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How do postmodern and magic realist representations engage with the city, and for what purpose? Include your answer some comparison with modernist representations of the city.
How did the theories on filmmaking advanced by Lev Kuleshov, Dziga Vertov, and Sergei Eisenstein differ with regard to editing? In your answer, cite evidence from their films as well as their theore
How was mise-en-scene used as an element of montage in the films of Soviet directors? Give examples of how mise-en-scene was typically employed in Montage films.
How did the major Hollywood firms respond to the challenge posed by First National Exhibitors’ Circuit in 1917? What kinds of benefits resulted from the industry’s adoption of vertical i
Identify the major technological and aesthetic factors that influenced Hollywood film form during the 1920s. How did the resulting changes enhance or complement the classical narrative style, which
What events or conditions motivated the calls for the moral reform of the American film industry in the early 1920s? How did the industry respond to these calls?
In what ways were the formal innovations of European cinemas assimilated by American filmmakers and integrated into the classical Hollywood cinema during the late silent era?
Under what conditions did African American audiences experience films during the silent era? In what ways did individual filmmakers or companies tailor their films to appeal specifically to these au
Discuss the motives behind the emergence of “Film Europe.” How did the national film industries of Europe cooperate in combating the influence of American movies?
What were the institutions that championed and promoted “art cinema” during the late silent period? Trace the evolution of these institutions from Europe to the United States, and provid
What were the theoretical and aesthetic principles that characterized the Dada, Surrealist, and “cinema pur” movements? Which formal and stylistic qualities did their films share, and in
Compare and contrast the evolution of the studio system in Japan to the evolution of the Hollywood system. In particular, note the similarities and differences with regard to industry structure, fil
Which system did the studios decide to go with when they converted to sound film production? Why? Summarize the technological advantages and drawbacks of the sound-on-film and sound-on-disc processe
What logistical difficulties were posed by early attempt as sound recording? How did U.S. filmmakers address these problems and bring sound in line with the classical Hollywood style?
The culminating project for this BSN program is the creation of a professional e-folio. Please see the links in the “course materials” section (within the “resources” tab on
How were German firms able to successfully challenge Hollywood for the control of sound film production and exhibition in Europe? How did German directors use sound in ways that were distinct from H
Identify the Big Five Hollywood studios (or “Majors”) of the 1930s and summarize the activities of each during this decade. What were their strategies for weathering the effects of the G
How did the Hays Office operate to protect, rather than hinder, the interests of the American film industry? Explain how Production Code regulations helped modify the content of Hollywood movies.
Pick two of the following stylistic categories: sound recording, camera movement, color, special effects, cinematography styles. Analyze how innovations within these categories influenced the develo
Pick two of the following genres: the war film, the gangster film, the screwball comedy, the musical. Describe the evolution of these genres between 1930 and 1945, and provide examples of representa
Compare and contrast the production practices of the top three animation studios of the studio era: Disney, Fleischer, and Warner Bros. What sorts of animation techniques did each specialize in?
Describe the immediate causes and effects of both of Britain’s Quota Acts (1927 and 1938). In each case, how did these effects contribute to or hinder the consolidation of the British studio s
Compare and contrast popular cinema in Japan during the early and middle 1930s to Japanese cinema during the years of World War II.
Contrast the personal styles of Yasujiro Ozu and Kenji Mizoguchi as they developed during the 1930s. Identify the formal traits common to their films, and explain how these traits complemented their