What you have done so far:
Research idea, title, “I wonder…” statement, viewing of films, close analysis of films, analysis grids bringing your ideas, rationale – all together with academic comments.
Before going to the next stage, Ask yourself the following questions:
Does the work stand up as a high quality piece of in-depth academic research? Is it coherent, detailed and use appropriate film terminology? Does it engage with film theory and/or history? (What was happening in the film industry at that time? Are your films typical or extraordinary? What was happening in the world at that time which might be relevant?) Have you done enough research on the historical context of each film? Have you considered socio-cultural contexts in sufficient detail? Is there enough to compare/contrast amongst the films and countries produced?
Assessed class presentation using Powerpoint, Presentation, Keynote or Prezi.
In order to test whether you are ready to go to the next stage you will need to articulate your ideas to the rest of the class. This presentation will be assessed for Research and Knowledge & Understanding. (These will be given an extra weighting as this is such an important stage in the IS process)
Using preferred software create a 5 minute presentation. You should not read from the screen, can use notecards if needed. Keep words in on each screen to a minimum. You presentation must include:
1. Independent Study Title
2. Rationale for the study (see notes)
3. Overview of your choice of films and why you chose them. Must contain details about film history and/or socio-cultural influences on the films
4. Go into detail about one in depth point of the argument you would like to make in the documentary. This point should show scope and depth. For this you can use up to six screenshots as supporting evidence
5. Annotated list of resources for the point you have made and reasoning behind each source (see note)
The rationale must offer a brief, reasoned explanation of the concerns of the topic in no more than 100 words.
Scope and depth: An argument consists of:
a) a point being proposed
b) some supporting evidence in the form of a film clip and/or quotation
c) an analysis or interpretation to link the evidence to the point proposed
1. Far from being “dumbed down” and melodramatic, soap operas engage with the most serious issues of our society. My documentary seeks to explore how the parameters or conventions of soap operas enable the writers to explore social themes which engage the primarily female viewer. I will also investigate the possibility that soap operas provoke intellectual debate way beyond the negative stereotypical interpretations of the genre in South Korean soaps like “Jewel in the Palace” and “Thank You” and British soaps “Eastenders” and “Coronation Street”.
2. While the musical soundtrack has always played an integral part of the filmic experience, it has had difficulty establishing itself as a widely-recognized art form. Movie score is seen by some artists as functional “low art” rather than “high art”, and is simply ignored by many others. There are various reasons behind these prejudices. In this documentary, I will explore these reasons. I will also present to the audience how far film music has developed since its early days, not only as a functional tool for emotional accentuation, but also for underpinning a director’s intended meaning.
Annotated list of resources:
Hans Zimmer [Online], (2008). URL: http://www.youtube.com/watch?v=U2BAJCWh1jY&feature=related
This interview with Hans Zimmer was used in the section of my documentary covering the scoring The Thin Red Line. It explains how Hans Zimmer began to integrate into the score some of the many philosophical and religious themes that Malick wished to portray in the film.
Kassabian, Anahid. (2001). Hearing Film. Routledge.
Offered a great deal of information regarding the many techniques used by modern film composers to accentuate emotion, character and theme.
Pendergast, Roy M. (1977). Film Music, A Neglected Art. W.W. Norton & Company. Provided many of the historical reasons explaining why film music has previously been often ignored by audiences and critics, and reviled by some classical musicians.