Film Studies Essays and Research Papers

Instructions for Film Studies College Essay Examples

Title: Living in the twentieth century means learning to be American Is Hollywood dominance truly global or can individual international cinemas exist outside of its influence Discuss in relation to one national cinema

  • Total Pages: 7
  • Words: 2011
  • Works Cited:3
  • Citation Style: Harvard
  • Document Type: Essay
Essay Instructions: ‘Living in the twentieth century means learning to be American’. Is Hollywood dominance truly global, or can individual international cinemas exist outside of its influence? Discuss in relation to one national cinema. (2000-2500 words)


EXPECTED LEARNING OUTCOMES:
- A critical awareness of debates concerning cinema as commodity.
- An evaluative engagement with, and understanding of, relevant academic literature
- Critical and analytical skills
- Research and writing skills: the ability to construct an argument, apply theoretical models as analytical tools, and to research and write an essay in an appropriate academic form.



READING LIST: Many of these books have helpful BIBLIOGRAPHIES

KEY TEXTS

Bordwell, D., Staiger J. and Thompson, K. (1985) THE CLASSICAL HOLLYWOOD CINEMA FILM STYLE AND MODE OF PRODUCTION TO 1960. London: Routledge and Kegan

Bordwell, D. and Thompson, K. (2008) FILM ART: AN INTRODUCTION. (Eighth Edition) Boston, Mass.; London: McGraw-Hill

Bradley, L., Barton Palmer, R. and Schneider, S.J. (eds.) (2006) TRADITIONS IN WORLD CINEMA. Edinburgh: Edinburgh University Press

Caughie J. (ed.) (1981) THEORIES OF AUTHORSHIP: A READER. London: Routledge

Cook, P. (2007) THE CINEMA BOOK. (Third Edition) London: BFI

Creeber, G. (2004) SERIAL TELEVISION: BIG DRAMA ON THE SMALL SCREEN. London: BFI
Dyer, R. (1998) STARS. London: BFI Publishing

Grant, B.K. (2007) FILM GENRE: FROM ICONOGRAPHY TO IDEOLOGY. London: Wallflower Press

Grant, B.K. (ed.) (2003) FILM GENRE READER III. Austin: University of Texas Press

Higson, A. (2003) ENGLISH HERITAGE, ENGLISH CINEMA: COSTUME DRAMA SINCE 1980. Oxford: Oxford University Press

Hill, J. and Church Gibson, P. (eds.) (1998) THE OXFORD GUIDE TO FILM STUDIES. Oxford: OUP

Neale, S. (ed.) (2002) GENRE AND CONTEMPORARY HOLLYWOOD. London: BFI

Nelmes, J. (2007) AN INTRODUCTION TO FILM STUDIES. (Fourth Edition) Abingdon: Routledge

Pramaggiore, M. and Wallis, T. (2008) FILM: A CRITICAL INTRODUCTION. (Second Edition) London: Lawrence King

Vitali, V. and Willemen, P. (eds.) (2006) THEORISING NATIONAL CINEMA. London: BFI


FURTHER READING

Week by Week Reading
The following lists of texts are readings that support the weekly class activities. You are not expected to read everything on the list but you should follow up on the subject areas that interest you and which will support your assignment.


WEEK ONE – CLASSICAL HOLLYWOOD

Balio, T. (ed.) (1985) THE AMERICAN FILM INDUSTRY. (revised Edition) Madison, Wis.: University of Wisconsin Press

Buscombe, E. (2003) CINEMA TODAY. London: Phaidon

Franklin, D.P. (2006) POLITICS AND FILM: THE POLITICAL CULTURE OF FILM IN THE UNITED STATES. Rowman and Littlefield

Gledhill, C. (ed.) (1991) STARDOM: INDUSTRY OF DESIRE. London: Routledge

Gomery, D. (1992) SHARED PLEASURES: A HISTORY OF MOVIE PRESENTATION IN THE UNITED STATES. Madison, Wiss.: University of Wisconsin Press

Harbord, J. (2007) THE EVOLUTION OF FILM: RETHINKING FILM STUDIES. Cambridge: Polity

Macdonald, P. (2000) THE STAR SYSTEM: HOLLYWOOD’S PRODUCTION OF POPULAR IDENTITIES. London: Wallflower Press

Mathijs, E. and Mendick, X. (eds.) (2008) THE CULT FILM READER. Maidenhead: Open University Press

Turner, G. (2006) FILM AS SOCIAL PRACTICE IV. (Fourth Edition) New York: Routledge

Turner, G. (ed.) (2002) THE FILM CULTURES READER. London: Routledge

Tzioumakis, Y. (2006) AMERICAN INDEPENDENT CINEMA: AN INTRODUCTION. Edinburgh: Edinburgh University Press


