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Instructions:
Essay on the Relationship Between Cinema and Decolonization
Write a reflective essay about your progress throughout the quarter (500 words). Consider the following: writing ability, new critical knowledge, new film knowledge, and more eye-opening experiences.
Rewrite of one essay (choose from essay 1-3). Include a brief explanation of why you chose to rewrite that essay.
The quarter’s three writing exercises.
1st writing assignment
Description and Rationale: Although we usually need multiple viewings to gain a nuanced understanding of a film, the first impressions often shape our ideas and subsequent experiences with that film. We’ll think about, write about, and fixate on these first impressions here. The goal of this exercise is to get you used to writing and consolidating your impressions right after a screening, so you can write more confidently in the future.
Writing that invests in sensory details is usually more convincing because it leaves a more lasting impression on the reader. We remember and relate to our immediate senses first. Paying attention to a film’s sensory aspects outside of its narrative not only engages the reader, but it also results in a richer text that is more “respectful” of a film’s aesthetic complexity.
We’ll concentrate on the sensorial aspects of the film in this exercise: color, light, atmosphere, sound, gestures, and textures. Whatever catches your attention.
Please answer the questions below after watching K’Bela (Yasmin Thayná, 2015).
Fill in the blanks with three visual elements from the movie that stood out to you. Short sentences or words are acceptable responses.
Pick five keywords that you believe apply to the movie.
What would you say about the movie to someone who hasn’t seen it? Make a brief paragraph.
Describe one image or scene that, in your opinion, best captures the essence of the film.
Exercise 2: Writing
Description and Justification
This is a practice exercise for connecting conceptual ideas to a film. You will write a paragraph that explains the decolonial aspects of K’bela. To put it another way, how and why is K’bela a good example of a decolonial film?
The task: continue the paragraph from the first few sentences written below. Make sure to write a concise paragraph that explains how the film K’bela relates to the concept of “decolonization,” with examples that will be developed and analyzed in the following paragraphs. Consider how the body is depicted in the film, as well as which bodies are depicted. Please feel free to use your exercise 1 answers. This exercise can also serve as a foundation for your discussion board
post for this week.
Paragraph:
K’bela (Yasmin Thayná, 2015), a Brazilian film, is a good example of decolonial filmmaking. As Mara Lugones points out…..
Explanation of Galt is the third writing exercise.
Description and Justification
This is a reading and writing practice exercise. Here are three key passages from Rosalind Galt’s “Pretty as Troublesome Image” that summarize her argument. This chapter was written in a dense conceptual style as the introduction to an
academic book. There are two main tasks in this exercise:
To understand the gist of the quotes: the main ideas, examples, and arguments
Rewrite the paragraph in a less academic style while still conveying the main idea and concepts.
Concentrate on the concept and alter the wording. Consider strategies for making the sentences more straightforward, such as removing jargon and excessive references. You’ll be presenting your ideas to a “general audience” (imagine
someone that is not an FMS major, or someone that is not in the School of Humanities).
Quotes:
The pretty’s production as a space of rhetorical exclusion is heavily reliant on its association with the wrong kinds of bodies. The devices and tricks of the cinematic pretty oppose an overly fussy feminine mise-en-scene to the grandeur of the
masculine exterior, and Plato’s cosmetics instantiate a connection of the untrustworthy image with the deceptive woman that has dogged the history of Western art, and the devices and tricks of the cinematic pretty oppose an overly fussy
feminine mise-en scène to the grandeur of the masculine exterior. Furthermore, the classical binary of Attic authority versus overly flowery Asiatic rhetoric connects decorative style to the non-Western as well as effeminacy and sexual
perversion in its modern forms. Gender, sexuality, and race have all been imagined and codified through visual culture, and the politics of the pretty is always engaged in a critique of these terms. (20)
Body politics of the pretty, as entirely formal constructions of aesthetic value, are usefully distinct from identitarian categories: the persistent denigration of decorative images in the languages of femininity, perversion, or orientalism allows us
to think beyond a politics of representation, instead seeing histories of bodily exclusion as underwriting the structuring principles of c. (2021).
Madame Sat, for example, tells the story of Joo Francisco dos Santos, a famous criminal, drag performer, and queer outlaw in the 1930s Afro-Brazilian pop culture. The film’s use of lush cinematography and staging for Joo’s erotic and
criminal lives, as well as its presentation of his “exotic” drag performances as “Madame Sat” or “the Negress of the Bulacoche,” connects a recuperative queer politics to an occasionally unsettling aestheticization of sexual and racial
stereotypes. Nonetheless, the film’s historical analysis is clearly centered on this excessive style. As much as the protagonist’s drag act, the burnished tones of a visual schema that aesthetically marks dark skin, bright costume, and nostalgic period lighting are a performative articulation. (21)
Essay on the Relationship Between Cinema and Decolonization
RUBRIC |
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Excellent Quality 95-100%
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Introduction
45-41 points The background and significance of the problem and a clear statement of the research purpose is provided. The search history is mentioned. |
Literature Support 91-84 points The background and significance of the problem and a clear statement of the research purpose is provided. The search history is mentioned. |
Methodology 58-53 points Content is well-organized with headings for each slide and bulleted lists to group related material as needed. Use of font, color, graphics, effects, etc. to enhance readability and presentation content is excellent. Length requirements of 10 slides/pages or less is met. |
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Average Score 50-85% |
40-38 points More depth/detail for the background and significance is needed, or the research detail is not clear. No search history information is provided. |
83-76 points Review of relevant theoretical literature is evident, but there is little integration of studies into concepts related to problem. Review is partially focused and organized. Supporting and opposing research are included. Summary of information presented is included. Conclusion may not contain a biblical integration. |
52-49 points Content is somewhat organized, but no structure is apparent. The use of font, color, graphics, effects, etc. is occasionally detracting to the presentation content. Length requirements may not be met. |
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Poor Quality 0-45% |
37-1 points The background and/or significance are missing. No search history information is provided. |
75-1 points Review of relevant theoretical literature is evident, but there is no integration of studies into concepts related to problem. Review is partially focused and organized. Supporting and opposing research are not included in the summary of information presented. Conclusion does not contain a biblical integration. |
48-1 points There is no clear or logical organizational structure. No logical sequence is apparent. The use of font, color, graphics, effects etc. is often detracting to the presentation content. Length requirements may not be met |
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Essay on the Relationship Between Cinema and Decolonization |
Essay on the Relationship Between Cinema and Decolonization