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Assignement 1 answer below » Film 3200 New Waves – Theory explication – Fall 2013 Due: 4 November 2013 in tutorial and to Moodle (by 11:59pm), where it will be submitted to Turnitin academic honesty software Value: 20% of final grade Write a 5-6 page (1250-1500 word) essay that explicates ONE of the passages below taken from some of the required readings. Explicate – “1. ‘analyze and develop (an idea or principle) in detail’; 2. ‘analyze (a literary work) in order to reveal its meaning.’” (Apple Dictionary) • In addition to a detailed explanation of the meaning of the passage , you must connect the passage to the general View complete question » Film 3200 New Waves – Theory explication – Fall 2013 Due: 4 November 2013 in tutorial and to Moodle (by 11:59pm), where it will be submitted to Turnitin academic honesty software Value: 20% of final grade Write a 5-6 page (1250-1500 word) essay that explicates ONE of the passages below taken from some of the required readings. Explicate – “1. ‘analyze and develop (an idea or principle) in detail’; 2. ‘analyze (a literary work) in order to reveal its meaning.’” (Apple Dictionary) • In addition to a detailed explanation of the meaning of the passage , you must connect the passage to the general arguments of the essay as a whole . Given that this is a short essay, you are not expected to summarize the whole essay, but your explication of the passage should demonstrate general understanding of the essay as a whole. • Define and explain any specialized terminology. • You are not required to use secondary sources, although you are welcome to do so. Follow customary citation practice, using the Chicago Style. • Finally, you are invited to critique and/or comment on the passage, but only after you have demonstrated adequate understanding of its argument. A. From Christian Metz, “ Some Points in the Semiotics of the Cinema ” 1. Contrary to what many of the theoreticians of the silent film declared or suggested ( Ciné langue , ‘visual Esperanto,’ etc.), the cinema is certainly not a language system ( langue ). It can, however, be considered as a language , to the extent that it orders signifying elements within ordered arrangements different from those of spoken idioms—and to the extent that these elements are not traced on the perceptual configurations of reality itself (which does not tell stories). Filmic manipulation transforms what might have been a mere visual transfer of reality into discourse. Derived from a kind of signification that is purely analogous and continuous— animated photography, cinematography—the cinema gradually shaped, in the course of its diachronic maturation, some elements of a proper semiotics, which remain scattered and fragmentary within the open field of simple visual duplication. The “shot”—an already complex unit, which must be studied—remains an indispensable reference for the time being, in somewhat the same way that the “word” was during a period of linguistic research. […] It constitutes the largest minimum segment […], since at least one shot is required to make a film, or part of a film—in the same way, a linguistic statement must be made up of at least one phoneme. To isolate several shots from a sequence is still, perhaps, to analyze the sequence; to remove several frames from a shot is to destroy the shot. If the shot is not the smallest unit of filmic signification (for a single shot may convey several informational elements), it is at least the smallest unit of the filmic chain. 2. The semiotics of the cinema can be conceived of either as a semiotics of connotation or as a semiotics of denotation. […] The study of connotation brings us closer to the notion of the cinema as an art (the “seventh art”). [..,] the art of film is located on the same semiological “plane” as literary art: The properly aesthetic orderings and constraints—versification,composition, and tropes in the first case; framing, camera movements, and light “effects” i…
