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UCI Atlantics Romantic Drama Film Summary

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m report week 1: WATCHING FILMS Oct 1, 2021 7:20PM Qingming Jiang 1. In the article “cinema as window and frame,” the authors’ main ideas are about window and frame, presenting the similarities between the two concepts (Elsaesser & Hagener, 2010). The authors identify that the similarities are that both concepts offer a desirable effect and aspect to an event to accommodate curiosity. The main differences are that the window concept represents transparency while the frame concept represents the film’s blocked surface/ nature. The main concept in Andre Bazin’s articles is the main idea about the major differences between painting and cinema. The author presents cinema as a space where people can be real and present natural ideas without adding more aspects. He explains that cinema has a natural explanation (Bavin, 1960). The idea of painting allows the artists to add expressions to their art and provide an illusion that would entirely satisfy people’s appetites. Therefore, both cinema work and painting are the work of artists. 2. Both texts show the association between the natural world where it is easy to see all themes and the main ideas the film has and a created world where one has to look for the main themes. For example, the window which shows transparency shows how the natural aspect of a film makes it possible to understand everything about it from a natural viewpoint. Both articles have also made it clear that there is not much difference between frame and painting because it is easy to express oneself from both. Window and frame separate reality and fiction, similar to painting separated from the reality by a frame presents. 3. Before reading the texts, I assumed that the films and cinema work was not the work of nature but all an illusion. However, the texts have helped me see that the same way paintings are natural but separated from reality, films are also a presentation of natural ideas, and any added aspects are only ways to make the films more satisfactory. 4. The main concepts that stood out for me were the role of the frame in painting and films. The most interesting idea about the film was that it separated the natural world from the pictures and the ideas a person expresses themselves through. It did not make sense to me at first that the frame helps create a form that one cannot make geometrically, hence a barrier between reality and an idea. Looking at it from that view makes it more interesting. Work Cited Bavin, A. (1960). The Ontology of the Photographic Image. Film Quarterly, 13(4), 4-9. Elsaesser, T., & Hagener, M. (2010). Cinema as Window and Frame. New York and London: Routledge Taylor & Francis. report week 2: THE FACE Oct 8, 2021 8:53PM Qingming Jiang What are the authors’ main arguments? Bela Balazs’s argument on cinema as a mirror is that Griffith brought an entirely different dimension when he intertwined the actor’s heads full size, one after another, into human interaction scenes. Bela Balaz said that this brought characters into proximity in the same space. This was pure genius. According to Bela, Space and physiognomy have a relationship just like that of time, and melody and expression are made possible in the film when the relation of facial muscles are close to one another In space (Balazs & Carter, 2011). The close-ups teach us that sometimes we can read the face more than what is written down. The other argument is on facial expression. They often bring out another side of the film that can not be written down in a script. An example is when bandits surround an actor; his facial expression signifies to the audience that he is indeed in distress. Espen argued that in cinemas, there are no “stories” (Epstein, 2012). He condemned artificial narratives in acting and focused more on human drama and emotions. Jean Epstein believed that artificial narratives belonged in theater and novels but not in the film. How texts Dialogue with one another In theater, the characters should be ready-made to fit the text perfectly, and all that is left is to find a performer who corresponds to the word and image. Through this, the director will not need to exaggerate or throw in stereotypical gestures or change the script; everything will flow naturally. Balaz’s and Epstein’s explanation on early film. Bela Balazs sheds light on how to experience silent films. The theorist dived into the exploration of poetic and symbolic understanding of film. Bela explained how important it is to choose the correct characters for the play and how facial expressions can bring new meaning into a film. In his word, he said, “don’t try to act! Just think and feel the situation” (Balazs & Carter, 2011). Jean Epstein, on the other hand, introduced photogenic as a point of view in filmmaking. He described it to be a symbolic way of thinking about film. His whole concept of this was to deepen understanding and enjoyment of films. However, not all films can possess this quality due to the lack of understanding of human emotions and drama. Your comment on the author’s argument about something stood out to you. What stood out for me is how Jean Epstein developed his theory on photogenic in an era where the film was still in its early stages. In the early nineteen hundreds, people were fascinated by moving pictures alone, but Jean valued aesthetics, human emotions, and the film’s storyline. His theory was genuinely remarkable. Reference Balazs, B., & Carter, E. (2011)” Bela Balazs: Early Film Theory” (3rd ed., pp. 3-15). Berghahn Books. Epstein, J. (2012). Jean Epstein: Critical Essays and New Translations. Retrieved 8 October 2021, from report week 3: FEMINIST FILM THEORY: IMAGE AND SOUND Oct 15, 2021 9:29PM Qingming Jiang Authors’ main arguments The Voice in the Cinema is the cinematic work done by Marry Ann Donne. The author discusses the incorporation of voice in the cinematic presentation work. Donne asseverates cinema has been inaudible since the audience assumes the voices in the cinematic presentation to be coming from the body despite the presence of off-screen voices; the audience’s acceptance of the off-screen voice is based on the understanding of space in the cinema. On the other hand, is the work of Laura Mulvey in Visual and Narrative Cinema. Mulvey takes a fundamental interest in the narrative pleasure of the male actors. According to Mulvey (1989), the film industry has been dominated by males for many years, thus urging the industry to develop new strategies that accommodate feminists’ authors to end male chauvinism. The spectator that the authors are discussing/imagining The spectators addressed by these two authors are active viewers. They should enjoy the pleasure derived from the film. The authors have another perspective about