Examining implicit meaning.
Going beyond viewers’ expectations.
Searching for a subtext.
All of the above.
Is dependent on the filmmaker's intentions.
Focuses on the expectations of audience.
Focuses on reading practices and media literacy.
The shot implicitly aligns itself with the ideology of the Western that the West is not safe for women and children.
The women are better lit, resulting in a naturalistic effect.
A visually symmetric, and therefore balanced and interesting frame.
A sense that in this film women will be the main protagonists.
Plot information about the feast organized in the remote farm.
The Western’s obsessions with binaries such as nature/culture, wilderness/civilization.
Montage conveying gender tensions (gun and girl).
A perfect example of verisimilitude.
Both virtual and virtuous war.
Confuse realistic style with authenticity.
Are overwhelmed by the documentary qualities of the film.
Find death at war to be glorified due to the gory naturalistic portrayal.
Cannot discern between explicit and implicit meanings.
Inglourious Basterds has the preoccupations of a Western.
Saving Private Ryan should be considered a Vietnam era film.
Both films don’t glorify the war, and as such are a unique evolution of the genre.
Both films reflect the preoccupations of current wars, especially The Second Gulf War.
Reverses traditional association of high/low camera angle.
Simply represents the height and position of each character.
Implies that the German colonel will loom over the rest of the film.
Mocks Lt. Aldo Raine.
WWII film genre.
Contemporary War genre.
All of those terms are strongly related to each other.
The violence is staged up front and centre.
Lt. Aldo Rainer is eating while someone dies.
The frame is asymmetrical, therefore dynamic.
The 180 degree rule is broken.
Provide a bird’s eye point of view of the events.
Compare war with entertainment in ancient Rome.
Allow psychological distance from the violence taking place.
Foreground the notion the Basterds are operating in a wilderness.
The film promotes the epistemic point of view of Father Laforgue (since he baptizes the Hurons).
It establishes a diabolic binary between the two religions (as both sides seem to lose in the end).
Black Robe affirms aboriginal spirituality (because Chomina’s dream comes true).
It humanizes both positions, trying to bridge the cultural gaps (hence the baptism scene).
A view from a character’s physical perspective
A view from a character’s psychological perspective
A view from a character’s epistemological perspective
An omniscient view (a bird’s eye view)
Introduce a parallel narrative framework.
Create a visual argument about the value of Aboriginal civilization.
Show God’s omnipresence in Laforgue’s consciousness.
Present Laforgue’s flashback as he fears death.
Using eye-line match cutting between Champlain and Chomina.
Relying on Daniel’s POV to tell the story.
Constructing jump-cuts to accentuate the cultural differences.
Using crosscutting as the two communities prepare for the ceremony.
Unlike Dances With Wolves, there is not one perspective that is prioritized.
The Inuit people are uncivilized.
The Inuit people are brutal savages.
Flaherty was intimately connected with his subjects.
We have ethnographic evidence as to the life of Inuits in the 1920s.
The mimetic tendencies of the camera.
Long takes of continuous action.
Virilo’s theory of the virtual war.
Harrison’s thesis about mise-en-abyme.
His Girl Friday
Dances with Wolves
The English Patient
The studio system.
Colonialist ideology in film.
They both outline a problematic colonialist history, that the film’s drama avoids touching upon.
They both focus on Orientalist practices in the films discussed.
Each argues against the anti-colonialist style of the film, claiming it defeats the film’s purpose.
They base their analysis on the problematic relations between realism as a style, and historical facts.
Is subordinated to the realist demands on cinema.
Sometimes overwhelms the narrative.
Needs to be servicing the narrative demands of the film.
Builds design and composition in conflicting relations.
Emphasize the sexist attitude of the soldiers at the checkpoint .
Highlight the woman’s masquerade as French.
Demonize the woman as a cold-hearted terrorist.
Show the surveillance techniques of the French.
Fields of scientific study of the Orient (such as archeology, ethnography, history).
A form of stereotyping targeting people from the Orient.
A critical look at the relationship between researcher and his/her subjects.
Both A and B.
Both A and C.
They both use mise-an-abyme.
They are both reflexive films.
They both rely on non-diegetic music to enhance emotional impact.
All of the above
Staging in the studio.
Composition using a location setting.
They would argue this type of cinematography should not be considered mise-en-scene.
Both A and B
Both A and C
They are different names for the same concept.
They are different aspects of the story.
The plot is the linear trajectory of a film, the narrative a post-viewing product.
Narrative relates to cinematic elements (such as mise-en-scene, editing, etc.), while plot relates to the content.
Enhance our sense that Barnes is a hero who withstands torture.
