In-Class Essay Instructions

Total Page:16

File Type:pdf, Size:1020Kb

In-Class Essay Instructions IN-CLASS ESSAY INSTRUCTIONS Contents Date Introduction Topic Research Outline Instructions References Structure of Paper Grading of Paper Date In class, Wednesday, November 20 Introduction Read this before you proceed further: 1. This document contains live links to internet material; therefore, access it while online. 2. Make-up for this assignment is only possible with a legitimate documented excuse and only during my office hours. 3. Writing a biography of a director you have not been assigned will earn you an automatic F. You have been warned! 4. Do not send me e-mails if you have questions about this assignment; instead come and see me during my office hours. 5. Bring to class a one-page outline of the paper. See instructions below. Warning: The outline is not optional, so if you don’t bring an outline as prepared per instructions below, you will get an automatic F for the paper. 6. No references can be from anything written by me, nor can it be from Wikipedia or any other encyclopedia. (However, you can consult these materials while doing your research—you just can’t use them as references.) 7. You will hand in the outline together with the sheets of paper that will be provided (which you must number and have your names on all of them) on which you will write your essay neatly arranged. 8. Your in-class essay must be structured as per instructions below. 9. You will not be permitted to use any other materials besides the one-page outline. 10. You will lose points for failing to follow any one or more of these instructions (including the possibility of getting an F). Warning: If you do not 11. Your essay must reflect the references you provide. hand in a proper outline Therefore, do not choose your references willy-nilly. (with references), you will get an automatic F for the paper. Topic As stated in class, your topic for the essay is to write a biography of a black film director as assigned by your last name: so, if your last names, as they appear in school records, begin with any of the letters A-B, then your assignment is Oscar Micheaux; C, then your assignment is John Singleton; D-F, then your assignment is Melvin van Peebles; Page 1 of 4 G-H, then your assignment is Tyler Perry; I-J, then your assignment is Anton Fuqua; K, then your assignment is Carl Franklin; L, then your assignment is F. Gary Gray; M-N, then your assignment is Ryan Coogler; O-R, then your assignment is Jordan Peele; S, then your assignment is Ava DuVernay; T-V, then your assignment is Raoul Peck; W-Z, then your assignment is Amma Asante; WARNING: Writing a biography of a director you have not been assigned will earn you an automatic F. (Yup. I left out Spike Lee because he is too well-known.) Warning: If you do not Research hand in a proper outline (with references), you will If you have difficulty finding materials, please go see a librarian at get an automatic F for the Lockwood Library. paper. Outline Instructions The only item you must bring to class and which you will be allowed to consult is the outline, so pay close attention to these instructions: You will be handing in the outline together with the paper. Therefore at the very top of it indicate your name as it appears in school records, course number, and semester. On the reverse side, list alphabetically five to six relevant references in APA style. Examples are available here. The outline cannot comprise paragraphs of prose. It must be structured in bullet form for all the different sections that make up your paper (see instructions below) , The outline must be detailed enough to serve as a good summary of what you are going to write. Your outline must have headings that correspond to the structure of the Your outline should look something like this paper—see below. There should be no quotations in the outline. It must be typed single-spaced on one side only in 12 point Times Roman. Read this sentence again. On the reverse side of the outline list the five to six relevant references in APA style—see below. NOTE: there are many guides available on the internet on how to produce a research paper outline. One of them is available here. Page 2 of 4 Warning: If you do not References hand in a proper outline You must provide five to six relevant references on the reverse side (with references), you will of the outline. (Suggestion: go see a librarian at the Lockwood Library get an automatic F for the for help in obtaining these references.) paper. Structure of Paper Every academic paper has a coherent structure, based on logic (and a long tradition). Many students find it difficult to come up with one when they are doing their last-minute “stay-up-all- night” papers. To make things really, really easy, I have created a structure for you. Therefore, you must write your paper using the following structure together with the appropriate headings. (You will lose many points for failure to do so.) I. Your introduction to the essay Provide a very brief summary of the early life of the filmmaker. (Use this subheading: Introduction) This should be the shortest section of your paper. II. The body of your essay Describe the life journey of your assigned filmmaker on his/her way to becoming a filmmaker. (Use this subheading: Before Becoming a Filmmaker) (Note: most filmmakers begin their adult lives doing something else before they turn to filmmaking.) Describe the career of your assigned filmmaker as a filmmaker. (Use this subheading: Career as a Filmmaker) Identify any one film made by your assigned filmmaker and describe what kind of reviews the film received from reviewers. (For the subheading use the title of the film) (Note: a good source of film reviews is Rotten Tomatoes, Roger Ebert, and IMDB.) III. Your conclusion Finally, for the conclusion discuss what you have learned about the filmmaker that really impresses you. (Use this subheading: Conclusion.) Page 3 of 4 Grading of Paper While grading your paper, I will be comparing your paper to those of others in class to determine your grade. Approximate points allocation for your paper: 25% for the discussion section; 25% for the conclusion; 25% for the remainder; and 25% for outline and list of references (which must be in APA style). Page 4 of 4 .
