Film 3 Section Questions


Hi,This is film course, and for Section 3, it is essay type.All citations need to be Chicago style with footnotes.Details:Section One – 5 answers(As mentioned in this, Each answer must refer to at least one reading and one film from the syllabus.) I attached syllabus.This is each answer 1-2 para.It is equivalent to at least 100 words for one answer and 500+ words for five questions.Section Two – 3 answersSame as before,But it requires at least 2-3 para for each answer,It is equivalent to an answer of at least 200 words,Equivalent to 600+ words total.Section Three – Essay1500+ words————————–*

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SOSC 1 7 7 7 : Cities in Film
All answers must be based entirely on course material. The only accepted sources are course
readings, course films, and seminar content.
Only the portions of films that were screened in class are required content. Vampires Vs. The
Bronx is optional.
All answers must be written in formal academic tone with properly formatted citations.
Every fact, figure, idea, and quotation taken from one of the course readings must be
attributed to that source with a page-number citation – for example (Parenti 1999, 70).
Facts, figures, ideas, and quotes taken from a video lecture should note the title of the lecture
in brackets – for example (Film Noir video lecture).
Facts, figures, ideas, and quotes taken from a film should note the title of the film in brackets
– for example (The Third Man).
Chicago style in-text citations are preferred, but any other style used accurately and
consistently is acceptable.
For an overview of Chicago Style, see
Include one “Works Cited” page at the end of the assignment
which lists all the course readings,films, and video lectures you cited in alphabetical order.
Zero Tolerance for Academic Dishonesty
It is expected that all students at the end of a 3000-level course understand academic
integrity and are fully capable of citing material appropriately. Any submission that contains
one or more instances of uncited or improperly cited material from other sources will receive
a grade of zero and will result in an Investigation of Potential Academic Misconduct as per
Senate policy.
It is expected that all students are also fully aware that sharing work is cheating. Submissions
which include matching sentences, and/or sentences that include a blend of matching content
and slight variations in wording, will receive grades of zero and will result in an Investigation
of Potential Academic Misconduct as per Senate policy.
Section One: 5 answers x 3 marks each = 15
Identify and explain the signi cance of any ve of these points.
Each answer should be one or two complete paragraphs.
Each answer must refer to at least one reading and one lm from the syllabus.
Broken windows theory
The city symphony genre
The politics of representation
Subaltern urbanism
The simulacrum
Moral panic
Ruin porn
Section Two: 3 answers x 5 marks each = 15
Answer any three of the following questions.
Each answer should be two or three complete paragraphs.
Be sure to follow the speci c requirements for sources each question.
1. Based on the course material, what are some similarities and differences in how
racialization plays out in urban Canada and urban France? Refer to La Haine, Invisible City,
and a total of at least two readings from the “Migration and Alienation” and “Framing
Regent Park” seminars.
2. Compare and contrast portrayals of gentri cation in any two lms from two different
weeks. From whose perspective is the story told? What is at stake? Also refer to any two
readings that directly address gentri cation.
3. According to Hayman, how can postmodern theory help explain the signi cance of the
early hiphop lms? Discuss with reference to the Hayman article and at least one of Beat
Street, Krush Groove, or Wild Style.
4. Compare and contrast portrayals of the police in any two lms from two different weeks.
Also refer to at least one reading from each week. What are some themes in urban politics
and history that might explain these similarities and differences?
5. According to Ananya Roy, how does Slumdog Millionaire treat Dharavi as a metonym? Do
you think this is a valid critique of the lm? The only required sources for this question are
Slumdog Millionaire and Roy’s article.
6. Which of the early theories of urban studies do you see re ected in Metropolis? How so?
Discuss with reference to the lm and lecture content from January 15.
Section Three: One answer for 20 marks
Answer one question in a formally structured essay of 1500 – 2000 words.
Be sure to follow the speci c requirements for sources each question.
1. Cosmopolitanism can be de ned as “a global outlook in response to increasing
globalization”. How relevant is this concept to the experiences and worldviews of some of
the protagonists in the lms we viewed? Discuss with reference to any three lms and any
three readings covered since February 24.
2. Much of the early urban studies literature was preoccupied with juvenile delinquency.
Analyze some portrayals of unruly youth in any three lms and any three readings covered in
the course. What makes kids misbehave and rebel?
3. Neoliberalism (for our purposes) is the idea that human wellbeing is best secured by
private property, free markets, and free trade. It promises “trickle-down economics”, or the
idea that the bene ts of privatization and corporate growth will eventually reach the poor.
All of the lms we studied that were made after 1980 take place in societies in which
neoliberal restructuring had either just begun, or was well underway. How well had the
promise of “trickle-down economics” worked out for the protagonists? Discuss with reference
to any three lms from the syllabus that were made after 1980, and any three course
readings that are relevant to those lms.
