I need an explanation for this Film question to help me study. Instructions: In one to two paragraphs (300-400 words), answer ONLY ONE of the following questions below. Your response should include a central thesis/interpretive claim that serves as the central focus of your reflection, supported by formal devices in the scene. TIP: to boost clarity in these short reflections, put a clear and explicit interpretive claim somewhere in the first few sentences of the reflection. Complete this by 11:59PM PST on Sunday, November 22nd. There is no time limit and you are allowed one submission before the deadline. Be sure that your submission is entered either using the text box or uploaded as a PDF, DOC, or TXT file. NOTE: Late reflections are accepted for grading for up to two weeks after the initial due date or by the end of Finals Week, whichever comes first. However, please note that the later the reflection, the greater the grade deduction. The lowest reflection grade (1 out of a total of 6 weekly reflections) will be dropped. Plagiarism—submitting work that is not the student’s own, whether lifted from a printed source or from the internet, or submitting writing by someone else (e.g., a tutor or friend), will warrant a reduced or failing grade, depending on the severity of the plagiarism involved. Answer ONE of the following questions in your reflection: Question 1: As discussed by Prof. Lim in lecture 6A, we might interpret Umbrellas of Cherbourg (Demy, 1964) as an anti-classical musical, in which the romantic qualities of the music compete with a sobering narrative about love, compromise, and heartbreak. Does the conspicuous use of color in the film amount to what Prof. Lim calls “disjunctive form,” pitting the visual track against the narrative? Develop an interpretive claim in answer to this question, using a close comparison between the music and the use of color within one or two scenes to support your claim. In your comparison, make sure not to privilege sight over sound. Question 2: With reference to Professor Lim’s discussion about the film’s disjunctive form and self-reflexivity, craft an interpretive claim about why Genevieve looks directly into the camera on several occasions in Umbrellas of Cherbourg (Demy, 1964)? Question 3: Last year, you attended a conference celebrating the 55th anniversary of Umbrellas of Cherbourg. You were asked to present the opening remarks about the film. What is your interpretive claim about the film’s use of music in relation to the classic Hollywood musical? Is the film score of Umbrellas of Cherbourg classical (music serves the narrative) or anti-classical (music calls attention to itself, competing with the story)? Support your claim with evidence using at least two sound motifs, editing devices or elements of visual style. Question 4: As discussed by Prof. Lim in lecture 7A, Umbrellas of Cherbourg (Demy, 1964) consistently uses mobile framing in combination with the long take instead of the conventional shot/reverse shot pattern used by Classical Hollywood’s continuity editing system. With reference to one scene in the film, advance an interpretive claim about the cinematographic and editing motifs of mobile camera in conjunction with the long take in Umbrellas of Cherbourg. How does this avoidance of shot/reverse shots and cutting change the spectator’s understanding of particular characters, conversations, or themes? https://ucirvine.instructure.com/courses/31391/mod… this assignment is below week7 module https://ucirvine.instructure.com/courses/29764/ext… Video here, Account xil36 Password Lixi950305 U must watch week7 video before u start

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I need an explanation for this Film question to help me study.

 

Instructions: In one to two paragraphs (300-400 words), answer ONLY ONE of the following questions below. Your response should include a central thesis/interpretive claim that serves as the central focus of your reflection, supported by formal devices in the scene. TIP: to boost clarity in these short reflections, put a clear and explicit interpretive claim somewhere in the first few sentences of the reflection. Complete this by 11:59PM PST on Sunday, November 22nd. There is no time limit and you are allowed one submission before the deadline. Be sure that your submission is entered either using the text box or uploaded as a PDF, DOC, or TXT file.

NOTE: Late reflections are accepted for grading for up to two weeks after the initial due date or by the end of Finals Week, whichever comes first. However, please note that the later the reflection, the greater the grade deduction. The lowest reflection grade (1 out of a total of 6 weekly reflections) will be dropped. Plagiarism—submitting work that is not the student’s own, whether lifted from a printed source or from the internet, or submitting writing by someone else (e.g., a tutor or friend), will warrant a reduced or failing grade, depending on the severity of the plagiarism involved.

Answer ONE of the following questions in your reflection:

Question 1:

As discussed by Prof. Lim in lecture 6A, we might interpret Umbrellas of Cherbourg (Demy, 1964) as an anti-classical musical, in which the romantic qualities of the music compete with a sobering narrative about love, compromise, and heartbreak. Does the conspicuous use of color in the film amount to what Prof. Lim calls “disjunctive form,” pitting the visual track against the narrative? Develop an interpretive claim in answer to this question, using a close comparison between the music and the use of color within one or two scenes to support your claim. In your comparison, make sure not to privilege sight over sound.