Recommended publications
  • Annual Report
    ANNUAL REPORT 2013 Archive Name ATAS14_Corp_140003273 MECH SIZE 100% PRINT SIZE Description ATAS Annual Report 2014 Bleed: 8.625” x 11.1875” Bleed: 8.625” x 11.1875” Posting Date May 2014 Trim: 8.375” x 10.875” Trim: 8.375” x 10.875” Unit # Live: 7.5” x 10” LIve: 7.5” x 10” message from THE CHAIRMAN AND CHIEF EXECUTIVE OFFICER At the end of 2013, as I reflected on my first term as Television Academy chairman and prepared to begin my second, it was hard to believe that two years had passed. It seemed more like two months. At times, even two weeks. Why? Because even though I have worked in TV for more than three decades, I have never seen our industry undergo such extraordinary — and extraordinarily exciting — changes as it has in recent years. Everywhere you turn, the vanguard is disrupting the old guard with an astonishing new technology, an amazing new show, an inspired new way to structure a business deal. This is not to imply that the more established segments of our industry have been pushed aside. On the contrary, the broadcast and cable networks continue to produce terrific work that is heralded by critics and rewarded each year at the Emmys. And broadcast networks still command the largest viewing audience across all of their platforms. With our medium thriving as never before, this is a great time to work in television, and a great time to be part of the Television Academy. Consider the 65th Emmy Awards. The CBS telecast, hosted by the always-entertaining Neil Patrick Harris, drew our largest audience since 2005.
    [Show full text]
  • SELLING ART in the AGE of RETAIL EXPANSION and CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS and the AMERICAN ART MARKET of the 1930S and 1940S
    SELLING ART IN THE AGE OF RETAIL EXPANSION AND CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS AND THE AMERICAN ART MARKET OF THE 1930s AND 1940s by TIFFANY ELENA WASHINGTON Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation advisor: Anne Helmreich Department of Art History CASE WESTERN RESERVE UNIVERSITY JANUARY, 2013 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of __________Tiffany Elena Washington_________ candidate for the __Doctor of Philosophy___ degree*. (signed) _______Anne L. Helmreich________ (chair of the committee) ______Catherine B. Scallen__________ ________ Jane Glaubinger__________ ____ _ _ Renee Sentilles___________ (date) 2 April, 2012 *We also certify that written approval has been obtained for any proprietary material contained herein. 2 For Julian, my amazing Matisse, and Livia, a lucky future artist’s muse. 3 Table of Contents List of figures 5 Acknowledgments 8 Abstract 11 Introduction 13 Chapter 1 46 Chapter 2 72 Chapter 3 93 Chapter 4 127 Chapter 5 155 Conclusion 202 Appendix A 205 Figures 207 Selected Bibliography 241 4 List of Figures Figure 1. Reeves Lewenthal, undated photograph. Collection of Lana Reeves. 207 Figure 2. Thomas Hart Benton, Hollywood (1937-1938). Tempera and oil on canvas mounted on panel. The Nelson Atkins Museum of Art, Kansas City. 208 Figure 3. Edward T. Laning, T.R. in Panama (1939). Oil on fiberboard. Smithsonian American Art Museum. 209 Figure 4. Plan and image of Associated American Artists Gallery, 711 5th Avenue, New York City. George Nelson, The Architectural Forum. Philadelphia: Time, Inc, 1939, 349. 210 Figure 5. Thomas Hart Benton, Departure of the Joads (1939).
