Context:Now you are asked to write a critical essay that falls between the theoretical essay and the movie review for both the critical community of cinephiles and film scholars in the academia. The writer of this kind of essay presumes that his or her reader has seen or is at least familiar with the film under discussion. The writer might therefore remind the reader of key themes and elements of the plot, but a lengthy retelling of the story of the film is neither needed nor acceptable. The focus of the essay is far more specific than that of a review because the writer hopes to reveal subtleties or complexities that may have escaped viewers on the first or even the second viewing. The essay may focus on a short sequence at the beginning of the film in relation to other films or on a particular camera angle that becomes associated with a specific character who either fits into a category of cultural analysis or helps define a film genre. Basically, what you write takes a comparative approach to a critical analysis of the film(s) that integrates the formal analysis and cultural analysis (please refer to your handbook Writing about Movies).The Assignment:Please write a critical essay either based on the question you raised in your SA1.2 or about one or multiple kind(s) of love in and beyond the films. Pick just one (1) of these two options and explore it in depth through two (2) of the following films: Farewell My Concubine 1993 by Chen Kaige (PRC), Love Letter 1995 by Shunji Iwai (Japan), In the Mood for Love 2000 by Wong Kar-wai (Hong Kong),The Handmaiden 2016 by Chan-wook Park (South Korea), and The Fourth Portrait 2010 by Chung Mong-hong (Taiwan), and a body of optional films listed by me (should be on Canvas). You can also mention any other film that you watched before except the selected two if any need.Here is a brief outline that I would like you to follow when it comes to paragraphing: (1) Identify the specific question/problem to be explored and briefly suggest what makes it a question/problem. Define your terms to prepare the discussion of specific examples. (2) Analyze selected examples from one film. (3) Analyze selected examples from another film. (4) Explore both connections and differences among the selected films; situate those in a larger context. In other words, complicate the discussion and engage with sort of the social/cultural concerns of our times. And then, (5) draw a conclusion from it, however provisional that conclusion may be. Remember: the goal of exploratory writing is to open up discussion, rather than shut it down. Ideally, your essay would also integrate at least some discussion of one or more of the assigned readings, and do so strategically, in order to develop a point of your own, a complex claim. Note: Every essay needs a title.Format4-6 pages in totalDouble-spaced, with standard margins12 pt Times New Romai will upload the past short essay about those film that i already submitted so you can read it !
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Running head: ANALYZING CAMERAS MOVEMENT IN FAREWELL MY CONCUBINE 1
CAMERA EFFECT IN FAREWELL MY CONCUBINE
NAME
YU HAN
INSTITUTION AFFILIATION
CAMERA IMPACT
2
Farewell My Concubine
One of the major scenes that have been picked is the scene in which Douzi and Laizi
have run away from the school in which they are brutally spanked with a sword. It is on their
journey back that Laizi observes that Douzi could not live without Shitou, who happened to be
his best friend while at the school. At this particular aspect, the camera is not moving and
focuses on the boys’ movement and the immediate environment in which the conversation is
taking place. The focus on the boys and the environment is vital as it helps in giving a
perspective on letting the audience understand the setting and why the boys could be running
away.
The environment looks deserted, with several people in the vicinity, and curious glares
greet the boys as they move around the roads. It is a way to create a relationship between the
actions of the boys, of running away and the words in which the boys are interpreting the
concepts. While there is a lot that can be said about the camera movement in the scene, it is
crystal clear that its movement acts as a foundation for the next events in the scene. The scene
then follows the phase in which the boys at the school are punished for the actions of Laizi and
Douzi. In this regard, the camera movement indicates the pain, the suffering and the inhumane
treatment that the teachers mete out to the boys. It is a way of linking the actions of the boys of
running away and the reality that they have to contend with.
The focus of the camera without moving on Douzi as he is being punished is one that can
be said to move in different ways. For example, the focus helps to show the resolve of the boy.
He is not willing to beg for mercy from Master Guan, even when prodded by his friend to. The
movement of the camera to focus on the master is purposely to show the burning hatred of the
CAMERA IMPACT
3
man. It os the resolve to punish the boys, and to balance his words with his actions. At this scene,
he not only threatens to kill the boys but looks like he could do it.
