I
NART 1T
HE ARTSF
ILM PERCEPTION REPORTNote: You must work on this assignment independently. To avoid academic dishonesty, do not collaborate with a classmate on your report!
Format
Your report should be a two-to-three page essay (700-900 words). Develop your report on the notes that you made regarding the elements of film and how they were used by the filmmaker to create a distinctive visual style.
Arrange your paper as a formal report, one that has a brief introduction that summarizes your findings and a body that develops, explains, and justifies them. Your introduction should identify the film, its director, genre, date, and the principal performers. Be brief-most of your discussion should be on the film.
In the paper's body, focus on two or three scenes in detail. Discuss the elements of film that were most significant in their visual impact and cite specific examples which support your statements. It can also be revealing to trace a particular element's use throughout a film, particularly if contrasting or recurring treatments of the element project a sense of form or growth. Each paragraph should discuss a major point you are trying to make. Do not try to tell absolutely everything you saw-focus on aspects which are truly worth mentioning.
Format:
Carefully proof read your paper before submitting to check for typographical errors, misspellings, and errors of grammar, punctuation, or expression. Reading the paper out loud is a good way to check for mistakes.
If you're considering using film for your perception report, listed below are some filmmakers/pictures you could consider using. This list is by no means definitive; it's merely a list that I made up off the top of my head. If you come up with something on your own, keep in mind that it should be a film, not a movie (popular entertainment) unless it has some extraordinary filmmaking involved. If in doubt, run it by me first.
Current theatrical releases (check with me first)
On video:
Most anything from Alfred Hitchcock (except Psycho and North by Northwest)
Francis Ford Coppola's The Godfather (Part 1)
Martin Scorcese's Age of Innocence
Quentin Tarentino's Pulp Fiction
Sam Mendes's American Beauty
Cohen Brothers' Oh Brother, Whereart Thou?; Raising Arizona; Barton Fink; Hudsucker Proxy; Fargo; The Big Lubowski
Kenneth Brannaugh's Dead Again
Bob Fosse's All That Jazz
Jane Campion's The Piano
Milos Foreman's Amadeus
Stanley Kubrick's Dr. Strangelove
Ingmar Bergman's The Seventh Seal, Wild Strawberries
Fritz Lang's Metropolis (silent)
John Ford's Stagecoach
John Houston's Treasure of the Sierra Madre
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Last modified: December 5, 2001