    [Show full text]
  • Fall 2019 Editor: Diane Slomowitz an ESTATE PLANNING TOOL WE’D RATHER NOT USE
    THE E.P. EXPRESS FOS’s Estate Planning Newsletter Volume 7, Issue 2 An ounce of prevention. Fall 2019 Editor: Diane Slomowitz AN ESTATE PLANNING TOOL WE’D RATHER NOT USE This newsletter often empha- problem. her affairs. prove incompetency and the sizes the benefits of powers of need for a guardian. attorney to designate individu- This situation calls for a Take Britney Spears, who als to act on your behalf if you guardianship - an estate has been under Califor- A guardianship may be tem- are unable to do so. (See arti- planning vehicle which may, nia’s version of a guardi- porary, for example during cle on page 3, “A Director if appropriate, minimize anship for over a decade. medical treatment, or per- Who Failed to Direct His Own potential future harm. manent. Her father had long acted Life.” ) In a guardianship proceed- as her guardian, making To ensure that the guardian What happens, though, if a ing, the court determines financial and other deci- is acting responsibly, the mentally or physically im- whether a person is legally sions on her behalf, as she appointing court supervises paired person should not be incompetent. If so, the court resurrected her singing the guardianship, including making financial or other deci- appoints a “guardian” to career and personal life. through the review of annu- sions, has no power of attor- make decisions and act on al financial and/or physical The court has monitored ney, and refuses help offered behalf of the “ward.” condition reports filed by the guardianship as recent- from responsible family mem- the guardian.
    [Show full text]
  • 12YAS Notes FINALX
    ABOUT THE FILMMAKERS STEVE M cQUEEN (Directed by, Produced by) is a British artist and filmmaker. In 2008, M cQueen’s critically acclaimed first feature HUNGER won the Camera d’Or at the Cannes Film Festival among countless other international prizes. He followed with 2011’s incendiary film experience, SHAME, a provocative drama about addiction and secrecy in the modern world. The film received numerous accolades and awards with M cQueen winning the CinemAvvenire Award and FIPRESCI Prize at the Venice Film Festival as well as nominations from BAFTA, the British Independent Film Awards, the London Film Festival, Evening Standard British Film Awards and the Independent Spirit Awards. In 1996, M cQueen was the recipient of an ICA Futures Award, in 1998 he won a DAAD artist’s scholarship to Berlin and in 1999 - besides exhibiting at the ICA and at the Kunsthalle in Zürich - he also won the Turner Prize. McQueen has exhibited at the Art Institute of Chicago, the Musee d’Art Moderne de la Ville de Paris, Documenta (2002 and 2007) and at the 53rd Venice Biennale in 2009 where he represented Britain. His work is held in museum collections around the world including Tate, the Museum of Modern Art, and the Centre Pompidou. In 2003, he was appointed Official War Artist for the Iraq war by the Imperial War Museum and subsequently produced the poignant and controversial project Queen and Country, which commemorated the deaths of British soldiers who died in the Iraq War by presenting their portraits as a sheet of stamps. In 2002, he was awarded the OBE and the CBE in 2011.