The camera put these emotions into focus, to show the irony of a man who is supposed to
be taking care of the boys but is instead killing them with his mercilessness. It does not need the
genius to see why the boys could have been running away from the school. As the camera moves
to capture the boy dangling from the rope, it hits the audience that the school is not only a place
of killing dreams but also an unhealthy environment in which the children should not be living in
the first place. One understands the resolve of Douzi’s futile efforts to try and save his friend
from the merciless teachers. Perhaps, as the boys look at Laizi, the camera brings out the unsaid,
the hopelessness, the despair and resignation to the cruelty of their masters.
The camera brings out the aspect of tough love, of cultural dynamism of understanding
and interpreting love. For instance, what could have pushed Shitou to stand up to his masters and
risk the wrath of these ‘monsters’ in defense of his friend. Perhaps, it brings out the selflessness
aspect of love, of being willing to take a bullet or two in the name of love. Which raises the
question the question on whether this is how most societies perceive love, maybe or maybe not.
Of particular concern is the last scene in the film in which the king is asked for the sword
by the concubine, but he is not willing to give it to her. The camera movement, at first, is
stationary as the people in the stage express their feelings for each other. Perhaps, the main
impact that the camera brings about in this scene is that it tries to create an insistence on what is
being said by the actors (Leung, 2010).
For instance, the words of the king, telling his concubine not to take the sword is the
main theme of the scene. Then, the camera moves and brings to the audience the unleashing of
CAMERA IMPACT
the sword. Then a cry from the king, and a thud in the background. It is assumed that in this
scene, the concubine takes own life with the sword. The main reason as to why the camera does
not show this action is because some pictures and motions are believed not to be healthy for the
audience. Scenes such as death and some explicit content are at times hidden, just to uphold the
societal norms. It is the same aspect that is shown in this regard by the camera movement at this
scene.
The conclusion points to love that is explored from different angles, and from differing
cultural affiliations. The camera movement only helps to bring out the movement from various
perspectives, by enhancing the content of the film.
4
CAMERA IMPACT
5
References
https://www.youtube.com/watch?v=NgorEDgcDmc
Leung, H. (2010). Farewell My Concubine: A Queer Film Classic (Large Print 16pt).
ReadHowYouWant. com.
Running head: LOVE LETTER
Topic: Love Letter
Yu Han
4. 22
Love Letter
2
“Love letter” is a Japanese film acted in 1995 with starring Miho Nakayama and directed
by Shunji Iwai. “Love letter” got shot in Hokkaido Island, in the city of Otaru. Love letter
entered the box office Japanese hit movie and even the East Asian nations like South Korea.
Love letter notably is one of the first movies to hit the cinema screens after World War II. Love
letter became South Korea’s tenth most grossing film of the year registering 645, 615
admissions.
According to Schine, (2013), within the first minutes into the movie, an individual knows
that he or she is yet to experience a captivating love experience. Love letter occurs in Otaru
town, which had snowy winters got impressively shot and directed under Shunji Iwai. The movie
relates to a typical love fairy tale, which uses letter writing concept but in a different perspective
to express love and affection.
Hiroko writes her first letter regarding her dead fiancé, which is probably her first, creates
a line within the tragedy, which gives her the energy to move on with her life. Instead, Hiroko
gets a reply of the letter she wrote about her passed fiancé. McDonald, (2006) reveals that the
reply comes from a pen pal, which awakens the memories which she had with her late fiancé.
The journey into the memories of her deceased fiancé lets her know the about her fiancé into fine
details and helps during the recovery after the loss.
“Love story” gets into the fine details of the plot very slowly, because, for instance, it
takes time before characters like Itsuki and Hiroko get revealed during the movie, of their actual
identity. The movies go on and on, with other characters making their way into the plot until
almost the end of the plot. The “Love Story” then offers the characters individual personalities,
even though some get revealed later in the plot.
Love Letter
3
Schine, (2013) argued that “Love letter” is a plot generated and developed with passion
by Shunji Iwai, and employs melancholy, thus creating a warm feeling to the viewers. The movie
has various emotional scenes that one can shade tears while watching, apart from abstaining
from melodramatics. The movie offers its viewers impressive experience that leaves one smiling
for the sweetly organized plot.