Designate Barnes’ ruin as an aging man, and as a CIA agent.
Demonize the Arabs in the film in general.
Show us that Barnes is fluent in Arabic.
An approach that ties Khan’s radicalization to economic deprivation.
A typical Western media approach that ties terrorism and Islam.
An Orientalist sub-plot unrelated to the main plot of the film.
A good example of “blow-back."
A film that is political in content but not in form.
A film that is only superficially political in content.
A film that is political in both content and form.
A typical Third Worldist film.
Bob Barnes (George Clooney- the a CIA agent in Iran, Lebanon, and Saudi Arabia)
Bryan Woodman (Matt Damon as the oil consultant to Saudi prince Nassir)
Bennett Holiday (Jeffrey Wright as he investigates oil companies merge)
Wassim Khan (Mazhar Munir the an unemployed Pakistani in Saudi Arabia)
An economic interest in oil.
An imperialist attempt to convert the Middle East to the “American way of life.”
An Orientalist tendency towards the Other .
To find an enemy for the Militarized Industrial complex.
The cinematographer shooting the film.
The director, as he is overall responsible for the look of the film.
The gaffer who lights the scene.
The storyboard artists in the pre-production.
Rely heavily on computer graphics.
Present a story without a beginning or an end.
Present parallel stories that don’t merge into one climax.
Are interactive films that can be screened only on computers.
His own star aura as a super capable male.
A view of ruined and aging masculinity.
A sober presentation of an amoral CIA agent.
All of the above.
Lack of mise-en-scene (since they are shot on location).
A masterful choreography of real spaces, rather than studio space.
Expressionist European films.
Deliberate use of costume, makeup and hairstyle.
Entertainment industries and political events.
Responsible journalism and jaded opinions.
Documentary film and onsite reporting.
Truth and ideology
He wants to be respectful to the victims (which news outlets weren’t).
He wants us to focus on sound so we identify with the victims.
He is breaking away from iconic representations of the event.
All of the above
The former relies on narrative conventions, the latter on documentary ones.
Moore has a villain to crucify, while Earp and Jhally criticize a system/ideology.
Moore inserts himself as the protagonist/focalizer, while Earp and Jhally are missing from their film.
All of the above
From formalism to structuralism.
From postmodernism to identity politics.
From analyzing icons to studying signs (semiotics).
From focus on the author to focus on reception.
It is the only film identified as originating from one country (United Kingdom) but its plot takes place in another (Chile).
It reminds viewers that there was another important September 11th in history, when the U.S. backed coup d’etat in Chile ousted the democratically elected Salvador Allende.
It is the most experimental film in the group.
It exemplifies the City Symphony approach as Prammagiore describes it in her article.
Using the Sept 11th tragedy as a backdrop for their narratives.
Being too experimental and difficult to understand.
Using iconic representations of the tragedy in stereotypical ways.
A sharp disjunction between image and sound.
Emphasize the gap between sound and image tracks in the films.
Present the main character slightly “off centre” but prominently.
Enunciate the “glocal” nature of the films.
Be reflexive, to remind us of the mediated nature of the event.
Narratives with or without closure.
Realism and formalism respectively.
Composition that draws attention “off-screen” or “on screen.”
The use of different grounds to achieve or restrict depth of field.
All of the above.
Ideology in general
Each film is loyal to its country’s official ideology.
The Bubble relies on stereotypes while Paradise Now subverts them.
The Bubble ironically is more critical of Israel’s policies in the West Bank than Paradise Now.
Paradise Now is sympathetic to suicide operations while The Bubble is critical of them.
The way censorship works to limit freedom of expression.
The way self-representation allows for diverse images of the same reality.
The difference between first and third cinema.
The problems with self-censorship.
Orientalizing perceptions about Israel and the Middle East (as seen in the architecture of the arches).
Stereotypes of American tourists (as loud, obnoxious, etc).
Ideological blind spots in the American public vis-à-vis Israel-America relations.
A parody of anti-Semitic stereotypes.
Uses the mise-en-scene of melodrama.
Uses pre-digested generic codes of political thriller.
Aligns itself with anti-colonial critique.
Is a subversive alternative to all of the above.
Violent anti-colonial struggle becomes as oppressive as colonialism.
Anti-colonial resistance is a direct response to colonial aggression.
There is an economy of spectacular violence in the Middle East.
It is poverty and not religious fanaticism that leads to suicide operations.
Present Sa’id and Khaled as innocent victims.
Humanize subjects that are traditionally demonized by mainstream media.
All of the above
Its reference to DaVinci’s painting.
It can only be understood by media literate people.
It works primarily for one audience group, and not others.
It is a mise-en-abyme.