{"id":4958,"date":"2022-04-26T22:57:41","date_gmt":"2022-04-26T22:57:41","guid":{"rendered":"https:\/\/highclasswriters.com\/blog\/?p=4958"},"modified":"2022-04-26T22:57:42","modified_gmt":"2022-04-26T22:57:42","slug":"how-the-silent-film-city-lights-addresses-the-films-historical-artistic-formal-thematic-technical-or-cultural-significance","status":"publish","type":"post","link":"https:\/\/highclasswriters.com\/blog\/how-the-silent-film-city-lights-addresses-the-films-historical-artistic-formal-thematic-technical-or-cultural-significance\/","title":{"rendered":"How the silent film &#8220;City Lights&#8221; addresses the film\u2019s historical, artistic, formal, thematic, technical, or cultural significance"},"content":{"rendered":"\n<p><strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; BEM 350<\/strong><\/p>\n\n\n\n<p><strong>CINEMA HISTORY I<\/strong><\/p>\n\n\n\n<p><strong>Critical Review Essay<\/strong><\/p>\n\n\n\n<p><strong>Due Date:<\/strong>11\/30\/21<\/p>\n\n\n\n<p><strong>Length: <\/strong>Six (6) full pages in length. Double-spaced, 12 pt. font, Times New Roman, one-inch margins, typewritten, stapled, carefully proofread.<\/p>\n\n\n\n<p>You may write on any of the films screened in class. To write about another film released between 1895-1945, you must get instructor approval.<\/p>\n\n\n\n<p>Your assignment is to write a <strong>6-page Critical Review<\/strong> of one of the feature films viewed in class this semester. For your essay, <strong><u>construct an argument<\/u><\/strong> (thesis statement) that addresses the film\u2019shistorical, artistic, formal, thematic, technical, or cultural significance.<\/p>\n\n\n\n<p>For example,<\/p>\n\n\n\n<p>\u201cCitizen Kane\u201d set the standard for A-list film noir motion pictures in the U.S.\u201d<\/p>\n\n\n\n<p>Or<\/p>\n\n\n\n<p>The technical innovations utilized in \u201cCitizen Kane\u201d made it one of the most influential films in U.S. history.<\/p>\n\n\n\n<p>Or<\/p>\n\n\n\n<p>\u201cThe Cabinet of Dr. Caligari\u201dcontains many conventions of German Expressionistic film of the 1920\u2019s and \u201830\u2019s.<\/p>\n\n\n\n<p>Or<\/p>\n\n\n\n<p>Differences between \u201cSwing Time\u201d and \u201cGolddiggers of 1933\u201d represent the dramatic changes brought about by the implementation of the Production Code in Hollywood.<\/p>\n\n\n\n<p>To support your argument, you will need to use specific evidence\/details from 3-5 scenes from your film <em>and<\/em> you will also need to incorporate <strong><u>four<\/u><\/strong><em>approved sources<\/em> to either support your position or to provide an alternative viewpoint\/interpretation as a counter-argument\u2014that you acknowledge before turning back to re-affirm your own argument.<\/p>\n\n\n\n<p><strong>Note:you may only use sources identified on the Sources and Film Journals List(see below)<\/strong>\u2014you may use Mast and Kawin, however, as <strong><u>one<\/u><\/strong> of your <strong><u>four<\/u><\/strong> critical sources. You must also cite the film and sources in a works cited page using MLA, APA, or Chicago style. Finally, be sure to include a good, creative title, one which lets the reader know what your essay is about.