Posted: July 4th, 2015

Week 3 writing part 1

The book is on my kindle account, using kindle and log in with username, password is guanruiqi. you download the Kindle app on your phone or on your computer. The book is Film art: an Introduction.
The film Chinatown is here
log in with, password is guanruiqi

As a model to begin each answer, review pp. 153-157, “Narrative Functions of Mise-En-Scene: Our Hospitality,” and reconsider the discussion in this week’s lesson on mise en scene (see Week 3 Readings and Lessons) about the function of the vase and the costume.
After viewing the movie, Chinatown, write a clear and concise response to each of the questions below. In framing your responses, edit your prose mercilessly to pack in as much information as possible. Be sure to read each question carefully.
• Discuss the way in which the setting functions in ironic contrast to Jake’s mission in the segment of the scene beginning with his arrival at the Albacore Club and ending with his lunch with Noah Cross. (300-350 words)
• Contrast the costumes of the real Mrs. Mulwray and her impersonator to highlight fundamental aspects of Mrs. Mulwray’s character (values, self-presentation, desires, background, etc.). Be descriptive and precise (e.g., use “pearls,” not “necklace”). (300-350 words)
• Discuss the use of lighting in the final scene on the street in Chinatown. Try to isolate as many specific types of lighting and shadow as you can (underlighting, toplighting, attached shadow, etc.), and describe the four major features of lighting (quality, direction, source, and color of the light). Integrate into your paragraph (rather than list) the technical terms from your reading. (300-350 words)
• Discuss the significance of figure arrangement in the scene with Jake peering into the bungalow where Evelyn’s daughter is staying. Remember to include Jake in your analysis. (300-350 words)
In your description of any costume, set, or prop, be as accurate as you can; e.g., “fedora,” “bungalow,” “Cadillac,” and “Derringer” are all better than “hat,” “small house,” “car,” and “gun.” If you cannot always be this specific, be descriptive, especially where effects are concerned. Thus, even if you don’t know the difference between a fedora and a Trilby, you can still plainly see that the broad brim of the former throws a shadow across the eyes of the wearer and conveys a mysterious, sleek, perhaps slightly dangerous air. This is the sort of description to include in your analysis.

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