Love Letter
4
References:
McDonald, K. I. (2006). Reading a Japanese film: Cinema in context. Honolulu: University of
Hawaiʻi Press.
Schine, C. (2013). The love letter. Boston, Mass: Houghton Mifflin Harcourt.
Running head: ANALYZING CAMERAS MOVEMENT IN FAREWELL MY CONCUBINE 1
CAMERA EFFECT IN FAREWELL MY CONCUBINE
NAME
YU HAN
INSTITUTION AFFILIATION
CAMERA IMPACT
2
Farewell My Concubine
One of the major scenes that have been picked is the scene in which Douzi and Laizi
have run away from the school in which they are brutally spanked with a sword. It is on their
journey back that Laizi observes that Douzi could not live without Shitou, who happened to be
his best friend while at the school. At this particular aspect, the camera is not moving and
focuses on the boys’ movement and the immediate environment in which the conversation is
taking place. The focus on the boys and the environment is vital as it helps in giving a
perspective on letting the audience understand the setting and why the boys could be running
away.
The environment looks deserted, with several people in the vicinity, and curious glares
greet the boys as they move around the roads. It is a way to create a relationship between the
actions of the boys, of running away and the words in which the boys are interpreting the
concepts. While there is a lot that can be said about the camera movement in the scene, it is
crystal clear that its movement acts as a foundation for the next events in the scene. The scene
then follows the phase in which the boys at the school are punished for the actions of Laizi and
Douzi. In this regard, the camera movement indicates the pain, the suffering and the inhumane
treatment that the teachers mete out to the boys. It is a way of linking the actions of the boys of
running away and the reality that they have to contend with.
The focus of the camera without moving on Douzi as he is being punished is one that can
be said to move in different ways. For example, the focus helps to show the resolve of the boy.
He is not willing to beg for mercy from Master Guan, even when prodded by his friend to. The
movement of the camera to focus on the master is purposely to show the burning hatred of the
CAMERA IMPACT
3
man. It os the resolve to punish the boys, and to balance his words with his actions. At this scene,
he not only threatens to kill the boys but looks like he could do it.
The camera put these emotions into focus, to show the irony of a man who is supposed to
be taking care of the boys but is instead killing them with his mercilessness. It does not need the
genius to see why the boys could have been running away from the school. As the camera moves
to capture the boy dangling from the rope, it hits the audience that the school is not only a place
of killing dreams but also an unhealthy environment in which the children should not be living in
the first place. One understands the resolve of Douzi’s futile efforts to try and save his friend
from the merciless teachers. Perhaps, as the boys look at Laizi, the camera brings out the unsaid,
the hopelessness, the despair and resignation to the cruelty of their masters.
The camera brings out the aspect of tough love, of cultural dynamism of understanding
and interpreting love. For instance, what could have pushed Shitou to stand up to his masters and
risk the wrath of these ‘monsters’ in defense of his friend. Perhaps, it brings out the selflessness
aspect of love, of being willing to take a bullet or two in the name of love. Which raises the
question the question on whether this is how most societies perceive love, maybe or maybe not.
Of particular concern is the last scene in the film in which the king is asked for the sword
by the concubine, but he is not willing to give it to her. The camera movement, at first, is
stationary as the people in the stage express their feelings for each other. Perhaps, the main
impact that the camera brings about in this scene is that it tries to create an insistence on what is
being said by the actors (Leung, 2010).
For instance, the words of the king, telling his concubine not to take the sword is the
main theme of the scene. Then, the camera moves and brings to the audience the unleashing of
CAMERA IMPACT
the sword. Then a cry from the king, and a thud in the background. It is assumed that in this
scene, the concubine takes own life with the sword. The main reason as to why the camera does
not show this action is because some pictures and motions are believed not to be healthy for the
audience. Scenes such as death and some explicit content are at times hidden, just to uphold the
societal norms. It is the same aspect that is shown in this regard by the camera movement at this
scene.
The conclusion points to love that is explored from different angles, and from differing
cultural affiliations. The camera movement only helps to bring out the movement from various
perspectives, by enhancing the content of the film.
4
CAMERA IMPACT
5
References
https://www.youtube.com/watch?v=NgorEDgcDmc
Leung, H. (2010). Farewell My Concubine: A Queer Film Classic (Large Print 16pt).