SOSC 3720 3.0
Department of Social Science, York University
Winter 2021
Course Director: Dr. Ryan James,
Class Time: Wednesdays, 11:30 a.m. – 2:20 p.m
Course Description
The motion picture was developed around the same time that the rapid urbanization of
humanity began. Cities and lm have interrelated histories that span well over a century, and
lm remains a potent medium for discussions of urban cultures, histories, and futures.
This is an urban studies course about lmic representations of cities and city-dwellers. It is
based on lm excerpts that were curated to critique and expand upon some key topics in
contemporary urban studies. Examples include modernity and urbanization in Metropolis
(1927), traces of urban revanchism in Taxi Driver (1976), and what Ananya Roy’s concept of
‘subaltern urbanism’ can tell us about the global popularity of City of God (2002) and
Slumdog Millionaire (2008). We conclude with a look at amateur video and social media
portrayals of the neoliberal city.
Coursework will require students to conduct in-depth analyses of the assigned lms with
reference to scholarly literature in urban studies. The course includes some lm theory, but no
experience in lm or lm studies is required.
Learning Goals
Students who successfully complete this course will:
Re ne and enrich their perspectives on key topics in contemporary urban studies;
Become more analytical and informed consumers of media representations of urban
life; and
Present research ndings and engage in critical discussion with the depth and
con dence required for postgraduate studies and professional contexts.
Required Materials
All required viewing and reading will be fully accessible through Eclass. There are no
textbooks, course kits, or lms to buy.
Course Format and Participation Requirements
The entire course will be conducted remotely and online. You do not need to travel to York
University or live in any particular place to complete this course.
There is a time commitment involved. You are required to be available for online classes
during all of the of cially scheduled class time (Wednesdays, 11:30 – 2:20 p.m. EST
throughout the winter terms excluding reading weeks, exam periods, and holidays).
The exact timing and format varies from week to week, but as long as you are available
during scheduled class time you will not miss any required content.
VIDEO LECTURES: Most weeks will include video lectures. I will provide time for you to watch
these during class time.
FILMS: It is not necessary to watch the lms of the week before class. Each week I will specify
which excerpts are required for the course, and provide time during class time to watch these
excerpts along with the video lecture.
The lms and video lectures can be watched any time, of course, but I highly recommend
using the allotted class time to watch them.
READINGS must be done on your own time. Each week it is expected that you have read all
of the assigned readings, and are ready and willing to discuss them and the lms in the Zoom
ZOOM SEMINAR: Each week will include a live zoom seminar during class time (usually
during the last hour, though this may vary). The participation grade is based on your
contributions to the seminars.
Film Review #1: 15%, due February 10
Film Review #2: 15%, due March 17
Term Paper: 25%, due April 7
Take-home exam: 25%, due April 21
Participation: 10%
Journals: 10%
Academic Accommodations for Students with Dis/abilities
Effort will be made to accommodate students with dis/abilities. Here is York University
Senate’s policy on accommodation:
academic- accommodation-for-students-with-disabilities-policy
Students should register with Student Accessibility Services (https://
Please feel free to discuss your needs and their impact on your participation in the course by
email or during of ce hours. If you have an accommodations letter, please email it by the
third week of class.
Submitting Assignments
All assignments must be uploaded to the link on the Eclass page by 11:59 p.m. on the due
date. The late penalty is 10% a day including weekends. After seven days, late work will not
be accepted at all. Assignments will not be accepted by email.
Extensions are only granted for documented medical and serious personal issues, and for
religious observances.
All written work should be formatted in Chicago style using in-text citations (overview: http://
Zero Tolerance for Academic Dishonesty
It is expected that all students in a third-year seminar are well-versed in the principles of
academic integrity and fully capable of citing material appropriately.
Plagiarism is representing someone else’s ideas, writing, or other intellectual property as your
own. There is zero tolerance for plagiarism, and the penalties are serious even on a rst
Any assignment which contains one or more instances of uncited or improperly cited material
from other sources will receive a grade of zero, and will result in an Investigation of Potential
Academic Misconduct as per Senate policy, and possible further sanctions.
Even if you state someone else’s idea in your own words (paraphrasing), you must always
provide a citation that includes the number of the page you got the idea from.
The instructional video How & Why to Cite has all the information you need about plagiarism
and citing material appropriately.
Feel free to ask any questions about plagiarism and how to avoid it. It is your responsibility to
understand plagiarism.
Sharing work is also a form of academic dishonesty. In cases in which two or more
assignments include matching sentences or paragraphs, and/or sentences that include a
blend of matching content and variations in wording, these assignments will be agged by
Turnitin, receive grades of zero, and result in Investigations of Potential Academic Misconduct
as per Senate policy.
Recommended Extracurriculars
THE FEDERATION OF URBAN STUDIES STUDENTS is an academic club for students in the
Urban Studies program and others interested in urban studies. Email to
be added to the WhatsApp group chat, or follow @fussyorku on Instagram.
THE CITY INSTITUTE AT YORK UNIVERSITY is a research centre for students and faculty who
are interested in urban issues. See and email to be added
to the institute’s listserv.
