Just answer all the questions in the attachment. Double Space. 4 questions: Brechtian practices in Do the Right ThingAn offer Hollywood “could not refuse” Italian Neorealism Your choice
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Experience, History and Analysis of Cinema – CINE 121 (01)
Fall 2019
Page 1 of 2
Take-home final exam
Due between Monday December 9 and Thursday December 12 before 6 pm.
Answer the 4 questions for a total of 500 points – Double space – Font size 12
▲ If you choose to add an introduction and a conclusion to your answers, each should not exceed 3
lines.
▲ No plot! Re-telling the plot will not answer any of these questions. Your focus is the way of filming,
and you will prove your claims and explain your points with a close analysis of the use and effects of
precise film techniques.
▲ This course carries the Writing component. You will therefore pay particular attention to your use of
grammar, vocabulary, punctuation, and syntax, be concise, and proofread your work very carefully.
▲ The only secondary sources allowed to support your answers are your class notes and the essays in
our textbook, Film Analysis: A Norton Reader. No other sources will be accepted.
1- Brechtian practices in Do the Right Thing (Spike Lee, 1989)
1½ to 2 pages max.
(140 Points)
In her essay A Theater of Interruptions, Sharon Willis states: “Lee’s antirealist
project in Do the Right Thing brings it closely in line with the theatrical practices of
Bertolt Brecht” (837).
a) Explain Willis’s statement.
b) What are the main goals and effects of the Brechtian method?
c) What are the most significant film strategies inspired by Brecht and implemented
by Spike Lee to develop his vision and critique?
In other words, explain how the filmmaker develops his arguments with his
particular way of filming inspired by Brecht. Present these strategies (specific use
of visual and sound techniques as well as narrative structure) and explain the
effects they create and the meanings they convey.
Develop your explanation with the analysis of two or three precise scenes.
2- An offer Hollywood “could not refuse”
1½ to 2 pages max. (140 Points)
While being one of the most successful examples of the American gangster film
genre, The Godfather by Francis Ford Coppola (1972) is also the work of an auteur.
a) Briefly explain why genre and auteur might seem incompatible.
b) With a close analysis of three scenes that, for you, best exemplify the
director’s style, explain how Coppola, the auteur, offers his particular treatment of a
staple of Hollywood cinema that the gangster film genre is.
Experience, History and Analysis of Cinema – CINE 121 (01)
Fall 2019
Page 2 of 2
Take-home final exam
3- Italian Neorealism
1½ to 2 pages max.
(140 Points)
As exemplified by Bicycle Thieves (Vittorio De Sica, 1948) the goals, style, and
subject matters of Italian Neorealism are significantly different from those of
Classical Hollywood Cinema.
Closely examine and identify the main stylistic features of Neorealism (visual and
sound techniques and strategies), the main subject matters, and the main goals of
such form of filmmaking, and explain the most significant differences existing
between the two cinemas.
Support your claims with a close analysis of three or four specific scenes in
Bicycle Thieves.
4- Your choice
1 page max.
(80 Points)
Among all the films viewed (entirely or partially), examined and discussed in class
(and not part of the Harpur Cinema film series), which one has had the most
significant effect on you? Why?
You may of course choose a film examined and written about in the midterm or in a
previous question, but please do not repeat what you already wrote in such previous
work.
The most important parts of your answer are of course the reasons you give to
explain your choice. Your choice should be motivated for a large part by the way of
filming (and not the topic or plot exclusively) and by the particular strategies
implemented to express and transmit particular meanings and/or produce particular
viewing pleasures. Explain your choice with a focus on the technical aspects, i.e. on
the visual and sound strategies which you find impressive and/or effective.
Work cited:
Willis, Sharon. A Theater of Interruptions. Film Analysis: A Norton Reader. Eds. Jeffrey Geiger and R.L.
Rutsky. New York: W.W. Norton & Company, 2nd edition, 2013. 828-845.

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