WEEK TWO – GENRE

Altman, R. (1987) THE AMERICAN FILM MUSICAL. Bloomington: Indiana University Press

Clover, C. (1992) MEN, WOMEN AND CHAINSAWS: GENDER IN THE MODERN HORROR FILM. Princeton, NJ: Princeton University Press

Creeber, G. (ed.) (2001) THE TELEVISION GENRE BOOK. London: BFI

Feuer, J. (1993) THE HOLLYWOOD MUSICAL. (Second Edition) Bloomington: Indiana University Press

Gledhill, C. (ed.) (1987) HOME IS WHERE THE HEART IS: STUDIES IN MELODRAMA AND THE WOMAN’S FILM. London: BFI Publishing



King, G. and Kryzwinska, T. (2000) SCIENCE FICTION CINEMA: FROM OUTER SPACE TO CYBERSPACE. London: Wallflower Press

Kuhn, A. (ed.) (1999) ALIEN ZONE II: THE SPACES OF SCIENCE-FICTION CINEMA. London: Verso

Lacey, N. (2000) NARRATIVE AND GENRE: KEY CONCEPTS IN MEDIA STUDIES. Basingstoke: Palgrave

Langford, B. (2005) FILM GENRE: HOLLYWOOD AND BEYOND. Edinburgh: Edinburgh University Press

Neale, S. (2000) GENRE AND HOLLYWOOD. London: Routledge

Saunders, J. (2001) THE WESTERN GENRE: FROM LORDSBURG TO BIG WHISKEY. London: Wallflower Press

Smith, S. (2005) THE MUSICAL: RACE, GENDER AND PERFORMANCE. London: Wallflower Press

Wells, P. (2000) THE HORROR GENRE: FROM BEELZEBUB TO BLAIR WITCH. London: Wallflower

Worland, R. (2007) THE HORROR FILM: AN INTRODUCTION. Malden, MA; Oxford: Blackwell Pub.


WEEK THREE – THE AUTEUR THEORY

Bazin, A. (1962) WHAT IS CINEMA? Vol. I & II. Berkeley: University of California Press

Dixon, W.W. (1993) THE EARLY FILM CRITICISM OF FRANCOIS TRUFFAUT. Bloomington: Indiana University Press

Elsaesser, T.; Horwath, A. and King, N. (eds.) (2004) THE LAST GREAT AMERICAN PICTURE SHOW: NEW HOLLYWOOD CINEMA IN THE 1970s. Amsterdam: Amsterdam University Press

Flowers, J. (trans.) (2006) THE HOLLYWOOD INTERVIEWS. Oxford: Berg

Gerstner, D.A. and Staiger, J. (eds.) (2003) AUTHORSHIP AND FILM. New York; London: Routledge

Hayward, S. (2006) CINEMA STUDIES: THE KEY CONCEPTS. (Third edition) London: Routledge

Hayward, S. (1998) LUC BESSON. Manchester: Manchester University Press

Lapsley, R. and Westlake, M. (2006) FILM THEORY: AN INTRODUCTION. (Second edition) Manchester: Manchester University Press

Miller, T. and Stam, R. (eds.) (2004) A COMPANION TO FILM THEORY. Oxford: Blackwell

Monaco, J. (1976) THE NEW WAVE: TRUFFAULT, GODARD, CHABROL, ROHMER, RIVETTE. New York: Oxford University Press


Narboni, J. and Milne, T. (eds.) (1986) GODARD ON GODARD: CRITICAL WRITINGS BY JEAN LUC GODARD. New York: Da Capo

Sarris, A. (1996) THE AMERICAN CINEMA: DIRECTORS AND DIRECTIONS 1929-1968. New York: Da Capo

Teo, S. (2005) WONG KAR-WAI: AUTEUR OF TIME. London: BFI

Wexman, V.W. (2003) FILM AND AUTHORSHIP. New Jersey: Rutgers University Press


Wollen, P. (2002) PARIS HOLLYWOOD: WRITINGS ON FILM. London: Verso


Wollen, P. (1998) SIGNS AND MEANINGS IN THE CINEMA. (Fourth edition) London: Secker and Warburg / BFI


WEEKS FOUR & FIVE – WORLD & NATIONAL CINEMA

Beumers, B. (2006) THE CINEMA OF RUSSIA AND THE FORMER SOVIET UNION. London: Wallflower

Bordwell, D. and Thompson, K. (2003) FILM HISTORY: AN INTRODUCTION. (Second Edition) Boston: McGraw-Hill