Based out of the City Institute, THE TORONTO URBAN JOURNAL is an opportunity for
undergraduate students to be published in a peer-reviewed scholarly journal. See
Weekly Outline and Readings
January 13 (Week One): INTRODUCTION
No Films or Readings
January 20 (Week Two): CITIES, FILM, AND MODERNITY
Berlin: Symphony of a Great City (1927)
Metropolis (1927)
Simmel, George. 1995 [1903]. “The Metropolis and Mental life”. In
Metropolis: Centre and Symbol of our Times, 30-35. P. Kasinitz,
ed. New York: New York University Press.
Spadoni, Robert. 2014. “Chapter 1: Film as Form.” In Pocket Guide to
Analyzing Films, 1-46. Berkeley: University of California Press.
January 27 (Week Three): URBAN SPACE IN FILM NOIR
Plunder Road (1957)
The Third Man (1949)
Dimendberg, Edward. 2004. “Centrifugal Space”. In Film Noir and the
Spaces of Modernity, 166-206. Cambridge: Harvard University
Taxi Driver (1976)
The Warriors (1979)
Parenti, Christian. 1999. “Discipline in Playland, Part 1 – Zero
Tolerance: The Science of Kicking Ass.” In Lockdown America:
Police and Prisons in the Age of Crisis, 69-89. New York: Verso.
Smith, Neil. 1996. “Preface” and “‘Class Struggle on Avenue B’: The
Lower East Side as Wild Wild West.” In The New Urban Frontier:
Gentri cation and the Revanchist City, xv-xxi & 3-27. New York:
February 10 (Week Five): SUBCULTURE
Paris is Burning (1990)
This is England (2006)
Cohen, Stanley. 2011 [1973]. “Deviance and Moral Panics.” In Folk
Devils and Moral Panics, 1-20. New York: Routledge.
Harper, Phillip Brian. 1994. “The Subversive Edge”: Paris is Burning,
Social Critique, and the Limits of Subjective Agency.” Diacritics
24, no. 2, 90-103.
Snelson, Tim & Emma Sutton. 2013. “A Message To You, Maggie:
1980s Skinhead Subculture and Music in This is England.” In
Shane Meadows: Critical Essays, edited by Martin Fradley et al,
111-126. Edinburgh: Edinburgh University Press.
City of God (2002)
Slumdog Millionaire (2008)
Costas, Gundo Rial Y. 2011. “Spaces of Insecurity? The ‘Favelas’ of Rio
de Janeiro Between Stigmatization and Glori cation.”
Iberoamericana 41, 115-128.
Roy, Ananya. 2011. “Slumdog Cities: Rethinking Subaltern Urbanism.”
International Journal of Urban and Regional Research 35, no. 2,
March 3 (Week Seven): THE EARLY HIP HOP FILM
Krush Groove (1985)
Wild Style (1983)
Hayman, Casey. 2013. “Melle Mel in the Megaplex: Postmodern
Performance and the Hip-Hop ‘Real’ in ‘Krush Groove’ & ‘Beat
Street’.” African American Review 46, no. 1, 117-32.
Monteyne, Kimberley. 2013. “The Sound of the South Bronx: Wild Style
Reinvents the Urban Musical.” In Hip Hop on Film: Performance
Culture, Urban Space, and Genre Transformation in the 1980s.
Jackson: University Press of Mississippi, 85-123.
La Haine (1995)
Persepolis (2007)
Garbin, David and Gareth Millington. 2012. “Territorial Stigma and the
Politics of Resistance in a Parisian Banlieue: La Courneuve and
Beyond.” Urban Studies 49, no. 10, 2067-2083.
Siciliano, Amy. 2007. “La Haine: Framing the ‘Urban Outcasts’.”
Okanagan University College, Department of Geography.
March 17 (Week Nine): FRAMING REGENT PARK
Farewell to Oak Street (1953)
Invisible City (2009)
James, Ryan. 2017. “Like Any Other Neighbourhood”: Neoliberal
Urbanism and Social Inclusion in Regent Park, 2002-2012.” In
“‘Keeping the Kids Out of Trouble”: Extra-Domestic Labour and
Social Reproduction in Toronto’s Regent Park, 1959-2012,”
240-285. PhD Diss., York University.
Purdy, Sean. 2005. “Framing Regent Park: The National Film Board of
Canada and the Construction of ‘Outcast Spaces’ in the Inner
City, 1953 and 1994.” Media, Culture, and Society 27, no. 4,
March 24 (Week Ten): NO CLASS
Only Lovers Left Alive (2013)
Vampires Vs. The Bronx (2020) – optional
Irwin, Matthew. 2017. “‘Your Wilderness:’ The White Possession of
Detroit in Jim Jarmusch’s Only Lovers Left Alive.” Capitalism
Nature Socialism 24, no. 4, 78-95.
Kinney, Rebecca. 2016. “Longing for Detroit? The Naturalization of
Racism Through Ruin Porn and Digital Memories.” Media Fields
Journal 5, 1-14.
April 7 (Week Twelve): REVIEW AND CONCLUSION
No Films or Readings

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