COMMUNICATION 1400 * B.

Goss * Autumn
2016
The courses first essay will be a formal analysis, due on or before
Thursday 6 October a las 18:00 horas (6 PM) via email
(bgoss@slu.edu). The essay should be 4-6 pages long and doublespaced in 12-point font. It constitutes 17.5 percent of each
students grade for the semester (i.e., 175 points/1000). The
essay will be evaluated mainly for its content with respect to
analyzing the films formal elements. In particular, I am looking for
convincing argumentation, solid evidence drawn from the film that
you discuss, and attention to detail. Remember that the essay
calls for a formal analysis and it is decisively not an essay on
narrative or interpretation; an essay that drifts from or refuses to
engage
with
formal
analysis
of
mise-en-scene
or
cinematography/editing does not fulfill the assignment and will be
deemed a failure. Be mindful that you have numerous resources
on which to draw in fashioning your analysis: to wit, the Bordwell
&Thompson text, handouts, in-class discourse, and power point
slides.
Be mindful of the prose in which your observations are
encased. To wit, I will look for the presence of a clear introduction
that cues the reader about the argument that will be made.
Moreover, I expect that you will be mindful of grammatical
correctness, proper usage, and proofreading to correct readily
detected mistakes. Approach the essay as a piece of formal
writing and follow appropriate conventions: Avoid contractions,
generically gendered language, slang and profanity unless quoting
from a source (e.g., one of the films characters). Also remember
to italicize film titles.
The film that you write about must be selected from one of
the options listed at the end of this assignment in the Appendix.
Essays on films that are not listed in the Appendix will be returned
unreadNO EXCEPTIONS. The DVDs are available from the Library
that also has several DVD players. Library DVDs may only be
watched on the library premises and do not circulate.
In order to compose a properly prepared essay, each student
should view for a first impression and then review particular
scenes to take more detailed notes. Any attempt to write the
essay in one night will be a flop. On the other hand, while reading

a properly prepared essay, it will be obvious to me that you

watched the film attentively and took careful notes. Along with
watching the film, be certain to review the appropriate chapters
and additional materials on cinematography/editing and mise-enscene.
The essay does not demand research beyond the compulsory
Bordwell & Thompson readings. Be certain, however, to cite any
information external to your formal observations of the film via a
recognizable citation style (APA is preferred). All late assignments
will be marked down unless evidence of extenuating
circumstances (e.g., medical problem) is furnished.
ESSAY INSTRUCTIONS: FORMAL ANALYSIS: MISE-EN-SCENE:
Select 3 or 4 scenes from the film that you select and unpack their
mise-en-scene. How is the mise-en-scene used to either articulate
or complicate the films meaning?
First, identify the films
meaning (briefly, in a paragraph, less than a page). Second,
develop an analysis that carefully unpacks the mise-en-scene
the center of gravity of this assignment, grounded in careful
observationand that also demonstrates how the elements of
mise-en-scene underscore the meaning you that have identified.
That is, how is the films meaning expressed by the use of
setting(s), costumes, make-up, lighting, props, and staging of
objects (including characters)?
Notice that each of the elements of mise-en-scene will not
necessarily be equally prominent in any given scene; but
comment on each aspect to the extent that you can extract
details. In other words, do not discuss only one or two aspects of
mise-en-scene to the exclusion of others. It is also a very good
idea for the purpose of writing an effective and interesting essay
to select scenes that present significant contrasts. Scenes with
clear contrasts may dramatically flesh out the mise-en-scene and
how it functions within the film. In this vein, recall Heavenly
Creatures contrasts in mise-en-scene between the homes in
which Pauline and Juliet live in the clips exhibited in class; or
between the Parks home in 1986 and 2003 in Memories of
Murder. How do contrasts convey a films meaning? Be mindful of
reading details off of the film and using appropriate terminology in
your analysis.
Using stills and screen-shots from the film is highly

recommended to make your claims as clear as possible.

Appendix : Film Options
[DVDs and players are in the library collection and do not circulate outside
the library. As some DVDs were purchased locally, salient titles are given in
English and Spanish so that you can identify them more easily.]

Blue Is the Warmest Color (Dir: Abdellatif Kechiche; France;

2013). Explosive, steamy, epic (3 hour) love story across social
classes in contemporary France.
Volver (Dir: Pedro Almodvar; Spain; 2006). One of the most
beloved works of Spains signature director of recent decades, a
burst of gyno-power.
Brokeback Mountain (Dir: Ang Lee; USA; 2005). Ever wonder
what tuff guy self-appointed Marlboro-man cowboys with stubbly
faces do all night after engaging in the manly act of erecting their
pup-tents on the range?
Far From Heaven (Lejos del Cielo) (Dir: Todd Haynes; USA;
2002). Impressive and respectful re-working of 1950s melodrama,
with some new twists. Nominated for Best Film and Best
Actress (Julianne Moore) Academy Award.
Amlie (Dir: Jean-Pierre Jeunet; France; 2001). Stylistically
sophisticated film with deepest dystopia and despair lurking
behind the feel good veneer.
The Hours (Las Horas) (Dir: Stephan Daldry; USA; 2002).
Multiple narratives meditate on the situation of women across the
20th century.
Moulin Rouge (Dir: Baz Luhrmann; Australia; 2001). Very
stylized and innovative musical. You may even find yourself
singing along
Erin Brockovich (Dir: Stephen Soderbergh, USA, 2000).
Divorced woman with children overcomes odds, unravels
corporate conspiracy.
Traffic (Dir: Stephen Soderbergh; USA-Germany; 2000). 2000
was a busy and accomplished year for Soderbergh; this film
assays comprehensive address to drug (rather than car) traffic!
Memento (Dir: Christopher Nolan; USA; 2000). An early effort
from Nolan, auteur behind Batman, plays on a guy who just cant
remember what happened a moment ago.
High Fidelity (Alta Fidelidad) (Dir: Stephen Frears; USA;
2000). Rom-Com that induces laughs and not winces. From a
literary source (Hornby novel).
Boys Dont Cry (Dir: Kimberly Peirce; USA; 1999). Tough

account of rural gender bending, based on actual case.