ReadHowYouWant. com.
Running head: ANALYZING CAMERAS MOVEMENT IN FAREWELL MY CONCUBINE 1
CAMERA EFFECT IN FAREWELL MY CONCUBINE
NAME
YU HAN
INSTITUTION AFFILIATION
CAMERA IMPACT
2
Farewell My Concubine
One of the major scenes that have been picked is the scene in which Douzi and Laizi
have run away from the school in which they are brutally spanked with a sword. It is on their
journey back that Laizi observes that Douzi could not live without Shitou, who happened to be
his best friend while at the school. At this particular aspect, the camera is not moving and
focuses on the boys’ movement and the immediate environment in which the conversation is
taking place. The focus on the boys and the environment is vital as it helps in giving a
perspective on letting the audience understand the setting and why the boys could be running
away.
The environment looks deserted, with several people in the vicinity, and curious glares
greet the boys as they move around the roads. It is a way to create a relationship between the
actions of the boys, of running away and the words in which the boys are interpreting the
concepts. While there is a lot that can be said about the camera movement in the scene, it is
crystal clear that its movement acts as a foundation for the next events in the scene. The scene
then follows the phase in which the boys at the school are punished for the actions of Laizi and
Douzi. In this regard, the camera movement indicates the pain, the suffering and the inhumane
treatment that the teachers mete out to the boys. It is a way of linking the actions of the boys of
running away and the reality that they have to contend with.
The focus of the camera without moving on Douzi as he is being punished is one that can
be said to move in different ways. For example, the focus helps to show the resolve of the boy.
He is not willing to beg for mercy from Master Guan, even when prodded by his friend to. The
movement of the camera to focus on the master is purposely to show the burning hatred of the
CAMERA IMPACT
3
man. It os the resolve to punish the boys, and to balance his words with his actions. At this scene,
he not only threatens to kill the boys but looks like he could do it.
The camera put these emotions into focus, to show the irony of a man who is supposed to
be taking care of the boys but is instead killing them with his mercilessness. It does not need the
genius to see why the boys could have been running away from the school. As the camera moves
to capture the boy dangling from the rope, it hits the audience that the school is not only a place
of killing dreams but also an unhealthy environment in which the children should not be living in
the first place. One understands the resolve of Douzi’s futile efforts to try and save his friend
from the merciless teachers. Perhaps, as the boys look at Laizi, the camera brings out the unsaid,
the hopelessness, the despair and resignation to the cruelty of their masters.
The camera brings out the aspect of tough love, of cultural dynamism of understanding
and interpreting love. For instance, what could have pushed Shitou to stand up to his masters and
risk the wrath of these ‘monsters’ in defense of his friend. Perhaps, it brings out the selflessness
aspect of love, of being willing to take a bullet or two in the name of love. Which raises the
question the question on whether this is how most societies perceive love, maybe or maybe not.
Of particular concern is the last scene in the film in which the king is asked for the sword
by the concubine, but he is not willing to give it to her. The camera movement, at first, is
stationary as the people in the stage express their feelings for each other. Perhaps, the main
impact that the camera brings about in this scene is that it tries to create an insistence on what is
being said by the actors (Leung, 2010).
For instance, the words of the king, telling his concubine not to take the sword is the
main theme of the scene. Then, the camera moves and brings to the audience the unleashing of
CAMERA IMPACT
the sword. Then a cry from the king, and a thud in the background. It is assumed that in this
scene, the concubine takes own life with the sword. The main reason as to why the camera does
not show this action is because some pictures and motions are believed not to be healthy for the
audience. Scenes such as death and some explicit content are at times hidden, just to uphold the
societal norms. It is the same aspect that is shown in this regard by the camera movement at this
scene.
The conclusion points to love that is explored from different angles, and from differing
cultural affiliations. The camera movement only helps to bring out the movement from various
perspectives, by enhancing the content of the film.
4
CAMERA IMPACT
5
References
https://www.youtube.com/watch?v=NgorEDgcDmc
Leung, H. (2010). Farewell My Concubine: A Queer Film Classic (Large Print 16pt).
ReadHowYouWant. com.
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