    [Show full text]
  • John Singleton Copley's Turquerie Portrait of Margaret Kemble Gage
    Graduate Theses, Dissertations, and Problem Reports 2011 An American "Duchess" in Disguise: John Singleton Copley's Turquerie Portrait of Margaret Kemble Gage Elizabeth Rininger West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Rininger, Elizabeth, "An American "Duchess" in Disguise: John Singleton Copley's Turquerie Portrait of Margaret Kemble Gage" (2011). Graduate Theses, Dissertations, and Problem Reports. 4773. https://researchrepository.wvu.edu/etd/4773 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. An American “Duchess” in Disguise: John Singleton Copley’s Turquerie Portrait of Margaret Kemble Gage Elizabeth Rininger Thesis submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in Art History Dr. Rhonda Reymond, Chair Dr. Janet Snyder Prof. Kristina Olson Division of Art and Design Morgantown, West Virginia 2011 Keywords: John Singleton Copley, Orientalism, Margaret Kemble Gage, Colonial America Copyright 2011 Elizabeth Rininger ABSTRACT An American “Duchess” in Disguise: John Singleton Copley’s Turquerie Portrait of Margaret Kemble Gage Elizabeth Rininger A number of portraits that John Singleton Copley painted in the years prior to the American Revolution show women clad in turquerie.
    [Show full text]
  • Belknap Collection for the Performing Arts - the AFRICAN-AMERICAN CINEMA COLLECTION
    AFRICAN-AMERICAN CINEMA CINEMA AFRICAN-AMERICAN CINEMA The history of the African-American Cinema is a harsh timeline of racism, repression and struggle contrasted with film scenes of boundless joy, hope and artistic spirit. Until recently, the study of the "separate cinema" (a phrase used by historians John Kisch and Edward Mapp to describe the segregation of the mainstream, Hollywood film community) was limited, if not totally ignored, by writers and researchers. The uphill battle by black filmmakers and performers, to achieve acceptance and respect, was an ugly blot on the pages of film history. Upon winning his Best Actor Oscar for LILLIES OF THE FIELD (1963), Sidney Poitier accepted, on behalf of the countless unsung African-American artists, by acknowledging the "long journey to this moment." This emotional, heartbreaking and inspiring journey is vividly illustrated by the latest acquisition to the Belknap Collection for the Performing Arts - THE AFRICAN-AMERICAN CINEMA COLLECTION. The valuable research material, housed in this collection, includes over 300 pressbooks (illustrated campaign and advertising catalogs sent to theatre owners), press kits (media packages including biographies, promotional essays and illustrations), programs and over 1000 photographs and slides. The journey begins with the blatant racism of D.W. Griffith's THE BIRTH OF A NATION (1915), a film respected as an epic milestone, but reviled as the blueprint for black film stereotypes that would appear throughout the 20th century. Researchers will follow African-American films through an extended period of stereotypical casting (SONG OF THE SOUTH, 1946) and will be dazzled by the glorious "All-Negro" musicals such as STORMY WEATHER (1943), ST.LOUIS BLUES (1958) and PORGY AND BESS (1959).
    [Show full text]
  • The Recent Success of Black Filmmakers in the Contemporary Era
    Toral 1 They Have Always Existed: The Recent Success of Black Filmmakers in the Contemporary Era Arnold Toral History 489: African-American People in the United States Dr. Josh Sides November 15, 2018 Toral 2 Since the very advent of cinema, black filmmakers have been utilizing this medium to hone their craft and realize a vision unique to African-American life in the United States. In an emerging Hollywood, formed in the early 20th century, the first black filmmakers sought to break away from films produced by white directors that depicted black actors and actresses as racist caricatures. Their motivation resided in a desire to create films that starred and were directed by African-Americans to explore the reality of black life rather than participate in films that propagated racist caricatures like the ‘mammies’ and ‘sambos’ popular of the era. The widespread segregation in the film industry created obstacles that ultimately dismantled early black filmmakers’ commercial success and growth within the budding film industry. Today, black filmmakers have received numerous accolades and have proven their immense influence with profitable box office returns, yet, the talent of black creators has always existed. When black filmmakers are allowed greater creative freedom and control over their stories, they construct original narratives through the lens of the African-American experience, specifically when reincarnating a unique slave narrative; critically reassess the reality of white cultural domination, in the face of a proposed ‘post-racial’ America; and offer new dimensions of culture, particularly in redefining black masculinity, that have been lacking in films as of yet.
