Comparative 3 to 4 pages paper of film analysis

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Please make sure to meed all the requirements.The two articles in attachment must be used as sourced and be incorporated in support of argument.Besides Gilda, select one more film you would like to compare in terms of character portrayal. You don’t need to address both films equally, and rather than list all similarities and/or differences, focus on the one or two aspects (key character traits, his/her relationship to the narrative, ways in which the character is visually/acoustically presented) that are most unique to the film and relevant to your argument. Present your topic and method in your thesis paragraph. This should indicate the specific points of difference or similarity between the two films you would like to explore, along with how your supporting texts provide certain concepts, theoretical frameworks, or conceptual tools to help you with your comparison. For instance, you may want to compare two films of the same genre but of distinct time periods and address these in terms of genres of order and the ways in which masculinity and the law are connected in each case, or look a particular kind narrative structure seen in European art cinema and in a contemporary indie film, and what this might say about the situation of a female protagonist struggling for independence. Your argument must demonstrate an informed understanding of the lecture notes( I’ll provide later) and should thus showcase your ability to apply relevant vocabulary about the film’s style, narrative structure, historical context, etc. Avoid listing every possible difference or similarity. Rather, focus on a key aspect that reveals an interesting pattern or distinction. In other words, it is essential that the paper develop a precise argument that can be explored and supported in a few short pages. Precision and clarity with both the texts and examples is paramount. Whether you paraphrase or quote, include in-text citation, footnotes, or endnotes, you must cite accordingly. Be sure to also include a bibliography (if not providing complete footnotes or endnotes). You do not need to do any additional research—and, in fact, should not incorporate other sources for your interpretation of the academic text or film. A strong analysis demonstrates how particular formal elements convey meaning or position the spectator in relation to the characters, narrative, or conflict in a way that reflects a cultural or social perspective. A rich thesis also wrestles with some of the ambiguities or paradoxes of its representations or messages. For instance, several queer theorists have noted how Brokeback Mountain (Ang Lee, 2005) is ultimately conservative when it comes to its treatment of homosexuality, as it fails to imagine queer desire unconstrained by repression and punishment. Use the following questions as a starting point, and then pursue the one or two responses that promise to unveil some new or unexpected insights into how and why the film addresses such issues: Gender Are the main female characters in this movie as fully realized as the male characters? What characteristics do the female characters possess? Which do they lack? What is does this tell us about how the filmmakers are positioning women? Is the identity of the main female character (or characters) defined primarily by her (or their) sex appeal? What are the implications of this portrayal? Does this movie’s narrative seem to suggest that the relations between the sexes are “natural” and proper, or does it seem to critique the status quo? If the latter, what is the nature of the critique? Does the film reflect or work against the assumptions about gender roles that prevailed in the time when this movie was made and screened? How so? Do the formal aspects of this movie (the cinematography, the editing, etc.) cause you to see the female characters from the perspective of a male protagonist? In what way does this perspective limit your understanding of the characters? Do you find yourself sympathizing with the main female character(s) in this film? Why or why not?

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Dyer, Richard. “Homosexuality and Film Noir.” Chap. 5 in The Matter of Images: Essays on Representation,
Second Edition. New York and London: Routledge, 1993.
Martin, Angela. “‘Gilda Didn’t Do Any of Those Things You’ve Been Losing Sleep Over!’: The Central Women of the 40s
Films Noirs.” In Women in Film Noir, edited by E. Ann Kaplan, 202–28. London: British Film Institute, 1998.

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