23 Jun All arguments, claims, al
All arguments, claims, allegations, ‘facts etc. must be supported with solid accompanying evidence and sources. Choose reputable academic or other reliable sources. Concentrate on unit resources.
•The Reference List and all quotes are included in the word count. Footnotes are not (see below).
•Visuals you discuss need a caption underneath or nearby, and a clear source ref. They can be inside the essay or as appendices at the end. Examples: a sketch, picture, still frame, diagram, graph, cartoon.
•Zero tolerance for cheating. Offenders will be sent to the FAPDC. Please check the Unit Guide on unacceptable academic practices such as plagiarism, illegal collaboration, double dipping, bought assignments etc.
Dr Star will be explain more in lectures and tutorials. X students post questions to the Essay discussion thread, and consult by phone after you have decided on your question, film(s), and found some readings and theorists. Read the extra instructions following the essay questions (scroll down) very carefully, and consult your tutor if anything is unclear.
ESSAY QUESTIONS
1.Explain what you understand by Thackways (2003) suggestion that in the case of anti-colonial cinema formerly colonized directors/groups are using their films in effect to ‘shoot back at former colonial masters, and/or their descendants. Choose one film (NZ Maori or Francophone NW Africa) and explore depictions of current or former colonizers and/or their descendants. Can you find examples of at least one colonizer character being depicted through the eyes of the colonized in ways they may not have guessed, noticed, understood or identified as versions of themselves?
2.Choose one unit film that can be usefully explained using two or three of the following ideas and categories. Explain reasons for your choice. Most of the terms can be suffixed with the term ‘cinema: ‘accented cinema, ‘Third (world) cinema, ‘fourth cinema, ‘transnational cinema, ‘exilic, ‘accented, ‘anti-colonial, ‘political, ‘diasporic. Illustrate your answer with a cinematic analysis and explanation of two and not more than three, short sequences. [Stafford (2014, pp. 512-514); Solanas & Getino (1969, 1976), Gazetas (2008), Dissanayake & Guneratne (2003), Butler (2005), Wayne (2001), Naficy (2006 – in Ezra and Rowden). Possible films: Battle of Algiers, Xala, Keita! Clando, Bamako, Tangata Whenua, Patu! Once Were Warriors.]
3. Indigenous filmmakers like Sembene (Xala), Teno (Clando), and Tamahori (Once Were Warriors) are among AAM220 cinema artists who began work in other media then turned to films for particular reasons. Choose one of these filmmakers. Do some scholarly detective work to make an argument about what you think their major reasons might have been. Illustrate with supporting evidence, e.g. film content, film launches, distribution, awards, co-funding, target and actual audiences, interviews, their own writings, and what experts have suggested.
4.In screenings of post-colonial films it is common that both audience members and characters in films will have hybrid identities. Explain what this statement means to you, using unit resources. Choose a unit film that you can argue includes at least two characters with hybrid identities. Illustrate by analyzing two sequences in the film. Now choose an audience member with a hybrid identity. It could be you or it could be another (putative) viewer whom you imagine. Explore ways in which how this audience member does or might read and respond to the two characters in the film, through, and using, their personal experiences and identities. [Hall 1990, Sissons 2005, Shohat & Stam (1994), Ashcroft et al. 2010; Barker, 2012.]
5. Explain what you understand by postcolonial ideas such as ‘aboriginal, ‘indigenous, ‘first peoples, an ‘indigene, and ‘the two thirds world. What do you consider to be the advantages and disadvantages of these terms? Choose one film from weeks 1-5. Examine in depth how the director and the creative team represented two named local characters. What names are they given and how do they name themselves? Pay close attention to the politics of language in the film – whose words are translated or not, how they are translated or not, and what languages are used. [Sissons 2005; Phipps 2009; Ashcroft et al. 2013; Murray 2009; Guenther et al. 2006]
6. Choose one film from regions 1 or 2 and critically evaluate the representations and positioning of either two main female OR two main male characters. Name at least two major groups towards whom you think the director targeted her or his characterizations. In the second half of the essay illustrate your reasoning with two or three short sequences from the film. [Butler 2006 Ch.7; Byerly & Ross 2006; Thackway 2003a; Mushengyezi 2004; Pfaff 2005; Shohat 1993]
7.Outline and explain at least four reasons why post-colonial and anti-colonial films can be dangerous for formerly-colonized artists to make. Accordingly, Dr Star argues that such directors and creative teams use characteristic strategies to obscure oppositional messages from those who could hurt them or their people. Take one unit film where two or three of the following specialist techniques and terms can be argued to be in evidence: allegory, humour (e.g. satire, parody, slapstick), gritty realism, magical realism, childs story, love story, cartooning, experimental film.) Write a filmic analysis of two to four short sequences to illustrate your answer. [Uraizee 2006; Murray 2008; Stars lectures; Wayne 2001; Thackway 2007, 2003a; Tomaselli et al. 2003; Barclay 1990]
8.As indigenous filmmakers and creative teams work to indigenize and decolonize the screen they often experience a challenge Sissons (2005, Ch. 2) names as ‘oppressive authenticity. Explain and explore his argument. If you can locate other unit authors whom it could be argued discuss similar or related ideas, include them too. Remember to approach film audiences as active and diverse. Use an analysis of one or two sequences from one film to illustrate your arguments.
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