Write a paper examining a film in its connection to relations of power (class, gender, colonialism, nationalism, etc.).

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Learning Goal: I’m working on a film project and need an explanation and answer to help me learn.You will be asked to choose one of three of these theoretical frameworks in order to analyze a film within its historical and cultural context.The paper should be informal, structured academic prose, with correct attribution of sources, use of stills, etc.
The paper must make reference to the formal elements of the film as well as diagetic, narrative, cultural, and historical information, etc.
Word count: 1500-2000 words.
Movies: Adolescence of Utena(1999)/ Ninagawa Mika, Sakuran (2006)/ Otomo Katsuhiro, World Apartment Horror (1991)/ Itami Juzo, Tanpopo (1985)The three theoretical frameworks or ‘lenses’ are:Historical Consciousness
A lens ultimately changes the focal point of an image; in the paper, the lens will determine the focal point of analysis.Overview: How a film mediates knowledge of history (past, present, future) and the purpose this serves. What purpose is served by mining the past for locations and social formations that weigh on the present.“historical consciousness ought to be understood as an understanding of how matters past, present, and future relate to each other in a way that enables the individual to create a specific kind of meaning in relation to history. … [H]istorical consciousness can be discerned through three different manifestations that are on different levels; narratives, uses of history, and historical culture. Given these manifestations, it becomes evident that one must understand historical consciousness as a phenomenon that can be of different kinds due to basic assumptions concerning an awareness of the need of contextualisation and awareness of the temporality of truth claims”Robert Thorp, “Towards an epistimelogical theory of historical consciousness”Media EcologyOverview: The examination of media as it relates to an environment saturated with media and influenced by, and influencing, human actors within its scope. How different media relate to and produce each other. How the circulation of media creates social groups, entities, and identities, and how these identities, demographics, etc. in turn influence media. What position a film is in as an adaptation, the history of media forms and representations, etc.”Media ecology looks into the matter of how media of communication affect human perception, understanding, feeling, and value; and how our interaction with media facilitates or impedes our chances of survival. The word ecology implies the study of environments: their structure, content, and impact on people. An environment is, after all, a complex message system which imposes on human beings certain ways of thinking, feeling, and behaving.”Neil Postman, “What is Media Ecology”Apparatus TheoryOverview: An understanding of the cinematic apparatus as being invested with the ideological concerns of its production. The film as a place where power-relations are reflected, manifested, and mediated by the image and the creation and manipulation of images. How cinema sustains such social organisations, ideologies, power-relations. The creation of an audience as receivers and reproducers of the cinematic code.“One of the hypotheses tried out in some of the fragments here gathered together would be on the one hand that the cinema—the historically constitutable cinematic statements—functions with and in the set of apparatuses of representation at work in a society. There are not only the representations produced by the representative apparatuses as such (painting, theatre, cinema, etc.); there are also, participating in the movement of the whole, the systems of the delegation of power (political representation), the ceaseless working-up of social imaginaries (historical, ideological representations) and a large part, even, of the modes of relational behaviour (balances of power, confrontations, manoeuvres of seduction, strategies of defense, marking of differences or affiliations). On the other hand, but at the same time, the hypothesis would be that a society is only such in that it is driven by representation. If the social machine manufactures representations, it also manufactures itself from representations—the latter operative at once as means, matter and condition of sociality.”Jean-Louis Comolli, “Machines of the Visible”, in Teresa de Lauretis and Stephen Heath (ed.), The Cinematic Apparatus (London: MacMillan Press, 1988), 121TL;DR1) Write a paper examining a film in terms of its historical position and use of history.2) Write a paper examining a film in terms of its connection to other forms of media and social formations.3) Write a paper examining a film in its connection to relations of power (class, gender, colonialism, nationalism, etc.).
Requirements: 1500   |   .doc file

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