The Limey (Dir: Stephen Soderbergh; USA; 1999). One of
Soderberghs masterpieces of editing, noir-influenced and stylish.
Wonderland (Dir: Michael Winterbottom; United Kingdom;
1999). Multiple plotlines in contemporary London. One family, one
weekend.
Trainspotting (Dir: Danny Boyle; UK; 1996). A kinetically and
relentlessly stylized keynote 1990s film that helped launch Danny
Boyle and Ewen MacGregorand engages memorably with the
scatophiliac.
Twelve Monkeys (Dir:
Terry Gilliam;
USA;
1995).
Accomplished metteur-en-scene Gilliam tackles time travel.
Safe (Dir: Todd Haynes; USA; 1995). One of the most caustic
looks at California suburbia committed to film.
Breaking the Waves (Rompiendo las Olas)(Dir: Lars von Trier;
Denmark; 1995). Unconventional story of love and sacrifice from
the relentlessly strange Danish director.
Chungking Express (Dir: Kar Wai Wong; Hong Kong; 1994). An
unconventional glimpse into Hong Kongs underworld from one of
Asias most recognized auteurs.
Silence of the Lambs (Dir: Jonathan Demme; USA; 1991).
Heavily awarded and controversial film, memorably creepy.
The Fly (La Mosca) (Dir: D. Cronenberg; United KingdomCanada-USA; 1986). Sci-Fi from a highly regarded director who
originated in gory body horror films. Extreme Make-up!
Blood Simple (Sangre Fcil) (Dir: Joel Coen; USA; 1984).
Coens first feature film is one of their best. Murder and mystery.
Invasion of the Body Snatchers (Dir: Philip Kaufman; USA;
1978). A very creepy atmosphere of paranoia conjured in 1970s
SF/CA, highly memorable final shot.
Jaws (Dir: Stephen Spielberg; USA; 1975). A signature 1970s
film, laden that dwells on disaster and out-of-control nature.
The Exorcist (Dir: William Friedkin; USA; 1973/2000).
Celebrated horror film with a couple of additional scenes in this
version.
American Graffiti (Dir: George Lucas; USA; 1973). Action
unfolds in one night, launched many a career.
The Last Picture Show (Dir: Peter Bogdanovich; USA; 1971).
Jeff Bridges first emerges in this tale of teens in a dead-end Texas
town.
Repulsion (Dir: Roman Polanksi; United Kingdon; 1965). One
of the most celebrated directors alive today displays the
penchanmt for the macabre for which his films are famous. See

Catherine Deneuve go bonkers!

Night of the Iguana (Noche de la Iguana)(Dir: John Huston;
USA; 1964). Grimly hilarious crack-ups center on a defrocked
minister and an earthy hotel/tavern operator.
The Man Who Shot Liberty Valence (El Hombre que Mat
Liberty Valence)(Dir: John Ford; USA; 1962). Late, revisionist
western, directed by the genres leading auteur.
Man with the Golden Arm (El Hombre del Brazo de Oro)(Dir:
Otto Preminger; USA; 1955). Stylish look at gamblers, junkies and
losers in urban jungle of 1950s Chicago.
High Noon (Solo Antes del Peligro) (Dir: Fred Zinneman; USA;
1952). Upright sheriff dude finds out who his real friends are.
Strangers on a Train (Dir: Alfred Hitchcock; USA; 1951). One
of the Masters better works with numerous recognizable
signatures. Spooky, too.
All About Eve (Eva al Desnudo) (Dir: Joseph Mankiewicz; USA;
1950). Critique of media and stardom that still stings today.
Third Man (El Tercer Hombre)(Dir: Carol Reed; United
Kingdom; 1949). Noir-ish film set in post WWII Vienna, laden with
creepy zither music. Appraised as best film ever made in UK by
British Film Institute.
The Big Sleep (Dir: Howard Hanks; USA; 1946). Labyrinthine
plot, supremely snappy dialogue. Humphrey Bogart and Lauren
Bacall rock the house. Murders and femme fatales.
Treasure of Sierra Madre (El Tesoro de Sierra Madre)(Dir: John
Huston; USA; 1948). Humphrey Bogart goes bonkers in this quest
film.
Notorious (Dir: Alfred Hitchcock; USA; 1946). A leading
exemplar of Hitchcockian film with notables Cary Grant, Ingrid
Bergman and Claude Rains.
Casablanca (Dir: Michael Curtiz; USA; 1942). If you have not
seen it before, find out what the hub-bub is about. Bogart &
Bergman.
Citizen Kane (Dir: Orson Welles; USA; 1941). One of the
worlds best known films, with justly famous realization of the
formal aspects (mise-en-scene, cinematography, editing).
The Wizard of Oz (El Mago de Oz)(Dir: Victor Fleming; USA;
1938). This is obviously a work of fantasy since Dorothy struggles
to return to Kansas (?!).