.
· Style of documentation: MLA (2016). Cite all sources. Include in-text (i.e., parenthetical) citations and a works-cited list.
· FYI—MLA (2016) guidelines: