Mise-en-scène , Space, time and editing/the long take , Film sound

Length: 2,000 words each essay.
Academic Conventions: Follow the ‘Reference and Citations’ guidelines in the
MACE-Film Handbook.
Marking Criteria: See the MACE-Film Handbook.

ESSAY 1: Mise-en-scène
Define the term ‘mise-en-scène’, making detailed reference to a range of
academic sources and showing how definitions may differ among film scholars.
Using these definitions as a critical framework, analyse the mise-en-scène of one
of the films screened in the first three weeks of the module, showing how it adds
richness and complexity to the film’s narrative.
(Films you may choose from: All That Heaven Allows, Le Bonheur, Le Havre)
ESSAY 2: Space, time and editing/the long take
Make a close analysis of one of the films screened in the second part of the
module, showing how a particular approach to editing, or use of the long take,
shapes the construction of space and time in the film, and how this is significant
in relation to the film’s narrative. Your essay should make detailed reference to
relevant critical literature on both your chosen film and the film techniques it
deploys.
(Films you may choose from: Tokyo Story, Pierrot le fou, Code Unknown)
ESSAY 3: Film sound
Make a close analysis of the sound design of one of the films screened in the third
part of the module, showing how it adds meaning to the film’s narrative. Your
essay should make detailed reference to relevant critical literature on both your
chosen film and on the theory and/or practice of sound design in the cinema.
(Films you may choose from: Children of Men, The Piano, Neighbouring Sounds)

Important Notes:
• It is your responsibility to familiarise yourself with the rules for
referencing, lateness penalties and coursework submission
procedures. See the Programme Handbook available on Blackboard.

• Your assignment should show awareness of appropriate critical literature
and credit will be given for intelligent use of critical and contextual
sources. Your assignment must follow the ‘references and citations’
guidelines outlined in the Programme Handbook.
• Bibliography and any appendices do not count towards your word limit.
You can go under or over the word count by 10% of the specified word
limit, but should not exceed these boundaries.
• Remember to make use of the University’s online study skills resources:

http://www.reading.ac.uk/soar/soar-Communication/soar-
Communication.aspx Library

Subject Guide for Film, Theatre & Television:
http://www.reading.ac.uk/library/finding-info/subjects/film/lib-film.aspx
• Cheating, including plagiarism, is treated very severely by the university.
Please ensure that you are familiar with definitions of cheating given in
your programme handbooks. See also ‘Avoiding Accidental Plagiarism’
http://www.reading.ac.uk/internal/studyadvice/Studyresources/Readin
g/sta-plagiarism.aspx
Submitting your work:
Submit an electronic copy of your assignment to Turnitin via the relevant
module Blackboard course. You will receive a receipt number from Turnitin.
Your name must not appear anywhere on your assignment, to enable anonymous
marking. The submission deadline is always midday/noon on the
submission date. You can submit before this time.
If you experience technical problems submitting electronically, use the ‘Ask a
Question’ function on RISIS. The Student Support Centre can check the site
settings are correct, but any more general technical problems will have to be
pursued through the normal University IT help and support procedures. Then
submit as soon as you are able – this must still be by the deadline, therefore you
should allow plenty of time before the deadline to upload your work.
If you have a specific learning difficulty that you have disclosed to the University
and wish to be taken into account for the assessment of this assignment, you
need to embed the coursework sticker (which you will have been issued) to the
assignment (at the top of the first page). It is your responsibility to ensure that
the sticker is embedded before the assignment is submitted.

 

Using Turnitin to check you have referenced correctly
The Originality report function allows you to check whether you have properly
cited any sources you have used in your assignment. It compares your
assignment against internet sources, works previously submitted to Turnitin,
and periodicals, journals and publications. Any matching or highly similar text

discovered is highlighted in the Originality report, and you need to make sure
that you have correctly attributed a reference to any ideas or quotations that are
not your own. For more information on understanding originality reports, see
Blackboard. You should use Turnitin for this purpose well in advance of the
deadline.
You may continue to enter drafts using the Originality report function up until
the submission date and time. Once the due date and time has been reached, you
cannot make any further submissions and your most recent submission
will be classed as your final submission to be marked.
Penalties for late submission:
Where work is submitted after the original deadline (or any formally agreed
extension to the deadline):
• 10% of the total marks available for that piece of work will be deducted
from the mark for each working day (or part thereof) following the
deadline up to a total of five working days.
• Where the piece of work is submitted more than five working days after
the original deadline (or any formally agreed extension to the deadline) a
mark of zero will be recorded.
If you fail to submit formative (diagnostic) assessment, which allows you to
benefit from feedback but does not contribute to the mark for the module, by the
deadline for submission, you forfeit your right to any feedback.
You can expect to receive marks and feedback on assignments in 15 working
days during term time.

 

Using the MHRA Guide

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THE ELEMENTS OF MISE-EN-SCÈNE

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THE INTERACTION OF ELEMENTS

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INVESTIGATIONS IN THE CRITICAL HISTORY OF MISE-EN-SCÈNE

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BIBLIOGRAPHY

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INTRODUCTION

1Mise-en-sc¿¿ne_Film_Style_and_Interpretation_—-_(Introduction_)

 

A Term That Means Everything, and Nothing Very Specific

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Aesthetic Economies: The Expressive and the Excessive

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Bibliography

 

online reference··