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| Course M-TH, 12:00-2:10 More 225 |
| Instructor K. Gillis-Bridges Padelford A305 543-4892 MW, 11:00-11:50 and by appointment |
| Page last updated 7/19/03 |
Please submit essays on 8.5" by 11" paper, titled, paginated, typed and double-spaced, with one-inch margins. In the upper left hand corner of the first page, include your name, the course number, the assignment, and the due date; this information should be single-spaced. You may use a 10- or 12-point Arial, Bookman, Century Schoolbook, or Times New Roman font for your papers. If you cite sources, please use MLA format. You may submit essays in hard copy or via the course E-submit tool.
Late essays will receive a 10-point deduction per day late, including weekends. I will not accept Essay 2 responses submitted after the last week of the term. I will make exceptions to the lateness policy only in cases of documented illness or family emergency.
Follow the links below for more information on essay assignments.
Essay 1
- Assignment and Guidelines
- Grading Criteria
- Link to E-Submit Tool
- Instructions for Using E-Submit [HTML Format] [PDF Format]
- Sample Scene Analysis Essays from Summer 2003 Course
- Cléo – Alone in a Crowded Café
Essay examines how mise-en-scène, shot selection, and camera movement in the Café Ça Va Ça Vient scene work to underscore Cléo's isolation and objectification.
- Assignment and Guidelines
- Grading Criteria
- Link to E-Submit Tool
- Instructions for Using E-Submit [HTML Format] [PDF Format]
- Sample
Comparative Essays from Fall 2002 Women Filmmakers Course (Links will open
in a new browser window)
- Becoming
A comparison of the transformations undergone by Cleo and Cher in Agnes Varda's Cleo from 5 to 7 and Amy Heckerling's Clueless. The writer argues that the characters become less self-obsessed, but become the objects of the male gaze. - A
Comparison and Contrast of Endings in Cleo from 5 to 7 and Blue Steel
An examination of how narrative, sound, and shots function to mark "a deliberate and dynamic shift in the female lead’s concept of self" in both films. - Deconstruction of Gender Roles in Blue Steel and Clueless
An analysis of how both films deconstruct gender roles. While the paper concentrates on female gender roles, it contains a brief examination of male roles in each film. - Constructing and Deconstructing Historical Truth
An investigation of how The Watermelon Woman and Boys Don't Cry reveal history as a construct. The writer uses Dunye's film as a lens to critique Peirce's film, but notes that a film like Peirce's may reach and impact a wider audience.