Bondanella, P.(2001) ITALIAN CINEMA: FROM NEOREALISM TO THE PRESENT. (Third edition) London: Continuum

Chaudhuri, S. (2005) CONTEMPORARY WORLD CINEMA: EUROPE, THE MIDDLE EAST, EAST ASIA AND SOUTH ASIA. Edinburgh: Edinburgh University Press

Codell, J.F. (2007) GENRE, GENDER, RACE AND WORLD CINEMA. Malden, MA: Blackwell

Cowie, P. (2006) REVOLUTION!: THE EXPLOSION OF WORLD CINEMA IN THE 60s. London: Faber

Crofts, S. (1993) ‘Reconceptualizing National Cinema/s’, in QUARTERLY REVIEW OF FILM AND VIDEO. vol. 14, no. 3, pp. 49-67

Dennison, S. and Lim, S.H. (eds.) (2006) REMAPPING WORLD CINEMA: IDENTITY, CULTURE AND POLITICS IN FILM. London: Wallflower Press

Elsaesser, T. and Wedel, M. (eds.) (1999) THE BFI COMPANION TO GERMAN CINEMA. London: BFI

Gillespie, D. (2000) EARLY SOVIET CINEMA: INNOVATION, IDEOLOGY AND PROPAGANDA. London: Wallflower Press

Grainge, P., Jancovich, M. and Moneith, S. (2007) FILM HISTORIES: AN INTRODUCTION AND READER. Edinburgh: Edinburgh University Press

Grant, C. and Kuhn, A. (eds.) (2006) SCREENING WORLD CINEMA: A SCREEN READER. London: Routledge



Greene, N. (2007) THE FRENCH NEW WAVE: A NEW LOOK. London: Wallflower Press

Hames, P. (2005) THE CZECHOSLOVAK NEW WAVE. London: Wallflower Press

Hames, P. (ed.) (2004) THE CINEMA OF CENTRAL EUROPE. London: Wallflower Press

Higson, A. (1995) WAVING THE FLAG: CONSTRUCTING A NATIONAL CINEMA IN BRITAIN. Oxford: Clarendon Press

Higson, A. (1989) ‘The Concept of National Cinema’, in SCREEN. Vol. 30, no. 4, pp. 36-46

Hill, J. and Church Gibson, P. (eds.) (2000) WORLD CINEMA: CRITICAL APPROACHES. Oxford: Oxford University Press

Kracauer, S. (2004) FROM CALIGARI TO HITLER: A PSYCHOLOGICAL HISTORY OF THE GERMAN FILM. Princeton, NJ: Princeton University Press

McRoy, J. (ed.) (2005) JAPANESE HORROR CINEMA. Edinburgh: Edinburgh University Press

Murphy, R. (ed.) (2000) BRITISH CINEMA OF THE 90s LONDON: BFI

Nagib, L. (2007) BRAZIL ON SCREEN: CINEMA NOVO, NEW CINEMA, UTOPIA. London: I.B.Tauris

O’Regan, T. (1996) AUSTRALIAN NATIONAL CINEMA. London: Routledge

Petric, V. (1987) CONSTRUCTIVISM IN FILM: ‘THE MAN WITH THE MOVIE CAMERA’; A CINEMATIC ANALYSIS. Cambridge: Cambridge University Press

Shaw, D. (ed.) (2006) CONTEMPORARY LATIN AMERICAN CINEMA: BREAKING INTRO THE GLOBAL MARKET. Rowman and Littlefield

Temple, M. and Witt, M. (eds.) (2004) THE FRENCH CINEMA BOOK. London: BFI

Turovskaya, M. (1989) TARKOVSKY: CINEMA AS POETRY. London: Faber

Zhang, Y. (2004) CHINESE NATIONAL CINEMA. London: Routledge


WEEK SIX – THE HERITAGE FILM

Chapman, J. (2005) PAST AND PRESENT: NATIONAL IDENTITY AND THE BRITISH HISTORICAL FILM. London: I.B.Tauris.

Gibson, P. C. (2002) ‘From Dancing Queen to Plaster Virgin: Elizabeth and the End of English Heritage’, in JOURNAL OF POPULAR BRITISH CINEMA. No. 5, pp.133-141

Corner, J. and Harvey, S. (eds.) (1991) ENTERPRISE AND HERITAGE: CROSSCURRENTS OF NATIONAL CULTURE. London: Routledge

Craig, C. (1991) ‘Rooms without a View’, in SIGHT AND SOUND. Vol. 1, no. 2, June,
pp. 10-13



Harper, S. (1992) PICTURING THE PAST: THE RISE AND FALL OF THE BRITISH COSTUME FILM. London: BFI Publishing

Hewison, R. (1987) THE HERITAGE INDUSTRY: BRITAIN IN A CLIMATE OF DECLINE. London: Methuen

Higson, A. (ed.) (1996) DISSOLVING VIEWS: KEY WRITINGS ON BRITISH CINEMA. London: Cassel

Hill, J. (1999) BRITISH CINEMA IN THE 1980s: ISSUES AND THEMES. Oxford: Clarendon

Monk, C. (1999) ‘Heritage Films and the British Cinema Audience in the 1990s’, in JOURNAL OF POPULAR BRITISH CINEMA. No. 2, pp. 22-38.