Question 2:

I need an explanation for this Film question to help me study.

 

Instructions: In one to two paragraphs (300-400 words), answer ONLY ONE of the following questions below. Your response should include a central thesis/interpretive claim that serves as the central focus of your reflection, supported by formal devices in the scene. TIP: to boost clarity in these short reflections, put a clear and explicit interpretive claim somewhere in the first few sentences of the reflection. Complete this by 11:59PM PST on Sunday, November 22nd. There is no time limit and you are allowed one submission before the deadline. Be sure that your submission is entered either using the text box or uploaded as a PDF, DOC, or TXT file.

NOTE: Late reflections are accepted for grading for up to two weeks after the initial due date or by the end of Finals Week, whichever comes first. However, please note that the later the reflection, the greater the grade deduction. The lowest reflection grade (1 out of a total of 6 weekly reflections) will be dropped. Plagiarism—submitting work that is not the student’s own, whether lifted from a printed source or from the internet, or submitting writing by someone else (e.g., a tutor or friend), will warrant a reduced or failing grade, depending on the severity of the plagiarism involved.

Answer ONE of the following questions in your reflection:

Question 1:

As discussed by Prof. Lim in lecture 6A, we might interpret Umbrellas of Cherbourg (Demy, 1964) as an anti-classical musical, in which the romantic qualities of the music compete with a sobering narrative about love, compromise, and heartbreak. Does the conspicuous use of color in the film amount to what Prof. Lim calls “disjunctive form,” pitting the visual track against the narrative? Develop an interpretive claim in answer to this question, using a close comparison between the music and the use of color within one or two scenes to support your claim. In your comparison, make sure not to privilege sight over sound.

Question 2:

With reference to Professor Lim’s discussion about the film’s disjunctive form and self-reflexivity, craft an interpretive claim about why Genevieve looks directly into the camera on several occasions in Umbrellas of Cherbourg (Demy, 1964)?

Question 3:

Last year, you attended a conference celebrating the 55th anniversary of Umbrellas of Cherbourg. You were asked to present the opening remarks about the film. What is your interpretive claim about the film’s use of music in relation to the classic Hollywood musical? Is the film score of Umbrellas of Cherbourg classical (music serves the narrative) or anti-classical (music calls attention to itself, competing with the story)? Support your claim with evidence using at least two sound motifs, editing devices or elements of visual style.

Question 4:

As discussed by Prof. Lim in lecture 7A, Umbrellas of Cherbourg (Demy, 1964) consistently uses mobile framing in combination with the long take instead of the conventional shot/reverse shot pattern used by Classical Hollywood’s continuity editing system. With reference to one scene in the film, advance an interpretive claim about the cinematographic and editing motifs of mobile camera in conjunction with the long take in Umbrellas of Cherbourg. How does this avoidance of shot/reverse shots and cutting change the spectator’s understanding of particular characters, conversations, or themes?

https://ucirvine.instructure.com/courses/31391/mod… this assignment is below week7 module

https://ucirvine.instructure.com/courses/29764/ext…

Video here, Account xil36 Password Lixi950305

U must watch week7 video before u start

Question 3:

Last year, you attended a conference celebrating the 55th anniversary of Umbrellas of Cherbourg. You were asked to present the opening remarks about the film. What is your interpretive claim about the film’s use of music in relation to the classic Hollywood musical? Is the film score of Umbrellas of Cherbourg classical (music serves the narrative) or anti-classical (music calls attention to itself, competing with the story)? Support your claim with evidence using at least two sound motifs, editing devices or elements of visual style.

Question 4:

As discussed by Prof. Lim in lecture 7A, Umbrellas of Cherbourg (Demy, 1964) consistently uses mobile framing in combination with the long take instead of the conventional shot/reverse shot pattern used by Classical Hollywood’s continuity editing system. With reference to one scene in the film, advance an interpretive claim about the cinematographic and editing motifs of mobile camera in conjunction with the long take in Umbrellas of Cherbourg. How does this avoidance of shot/reverse shots and cutting change the spectator’s understanding of particular characters, conversations, or themes?

https://ucirvine.instructure.com/courses/31391/mod… this assignment is below week7 module

https://ucirvine.instructure.com/courses/29764/ext…

Video here, Account xil36 Password Lixi950305

U must watch week7 video before u start