P3084 Issues in Global Cinemas E:
Assessment: Essay 1 (30%): 1000 words
Please see Sussex Direct for information about submission
Choose ONE essay question and be sure to include it at the start of your essay.
In answering your chosen question, be sure to include examples from ONE key film from the first 3 weeks of the module.
Make sure that your essay demonstrates that you can engage critically with relevant academic resources such as the key readings relevant to your chosen topic (available on the module Canvas site). You can feel free to also reference further readings on the topic, but this is not absolutely required.
Be sure you cite your source when you refer to, quote, or borrow an idea from one of your readings. You must also include a properly formatted list of references (bibliography) at the end of your essay (not included in the word count).
Essay Questions
1: When describing realism in the art cinema, David Bordwell identifies two polarities along a spectrum: ‘documentary factuality’ and ‘intense psychological subjectivity’. He claims that when ‘the two impulses meet in the same film, the familiar “illusion/reality” dichotomy of the art cinema results.’ (Bordwell, 1979/1999: 719)
Discuss this idea with regard to The World (Jia Zhanke, 2004), in terms of its relevance to the film. In the process, please discuss the ways in which Jia Zhanke negotiates this so-called dichotomy, and whether you believe The World fits neatly into Bordwell’s categorisation of ‘art cinema’.
2: There is some debate as to whether the film The Battle of Algiers (Gillo Pontecorvo, 1966) fits better into the category of ‘art cinema’ or into the category of ‘third cinema’. First lay out the definitions of these terms as you understand them (referring at the very least to the Bordwell and Solanas/Getino readings) and then, using specific examples from the film, make your argument as to which category you believe the film is better situated.
3: Robert Stam and Louise Spence argue that most analyses of colonialism and race in film at the time of their writing focussed too narrowly on ‘social portrayal, plot and character’. (Stam and Spence, 1983: 3)
Referring specifically to the cinematic dimensions of The Battle of Algiers (i.e., going beyond these elements and indeed beyond the limited notions of ‘positive images’ that they also mention), perform a close textual analysis of a particular scene or sequence of scenes in which you believe the film does (or does not) challenge traditional filmic representations of race and colonialism as described in their article.
NOTE: you must choose a different sequence from the one Stam and Spence discuss in depth on pages 13-16)
4: The issue of intertextuality, as defined by Sudha Shastri (2011), pervades the film Om Shanti Om (Farah Khan, 2007). The film is a veritable series of quotations and associations with Bollywood films, stars, songs, myths and legends that came before it. Making reference to Shastri’s article, discuss the complex interplay with Bollywood history, themes and tropes that the film effects. Be sure to comment upon whether you believe the film’s meaning is only accessible to those who are familiar with this lineage or if you can identify registers to the film available to a first-time viewer of a Bollywood film.