    [Show full text]
  • Premieres Program Showcases Some of the Most Highly Anticipated Films of the Coming Year
    The Premieres program showcases some of the most highly anticipated films of the coming year. Catch world premieres and the latest work from established directors at the Sundance Film Festival before they create a splash at local theatres. Cedar Rapids DIRECTOR: Miguel Arteta SCREENWRITER: Phil Johnston U.S.A., 2010, 86 min., color Miguel Arteta returns to the Sundance Film Festival with a comedy about a group of Premieres insurance salesmen who use the opportunity PRESENTED BY ENTERTAINMENT WEEKLY to attend an annual convention in Cedar Rapids, Iowa, as a way to escape their doleful existence . like Vegas but with corn. Tim Lippe has been living in a small town his whole life and gets a rude awakening when he arrives in the “giant” metropolis of Cedar Rapids. However, his boyish charm and innocence eventually win over his fellow conventioneers, but he becomes disheartened when he uncovers corporate corruption. When it seems his life—and chances to succeed—are completely topsy-turvy, he finds his own unjaded way to turn things around. Cedar Rapids deftly straddles that line between laughing at and with its subjects thanks to Arteta’s skilled direction and Ed Helms’s hilarious, yet thoughtful, performance. John C. Reilly, Anne Heche, and Isiah Whitlock Jr. play off Helms perfectly to fashion characters that are eccentric, yet honest. Filled with quotable dialogue and unforgettable scenes, Cedar Rapids achieves the impossible: it makes insurance fun.—T.G. Pr: Jim Burke, Alexander Payne, Jim Taylor Principal Cast: Ed Helms, John C. Reilly, Anne Heche, Isiah Whitlock Jr., Alia Shawkat, Sigourney Weaver Sunday, January 23, 9:30 p.m.
    [Show full text]
  • Best Movies in Every Genre
    Best Movies in Every Genre WTOP Film Critic Jason Fraley Action 25. The Fast and the Furious (2001) - Rob Cohen 24. Drive (2011) - Nichols Winding Refn 23. Predator (1987) - John McTiernan 22. First Blood (1982) - Ted Kotcheff 21. Armageddon (1998) - Michael Bay 20. The Avengers (2012) - Joss Whedon 19. Spider-Man (2002) – Sam Raimi 18. Batman (1989) - Tim Burton 17. Enter the Dragon (1973) - Robert Clouse 16. Crouching Tiger, Hidden Dragon (2000) – Ang Lee 15. Inception (2010) - Christopher Nolan 14. Lethal Weapon (1987) – Richard Donner 13. Yojimbo (1961) - Akira Kurosawa 12. Superman (1978) - Richard Donner 11. Wonder Woman (2017) - Patty Jenkins 10. Black Panther (2018) - Ryan Coogler 9. Mad Max (1979-2014) - George Miller 8. Top Gun (1986) - Tony Scott 7. Mission: Impossible (1996) - Brian DePalma 6. The Bourne Trilogy (2002-2007) - Paul Greengrass 5. Goldfinger (1964) - Guy Hamilton 4. The Terminator (1984-1991) - James Cameron 3. The Dark Knight (2008) - Christopher Nolan 2. The Matrix (1999) - The Wachowskis 1. Die Hard (1988) - John McTiernan Adventure 25. The Goonies (1985) - Richard Donner 24. Gunga Din (1939) - George Stevens 23. Road to Morocco (1942) - David Butler 22. The Poseidon Adventure (1972) - Ronald Neame 21. Fitzcarraldo (1982) - Werner Herzog 20. Cast Away (2000) - Robert Zemeckis 19. Life of Pi (2012) - Ang Lee 18. The Revenant (2015) - Alejandro G. Inarritu 17. Aguirre, Wrath of God (1972) - Werner Herzog 16. Mutiny on the Bounty (1935) - Frank Lloyd 15. Pirates of the Caribbean (2003) - Gore Verbinski 14. The Adventures of Robin Hood (1938) - Michael Curtiz 13. The African Queen (1951) - John Huston 12. To Have and Have Not (1944) - Howard Hawks 11.