<\/p>\n\n\n\n<p><strong>The paper grade will be based on the following criteria:<\/strong><\/p>\n\n\n\n<p>1. Clarity and quality of the thesis;<\/p>\n\n\n\n<p>2. Use and analysis of specific, relevant evidence\/details from the film to support your argument;<\/p>\n\n\n\n<p>3. Engagement with and understanding of the film\u2019s historical, artistic, formal, thematic,<\/p>\n\n\n\n<p>technical, or cultural significance;<\/p>\n\n\n\n<p>4. Incorporation of approved sources from the sources listed;<\/p>\n\n\n\n<p>5. Proper citation of your film and sources according to MLA, APA, or Chicago style;<\/p>\n\n\n\n<p>7. Addressing the topic\/following the requirements of the prompt; and,<\/p>\n\n\n\n<p>8. Overall effectiveness of grammar, mechanics, and spelling.<\/p>\n\n\n\n<p><strong>Suggestions:<\/strong><\/p>\n\n\n\n<p>1. As you probably know, you will need to establish a strong thesis as the foundation of your argument. In fact, it\u2019s often best for your reader if you state your <strong><u>thesis<\/u><\/strong> clearly at the end of the introductory paragraph.<\/p>\n\n\n\n<p>2. I recommend watching your film at least two more times and taking notes as you do. Then, look at your notes and start generating a thesis statement. In your second and subsequent viewings, refine your thesis AND select specific evidence\/details from 3-5 scenes in the film that you will use\/analyze to support your thesis argument.<\/p>\n\n\n\n<p>3. Revise your first draft, polish it, then proofread your final draft carefully. I expect your writing to be the best you can make it.&nbsp; You will submit your paper as a hard copy to me on or before 11\/30\/21.<strong><\/strong><\/p>\n\n\n\n<p>4. <strong>Finally, don\u2019t hesitate to contact me if you have any questions.<\/strong><\/p>\n\n\n\n<p><strong>Approved Popular and Trade Sources for Critical Review:<\/strong><\/p>\n\n\n\n<p>Mast and Bruce Kawin, A Short History of the Movies<\/p>\n\n\n\n<p>The New York Times<\/p>\n\n\n\n<p>Entertainment Weekly<\/p>\n\n\n\n<p>The New Yorker<\/p>\n\n\n\n<p>New York Magazine<\/p>\n\n\n\n<p>Salon.com<\/p>\n\n\n\n<p>National Public Radio<\/p>\n\n\n\n<p>Slate.com<\/p>\n\n\n\n<p>Chicago Sun-Times<\/p>\n\n\n\n<p>San Francisco Chronicle<\/p>\n\n\n\n<p>Newsweek<\/p>\n\n\n\n<p>The Nation<\/p>\n\n\n\n<p>New York Observer<\/p>\n\n\n\n<p>The Village Voice<\/p>\n\n\n\n<p>The Atlantic Monthly<\/p>\n\n\n\n<p>Rolling Stone<\/p>\n\n\n\n<p>Time<\/p>\n\n\n\n<p>The National Review<\/p>\n\n\n\n<p>New Times<\/p>\n\n\n\n<p>BBC<\/p>\n\n\n\n<p>The Observer<\/p>\n\n\n\n<p>The Nation<\/p>\n\n\n\n<p>The New Republic<\/p>\n\n\n\n<p>Chicago Reader<\/p>\n\n\n\n<p>Variety<\/p>\n\n\n\n<p>The Hollywood Reporter<\/p>\n\n\n\n<p>The Christian Science Monitor<\/p>\n\n\n\n<p>James Berardinelli \u2013 Reel Views<\/p>\n\n\n\n<p><strong>Approved Academic Film Journals <\/strong><strong>for Critical Review<\/strong><\/p>\n\n\n\n<p>Bright Lights Film Journal<\/p>\n\n\n\n<p>Cahiers du Cinema&nbsp;&nbsp;<br>Canadian Journal of Film Studies<\/p>\n\n\n\n<p>Camera Obscura<\/p>\n\n\n\n<p>Chicago Reader Brief Reviews &nbsp;&nbsp;<\/p>\n\n\n\n<p>CineAction<\/p>\n\n\n\n<p>Cineaste<\/p>\n\n\n\n<p>Cinema Journal (renamed<em> The Journal of Cinema and Media