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The questions ask you to analyze films using concepts introduced in this class. In answering the questions, feel free to draw on the class screenings–and also the course reading assignments and weekly lecture videos–to back up your points.
When citing sources, there is no need to include a formal bibliography or list of works cited. To refer to a lecture video, use parentheses, as in: (Lecture Video 3.1). To refer to a reading assignment, cite the author and page number at the end of the sentence using parentheses, as in the following: (Corrigan and White, 83).
Keep in mind that you don’t need to include quotations from the book and lectures when analyzing a film. When quoting from the textbook or video lectures, try to do so sparingly. Limit yourself to relatively short quotes, and remember to integrate them into your analysis of the film. In other words, if you include a quotation, be explicit about how it supports your ideas on the film.
Each essay ought to include between 800 and 1,100 words. (If you write a bit more–i.e., up to 1,300 words–that’s ok.) Keep in mind that the 800-1,100 words refers to one answer and the exam requires that you provide answers to two questions. This means that the entire exam ought to contain 1,600 to 2,200 words. Please write in full, grammatically correct sentences.
This question concerns mise-en-scène and cinematography in a scene in Colossal (Nacho Vigalondo, 2016). The scene happens in the playground when Gloria (Anne Hathaway) mimics the godzilla-like monster on the laptop screen while the three men (Jason Sudeikis, Tim Blake Nelson, and Austin Stovell) watch in disbelief [beginning at around 36:54 and continuing up through 40:11]. (Warning: the scene’s dialogue contains some profanity.)
What were some key decisions regarding the scene’s cinematography (camera angle, lens choice, the use of animation versus live action) and mise-en-scène (acting, setting, props, lighting, costumes)? You don’t have to comment on every facet of the scene’s visual style; instead focus on aspects that seem important, and perhaps excessive or odd. Examples of the latter include the three extreme high-angle shots of Gloria. The first of these happens at 39:54 to 39:58, and the last two happen near the end of the scene, at around 39:54 to 39:57 and 40:08 to 40:11. Briefly describe these unusual shots. How do they contribute to the scene? Why did the director feel the need to include them? Another question concerns the representation of the monster in Korea relative to the four characters in the playground. How did the director, working with cinematographer, set designer, and others, construct the action in the Korean setting relative to action in the playground? What are the main differences in lighting, camera position, etc., between the two locations? Are there important similarities between them?

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