the spectators other than being inactive viewers but considers them as active audiences responding and taking action directly as projected on the screen. Based on the film’s content, spectators play an influential role outside the film where the pride of the spectator takes over while giving out the views of the film. The common sense the authors dialoguing with (or against) Donne and Mulvey, in their work, try to reason the essence of ensuring that film viewers enjoy the pleasure intend to be derived from the cinematic presentation. The core common sense evident in their work is the use of voice and the motion of images while creating the cinematic presentation to entice the viewers. For instance, in most cases female figure has been incorporated to establish a lustful gaze of the male protagonist. Mulvey argues that most films using female figures intend to provide a pleasurable visual experience for males. How do the texts dialogue with one another Both Donne and Mulvey have outstanding pieces of works in the analysis of the contemporary film industry. The two forms of dialogue texts indicating the importance of voices and images in films as crucial elements are forming the pleasure anticipated by viewers. The spectators are interested in the film’s storyline with an expectation of hearing what they see on the screen. As the film gets intense, the spectators get carried away by the motion of the images and the voices coming from different characters within the film. Therefore, the sound and motion of the images are elements of a good movie stratifying the audience. How do they change your own view of film The two articles contain a lot of vital information that individuals can learn. My view on film has been dramatically impacted in this essence, and I am sure not me but others too; not all films are satisfactory to the audience as they may lack some crucial elements. This film has meat all the essential aspects of a good movie. Thus, for a captivating film, the motion of image and voices must go hand in hand to create viewer satisfaction. Your comment on something that stood out to you, or that you’d like more explanation on The Voice in the Cinema is the cinematic work done by Marry Ann Donne, and one thing that stood out throughout the work is the impact of silent films on the viewers. They create a monotony impact on the viewers, making them lose interest in watching the movie. Hence film industry should incorporate sound that goes alongside the motion of images. Also, the impact of the female figure in the film is something else that stood out. Works Cited Doane, M. A. (1980). The voice in the cinema: The articulation of body and space. Yale French Studies, (60), 33-50. Mulvey, L. (1989). Visual pleasure and narrative cinema. In Visual and other pleasures (pp. 14-26). Palgrave Macmillan, London. report week 4: RACE ON SCREEN Oct 22, 2021 11:07PM Qingming Jiang Hi Guanxin, I agree with your point of view. The main arguments of the two articles are racial discrimination and the unequal representation of Hollywood. As you said, whites are always given a good impression, while the opposite blacks are always given a bad impression. I strongly agree that black people are marginalized in making and watching Hollywood movies from report week 4: RACE ON SCREEN Oct 22, 2021 11:45PM Qingming Jiang What are the Authors’ Main Arguments? The authors’ main arguments in the two articles are racial discrimination and unequal representation in Hollywood. The article “Black Spectatorship” by Manthia argues about the problems of racial identification and resistance in Hollywood, while “White” by Richard Dyer argues about the representation of whites in Hollywood. In their writings, the authors emphasize mixed reactions expressed by spectators when Hollywood excludes either whites or blacks from their films. The Spectator that the Authors Are Discussing The authors do not directly point out any individual spectator. Still, they use this concept to express their feelings towards racial differences and color representations in the broader film industry. For instance, in the article “White,” Richard Dyer writes that whiteness is not generally discussed because it is primarily viewed as the norm. Diawara, in the article “Black Spectatorship’ notes that “there are spectators who denounce the result and refuse to suspend their disbelief” (Diawara,.1993, p. 66). Regarding this, I think the authors are talking about blacks and whites as spectators in their articles. The Common Sense that the Authors Are Dialoguing with The common sense that the authors are dialoguing with is the representation of blacks and whites in films. From that time in history, blacks were included in films to oppose the conventionalization of race, gender, and ethnicities. The authors have highlighted various senses within which blacks and whites are included in films. Richard Dyer has highlighted the sense of white representation while Diawara has communicated with black representation in Hollywood. How do the Texts Dialogue with one another? The texts in the two articles dialogue with one another by discussing the representation of two different racial communities (Blacks and Whites) in film. The article “Black Spectatorship” directly dialogues with the article “White.” The authors argue about the characterization of whites and blacks in movies. The authors considerably focus on the representative techniques adopted by human species to view themselves based on their ancestral history and culture. For instance, Dyer explains how humans viewed Whites as the norm in Hollywood films (Dyer.,2017). Dyer and Diawara focus on movies as a controlling mode of communication during the 20th century. In addition, the authors have carried out an extensive analysis of both racial groups (Blacks and whites) and concluded on how they were and are supposed to be represented in films. How the Authors Change My view of Film and Media? The authors have changed my view of film and media by shading much light to my perception of black and white characters. I think that it is fair for all races to be equally represented in film and media. Equal representation of all races will convey the message that everybody is important in this world. All humans should be treated with the utmost respect and fairly, regardless of their ethnic groups, race, or gender (Trebbe et al.,2017). I now view media and film as an essential medium in creating awareness about racial equality. The Implications of Diawara’s and Dyer’s Theories Diawara’s and Dyer’s theories imply that since film and media is an advanced mode of message conveyance, it should be accompanied by equal representation of all races. Their theories conclude that humans should change their perceptions about themselves regarding representation in film and media.
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