Monk, C. and Sargent, A. (eds.) (2002) BRITISH HISTORICAL CINEMA: THE HISTORY, HERITAGE AND COSTUME FILM. London: Routledge

Pidduck, J. (2004) CONTEMPORARY COSTUME FILM: SPACE, PLACE AND THE PAST. London: BFI


WEEK SEVEN – CINEMATIC TELEVISION

Akass, K. and McCabe, J. (2005) READING SIX FEET UNDER: TV TO DIE FOR. London: IB Tauris

Coates, P. (1999) LUCID DREAMS: THE FILMS OF KRZYSZTOF KIESLOWSKI. London: Flicks

Dixon, W.W. (ed.) (2004) FILM AND TELEVISION AFTER 9/11. Southern Illinois University Press

Ellis, J. (1992) VISIBLE FICTIONS:CINEMA, TELEVISION, VIDEO. London: Routledge

Hammond, M. and Mazdon, L. (eds.) (2005) THE CONTEMPORARY TELEVISION SERIES. Edinburgh: Edinburgh University Press

Lavery, D. (2006) READING THE SOPRANOS: HIT TV FROM HBO. London: I.B.Tauris

Lury, K. (2005) INTERPRETING TELEVISION. London: Arnold

Sheen, E. and Davidson, A. (eds.) (2004) THE CINEMA OF DAVID LYNCH: AMERICAN DREAMS, NIGHTMARE VISIONS. London: Wallflower Press

Stevenson, J. (2002) LARS VON TRIER. London: BFI

Thornam, S. and Purvis, T. (2005) TELEVISION DRAMA: THEORIES AND IDENTITIES. Basingstoke: Palgrave MacMillan




WEEK EIGHT – NEW MEDIA

Caldwell, J.T. and Everett, A. (eds.) (2003) NEW MEDIA: THEORIES AND PRACTICES OF DIGITEXTUALITY. London: Routledge

Figgis, M. (2007) DIGITAL FILM-MAKING. London: Faber & Faber

Hanson, M. (2004) THE END OF CELLULOID: FILM FUTURES IN THE DIGITAL AGE. Hove: Rotovision

Hatfield, J. (ed.) (2006) EXPERIMENTAL FILM AND VIDEO: AN ANTHOLOGY. Eastleigh: John Libbey Pub.
Inglis, I. (ed.) (2003) POPULAR MUSIC AND FILM. London: Wallflower Press

Reiser, M. and Zapp, A. (eds.) (2002) NEW SCREEN MEDIA: CINEMA / ART / NARRATIVE. London: BFI

Wardrip-Fruin, N. and Monfort, N. (eds.) (2003) THE NEW MEDIA READER. Cambridge, Mass.: MIT Press

Willis, H. (2005) NEW DIGITAL CINEMA: REINVENTING THE MOVING IMAGE. London: Wallflower Press

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Title: buster keaton

  • Total Pages: 5
  • Words: 1621
  • Bibliography:20
  • Citation Style: MLA
  • Document Type: Research Paper
Essay Instructions: this is a research paper on Buster Keaton for my final in Critical Film Studies. the paper has to start out with the start in Buster Keaton's acting career, and its progression through time and then it has to go into a comparison of two of his most famous movies "The General" and "Sherlock, Jr." comparison of the acting, editing, musical score, cinematography and the success of the films. Specific details that have to be included, after you mention a name of the film for the fist time, it has to mention the directors name and the year it came out example: Casablanca (Curtiz, 1942).
all movie names have to be in Italic font throughout the whole paper. after you mention a character name for the first time write an actor's name in brackets Example: Rick Blaine (Humphrey Bogart)
the paper has to be in MLA format with 1 inch margin, double spaced. it has to include only academic sources such as books, university articles etc.. ( no wikipedia or IMDB or anything of that category)
if you are using a quote the period has to go inside a quotation mark. Quotes from books have to include writer's name and a page number. Example (Doherty, page 43). and every source from the web has to include a link on the bottom of the page with a reference number to the source that has been used.

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