    [Show full text]
  • Hollywood and Higher Learning
    Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1996 Volume III: Race and Representation in American Cinema Hollywood and Higher Learning Curriculum Unit 96.03.12 by Deborah E. Hare This curriculum has been developed for use in high schools as a way to prepare students for college. It is specifically designed for grades 9-12 with a particular focus on 11th graders. I have picked four films for students to view and analyze, and have developed guidelines and questions for thoughtful viewing. The unit also will present some biographical information about the filmmakers (in particular John Singleton and Spike Lee) and some of the early reviews of their controversial films. My unit focuses on films that show college life, both fictionally and in documentary form. Since preparing for college is a major focus in my junior level classes I will use this curriculum with my 11th grade English class as part of our “getting ready for college” unit. I explain what an important year 11th grade is for my students, and I stress that it is not too late for them to do the necessary things to get accepted into college. I will use this unit early in the year, from the middle of September until late November. My aim is to use Hollywood as a way to pump my students up about college, especially marginal students who may not visualize themselves going to college at all. This year I showed Men at Morehouse , a documentary about Morehouse College. It talked about preparing young black men to be leaders in their community, and it showed how Spelman (Morehouse’s sister school) prepares its female students to be strong leaders as well.
    [Show full text]
  • Oldest/Youngest Directing Nominees/Winners
    OLDEST/YOUNGEST DIRECTING NOMINEES/WINNERS The following statistics are based on the most reliable birthdate information available to us at the time of publishing. We welcome any information from primary sources that might indicate a different birthdate for an individual. Such sources might be birth or death certificates or databases based on such records, published interviews with the individual or published documents that cite their sources. This would NOT include the Internet Movie Database or other web sites that do not cite primary sources for their information. [Updated thru 88th Awards (2/16)] © Academy of Motion Picture Arts and Sciences. Document may not be republished without permission. 8.5 - 1 8.5 - 2 Oldest/Youngest Directors * Denotes winner Oldest Nominees [from date of birth to date of nominations announcement] 79 years, 184 days. John Huston, Prizzi's Honor (1985) [August 5, 1906 - February 5, 1986] 78 years, 193 days. Charles Crichton, A Fish Called Wanda (1988) [August 6, 1910 - February 15, 1989] 76 years, 357 days. Robert Altman, Gosford Park (2001) [February 20, 1925 - February 12, 2002] 76 years, 318 days. David Lean, A Passage to India (1984) [March 25, 1908 - February 6, 1985] 76 years, 237 days. Clint Eastwood, Letters from Iwo Jima (2006) [May 31, 1930 - January 23, 2007] 76 years, 54 days. Woody Allen, Midnight in Paris (2011) [December 1, 1935 - January 24, 2012] 75 years, 319 days. Akira Kurosawa, Ran (1985) [March 23, 1910 - February 5, 1986] 74 years, 239 days. *Clint Eastwood, Million Dollar Baby (2004) [May 31, 1930 - January 25, 2005] 73 years, 241 days.
    [Show full text]
  • Ryan Coogler's Fruitvale Station
    HOUDIN Brenda-Lee AN0240X Master 1 Essay Ryan Coogler’s Fruitvale Station: The depiction of a racial crime in a post-racial America? Research advisor: Hélène Charlery Assessor: Zachary Baqué Master 1 Recherche Etudes Anglophones – Année 2015/2016 Université de Toulouse Jean Jaurès - DEMA Table of Contents Acknowledgements ......................................................................................................................... 3 Introduction .................................................................................................................................... 4 I. Fruitvale Station: A depiction of American racialization ............................................... 6 1.1. American history: From racial segregation to discrimination ................................................ 7 1.2. Post-racialism in the age of Obama: A myth or reality? ........................................................ 8 1.3. Fruitvale Station: A representation of post-racial skepticism? ........................................... 11 1.3.1 Depicting race relations .......................................................................................... 11 1.3.2 Depicting an impoverished black neighborhood .................................................... 15 1.3.3 Depicting an American “racial consciousness”...................................................... 17 II. Fruitvale Station: Race, violence and policing ............................................................... 19 2.1. Representing racial profiling on screen ..............................................................................
    [Show full text]