22 Jun Papers will be due at the beginning of
Papers will be due at the beginning of class on TUESDAY, NOVEMBER 17. In addition
to handing in a hard copy, you must also upload it to SafeAssign via Blackboard (details
below). No emailed papers accepted.
1. Compare and contrast how TWO of the following three films explore the theme of
self-interest: UGETSU, RASHOMON, BLIND SHAFT.
2. Compare and contrast how the protagonists of PERFECT BLUE and RAISE THE
RED LANTERN struggle for control over their own lives.
3. Compare and contrast how HAPPY TOGETHER and THE HOUSEMAID explore the
theme of desire.
Some guidelines for writing the papers:
Theres no single “right” answer to any of these questions, but you must back up your
arguments with examples and evidence from the films.
Give your essays some organized line of thought or structure. Think about the films and
come up with a central argument or thesis. Then go through the films carefully and
gather the evidence that supports your thesis. If you find that your thesis isnt supported
by the evidence, adjust the thesis accordingly.
Construct your paper so that the central argument is clearly stated up front. Ideally,
each paragraph should somehow support your main thesis, and each sentence should
somehow support the main point of each paragraph.
2
Be comprehensive, but also be concise. Figure out which aspects of your topic are truly
essential, and build your arguments carefully, but also be focused in your writing: avoid
repetition and unnecessary verbiage, stick to the subject, dont wander off into tangents.
Description of what happens in the movie is the key to making your points. Describe
scenes and what happens within them; describe the structure of the story and how its
told. Avoid mere evaluation (“the acting is superb,” “the camerawork is beautiful”).
Get right into the real topic of your paper; dont waste any time with introducing the films
in a general way. No plot summaries unless theyre directly relevant to a point youre
making. No background information about a films production history, its
critical/commercial reception, its creators careers, etc.; no unsupported generalizations
about a films cultural or historical context, or its placement in film history — “Movie X is
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