Studies<\/em>&nbsp;in October 2018)<\/p>\n\n\n\n<p>Cinema Scope &nbsp;&nbsp;<\/p>\n\n\n\n<p>Cinetext<\/p>\n\n\n\n<p>Continuum<\/p>\n\n\n\n<p>Feminist Media Studies<\/p>\n\n\n\n<p>Film &amp; History &nbsp;&nbsp;<\/p>\n\n\n\n<p>Film Comment<\/p>\n\n\n\n<p>Film Criticism<\/p>\n\n\n\n<p>Film Journal &nbsp;&nbsp;<\/p>\n\n\n\n<p>Film Quarterly &nbsp;&nbsp;<\/p>\n\n\n\n<p>Film-Philosophy &nbsp;&nbsp;<\/p>\n\n\n\n<p>Framework: The Journal of Cinema and Media &nbsp;<\/p>\n\n\n\n<p>Historical Journal of Film, Radio and Television<\/p>\n\n\n\n<p>Images: A Journal of Film and Popular Culture &nbsp;&nbsp;<\/p>\n\n\n\n<p>International Federation of Film Archives &nbsp;&nbsp;<br>International Federation of Film Critics (FIPRESCI) &nbsp;&nbsp;<\/p>\n\n\n\n<p>Journal of Popular Film and Television<\/p>\n\n\n\n<p>Journal of Religion and Film<\/p>\n\n\n\n<p>Jump Cut: A Review of Contemporary Media &nbsp;&nbsp;<\/p>\n\n\n\n<p>Kinema<\/p>\n\n\n\n<p>KoreanFilm.org &nbsp;&nbsp;<\/p>\n\n\n\n<p>Literature\/Film Quarterly<\/p>\n\n\n\n<p>MCLC Resource Center &nbsp;<\/p>\n\n\n\n<p>Mediascape<\/p>\n\n\n\n<p>MedieKultur<\/p>\n\n\n\n<p>Movie: A Journal of Film Criticism<\/p>\n\n\n\n<p>New York Times: Movies &nbsp;&nbsp;<\/p>\n\n\n\n<p>Offscreen<\/p>\n\n\n\n<p>New Cinemas<\/p>\n\n\n\n<p>Post Script: Essays in Film &amp; the Humanities<\/p>\n\n\n\n<p>Reverse Shot&nbsp;&nbsp;<\/p>\n\n\n\n<p>Rouge<\/p>\n\n\n\n<p>Scope: An Online Journal of Film and TV Studies &nbsp;<\/p>\n\n\n\n<p>Screen<\/p>\n\n\n\n<p>Screening the Past &nbsp;&nbsp;<\/p>\n\n\n\n<p>Senses of Cinema &nbsp;&nbsp;<\/p>\n\n\n\n<p>Senses of Cinema Great Directors Index &nbsp;&nbsp;<\/p>\n\n\n\n<p>Sight &amp; Sound &nbsp;&nbsp;<\/p>\n\n\n\n<p>Studies in French Cinema &nbsp;&nbsp;<\/p>\n\n\n\n<p>Studies in Hispanic Cinemas<\/p>\n\n\n\n<p>Synoptique: The Journal of Film and Film Studies &nbsp;&nbsp;<\/p>\n\n\n\n<p>The Alliance of Women Film Journalists &nbsp;&nbsp;<\/p>\n\n\n\n<p>Upperstall.com (Indian Cinema)<\/p>\n\n\n\n<p>Wide Angle<\/p>\n\n\n\n<p>Wide Screen &nbsp;&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; BEM 350 CINEMA HISTORY I Critical Review Essay Due Date:11\/30\/21 Length: Six (6) full pages in length. Double-spaced, [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[1],"tags":[],"class_list":["post-4958","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>How the silent film &quot;City Lights&#039;&#039; addresses the film\u2019s historical, artistic, formal, thematic, technical, or cultural significance - Highclasswriters<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/highclasswriters.com\/blog\/how-the-silent-film-city-lights-addresses-the-films-historical-artistic-formal-thematic-technical-or-cultural-significance\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How the silent film &quot;City Lights&#039;&#039; addresses the film\u2019s historical, artistic, formal, thematic, technical, or cultural significance - Highclasswriters\" \/>\n<meta property=\"og:description\" content=\"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; BEM 350 CINEMA HISTORY I Critical Review Essay Due Date:11\/30\/21 Length: Six (6) full pages in length. 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