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Essay Instructions: Write compare (the same and contrast) essay about 5 paragraphs (2 pages) about character of Woody Allen, Moliere and Aristophanes.


Source:

• Four Films of Woody Allen (Annie Hall, Interiors, Manhattan, Stardust Memories). ISBN-13: 2291
• Moliere (The Misanthrope, Tartuffe and Other Plays). ISBN 0-19-283441-3
• Aristophanes (Four Comedies – Lysistrata, The Frogs, The Birds, and Ladies’ Day). ISBN 0-15-602765-8

Essay Instructions: Write a short essay of about 1000 words on the following topic, you must follow the MLA style sheets for proper documentation format. Give your essay a thoughtful title. Do not simply copy the question below. You can include 3 - 5 bibliography sources.

Using Woody Allen's Zelig as an example, discuss the potentialities and limitations of mockumentaries?

Essay Instructions: . Papers must be between 4-5 pages (double spaced, Times New Roman, 12 Font). They should make a discussion of one of the issues that we examine in the course (e.g., gendered experience of flânerie; experience of the transient spaces of modernity; modernity and migration; contemporary experience of the province etc.) in relation to a film included in the course syllabus. Papers should incorporate a discussion of the relevant readings in the syllabus as well as students’ own experiences, observarions, and opinions concerning the subject at hand.



Everyday experience of modernity in contemporary cities
Film: Manhattan (Woody Allen, USA, 1979)

Reading:
Marshall Berman, ‘Introduction: New York Calling’ in Marshall Berman and Brian Berger ed. New York Calling: From Blackout to Bloomberg. London: Reaktion Books, 2007.

Armond White, ‘Speaking Truth to Power,’ in Marshall Berman and Brian Berger ed. New York Calling: From Blackout to Bloomberg. London: Reaktion Books, 2007.

Dave Itzkoff, ‘Woody Allen: The Director’s Cut (Interview with Woody Allen,’ New York Times, September 15, 2010. http://artsbeat.blogs.nytimes.com/2010/09/15/woody-allen-the-directors-cut/

Suggested Reading: Marshall Berman, All That Is Solid Melts Into Air: The Experience of Modernity. London: Verso, 1997.


Transient spaces of modernity: Bridges, subways, airports, taxi caps...
Film: Night on Earth (Jim Jarmusch, USA, 1991) ; The Terminal (Steven Spielberg, USA, 2004) ; Köprüdekiler (AslA? Özge, Turkey, 2009)

Suggested Reading: Marc Auge, Non-Places: Introduction to an Anthropology of Supermodernity. London: Verso, 2000.


Outside the modern city: Contemporary experience of the province
Film: May Clouds (Nuri Bilge Ceylan, Turkey, 1999)

Reading: Asuman Suner, New Turkish Cinema: Belonging, Identity and Memory. London: I.B. Tauris Press, 2010.


Early images of the modern city
Film: The Man with the Movie Camera (Dziga Vertov, USSR, 1929)
Modern Times (Charlie Chaplin, USA, 1936)

Reading: Marko Daniel, “The Man With the Movie Camera: Speed of Vision, Speed of Truth?” http://www.25hrs.org/vertov.htm.

Suggested Reading: Jeremy Hicks, Dziga Vertov: Defining Documentary Film. London: I.B.Tauris, 2007.


The modern subject and the gendered practice of flanerie
Film: My Life to Live (Jean Luc Godard, France, 1962)

Reading: David Sterritt, The Films of Jean-Luc Godard: Seeing the Invisible. Cambridge: Cambridge University Press, 1999.

Suggested Reading: Anne Friedberg, Window Shopping: Cinema and the Postmodern. Berkeley: University of California Press, 1993.

Anthony Giddens, Modernity and Self-Identity: Self and Society in the Late Modern Age. Stanford, CA: University of Stanford Press, 1991.

Richard Neupert, A History of the French New Wave Cinema. Madison, Wisconsin: The University of Wisconsin Press, 2002.


Migration, globalization, and the modern city
Film: La Haine (Mathieu Kassovitz, France, 1995)

Reading:
Myrto Konstantarakos, “Which Mapping of the City? La Haine (Kassovitz, 1995) and the Cinema de Banlieue,” in Phil Powrie, ed. French Cinema in the 1990s: Continuity and Difference. Oxford: Oxford University Press, 2006.


Order, disorder and the modern city
Film: Play Time (Jacques Tati, France, 1967); Chungking Express (Wong Kar-wai, Hong Kong, 1997)

Reading:
Janice Tong, “Chungking Express: Time and Its Displacements” in Chris Berry ed. Chinese Films in Focus: 25 New Takes, London: BFI Publishing, 2003.

Laurent Marie, “Jacques Tati’s Play Time as New Babylon” in Mark Shiel and Tony Fitzmaurice ed. Cinema and the City: Film and Urban Societies in a Global Context, Oxford: Blackwell, 2001.

Suggested Reading: Michel Chion, The Films of Jacques Tati. Toronto: Guernica, 2003.


Experience of modernity in contemporary Istanbul
Film: Crossing the Bridge: The Sound of Istanbul (Fatih AkA?n, Germany, 2005)

Reading:
Engin IA?A?n, “The Soul of a City: Hüzün, Keyif, Longing,” in Deniz Göktürk, Levent Soysal and A?pek Türeli ed. Orienting Istanbul: Cultural Capital of Europe? New York: Routledge, 2010.

Asuman Suner, New Turkish Cinema: Belonging, Identity and Memory. London: I.B. Tauris Press, 2010.

Essay Instructions: This assignment is "The character Death (Death Knocks) and the character Othello are both defeated. This occurs because each character has a flaw. Name the flaw for each character and explain how it allows the character to make the choices that end in his downfall. Give specific examples from each play".

Here is a link to "Death Knocks" by Woody Allen: http://www.scribd.com/doc/81124508/Death-Knocks


This is what I've started you can choose to include it or not:

Othello’s character flaws are jealousy, fear and revenge. Othello is also very insecure because of his age, his life as a soldier, and his race. Iago used to twist his love for his wife, Desdemona, into a powerful and destructive jealousy. Othello is persuaded by what Iago has said, and it's clear the seed of suspicion has been planted. Iago tells Othello that he hopes he hasn't ruined his day. This is the trickiest, most dastardly bit of all, because he totally hopes he has ruined Othello's day.
In “Death Knocks” Death is an awkward, clumsy character, who stumbles into the room. In both his actions and his lines, Death acts more as the comedic relief to the often dark topic of death, with lines such as “What is wrong with you? You see the black costume and the whitened face? Is it Halloween? Then I’m Death. Now can I get a glass of water??"or a Fresca?”.
Death: “a somber, caped figure…wears a black hood and skintight clothes” He is middle-aged with a stark white face. He also resembles Nat in appearance.