Assessment: Film Commentary

Select one film that has been studied, discussed or referenced in tutorials or lectures.

Explore how the discussion of an approach to film spectatorship in one of the chapters of the book, Film Theory: An Introduction through the Senses, offers insights into your selected film.

For this assignment you are not required to present a fully resolved essay, rather it is about evidencing that you have reflected upon what is discussed in your selected chapter and thought about how the idea or ideas that you have taken from what you have read enable you to think more critically and insightfully about your selected film.

There are many possible topics you could consider, depending of course on the film and chapter you select. To offer some broad suggestions:
Use the chapter on sound (‘Cinema as Ear’) to explore the relation between spectator and sound in a film, or the role of music or voice in a
film. Obviously many films would be interesting to consider on this: Rear Window, Citizen Kane, The Conversation, The Piano, The Double Life of Veronique are just some possibilities.

Use the chapter on the look and the gaze (‘Cinema as Eye’) to explore the motif of the eye in Vertigo or Minority Report, or a particular director’s approach to point of view shots, or the issue of the gender asymmetry in looking in any of the films.

Use the chapter on face and close-up (‘Cinema as Mirror’) to explore further the suggestion that a modernist film such as Blow-Up has a relation to the spectator that can be understood as one of ‘reflexive doubling’.

Use the chapter ‘Cinema as Window and Frame’ to explore the role of the portrait as frame in Vertigo, The Age of Innocence or Portrait of a Lady.
All of the above suggestions are just to indicate that there are many, many different possibilities and that you are encouraged to be creative in
your selection and also to try to focus your topic as much as you can. Also please note that you cannot use the same material from your Film Sequence Analysis assignment.

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