English 758 Exercises

English 758 exercises

1. Description exercise (200-300 words). The object of this exercise is for you to describe in detailed and specific language the key elements of Cukor's version of the speech or passage you've chosen as your focus. Focus not on offering an interpretation, but on describing what you see and hear as accurately and precisely as you can. You might focus on:

the actors' appearances, gestures, costuming, emphasized words;
interactions between characters, movement (or "blocking") of the actors during the passage;
the set;
the camera shots (high shot, low shot, closeups, wide shots, stationary camera, moving camera);
editing (are there many or few cuts? are the individual shots long or short? do the shots focus our attention on certain characters or actions?);
special effects;
sound (is there music? of what sort? is there much or little dialogue? are there sound effects? do we see the sources of the music or sounds?).

You cannot discuss everything you see and hear, so focus on what is most significant within the passage. You will find that this exercise is easiest to complete right after you've seen the film. This is due at class time on February 6, 2002.

2. Film comparison exercise (200-300 words). The object of this exercise is for you to compare and contrast two film performances of the same passage. Compare a passage from Zeffirelli's film with a similar passage from Luhrmann's film. Your goal is to identify the most significant ways in which these film performances are similar and different.
You might focus on–

similarities or differences in how the directors cut, rearranged, or revised the script;
similarities or differences in how the parts are cast, or in how the actors speak the lines, or in how the actors are blocked within the scene;
similarities or differences in costuming, sets, or special effects;
similarities or differences in how the scenes are photographed (how the camera is handled, how editing is handled);
similarities or differences in sound or music.

These films are similar and different in many ways, so focus your discussion on those elements most significant for the interpretation of Shakespeare's Romeo and Juliet. Once again, avoid using language that brings value judgments into play; do not suggest or imply that one film is better than the other. This is due at class time on February 13, 2002.

3. Style exercise (200-300 words). The object of this exercise is for you to make a relatively specific observation about the cinematic style of Welles's Othello film as a whole. That observation should be concern something that is not immediately apparent to a casual viewer of the film. You should look for repeated patterns throughout the film, and offer examples from several different scenes to support your observation.
You might focus on–

filming style: does Welles tend to use certain camera angles (high, low, etc), certain kinds of shots (closeups, long shots), certain kinds of lighting, certain kinds of camera movements (zoom in or out, panning, static camera), certain kinds of editing style? How does he use these kinds of stylistic techniques in the service of creating a specific mood, emphasizing certain interpretations of the text, adding to or revising Shakespeare's text?
visual style: do you notice significant patterns in how the actors are costumed, the sets are decorated or lit, how the action is blocked, how visual symbols are introduced, how visual elements interact with Shakespeare's language? How does Welles use these kinds of stylistic elements to create meaning, emphasize certain interpretations, create a specific mood?
acting style: do you notice significant patterns in how the actors approach their characters, what gestures they choose, what volume or intonations they choose for their character, how they interact with other characters? What interpretation of the character(s) do these patterns of acting imply?

Remember that you may find several patterns operating in the film; choose the one you think is the most significant for establishing Welles's interpretation of the Othello story. Once again, avoid using language that implies a value judgment about Welles's film. This is due at class time on February 25, 2002.

4. Script and film exercise (200-300 words). The object of this exercise is for you to compare a passage of Shakespeare's script to how it is handled within the film. Focus on comparing the script to the particular performance of it given within Burge's film. You will need to combine close description of details with comparison and contrast. Avoid making value judgments about the differences or similarities between the script and the film.
You might focus on–

where Shakespeare's script is cut, rearranged, added to, or revised;
how the way in which the lines are spoken–speed, intensity of delivery, volume of voice, quality of the voice–emphasizes certain words or ideas (or played them down);
how visual imagery–costuming, set, special effects–is linked to imagery in the script (or runs counter to it or is added to it);
how the key movements or gestures of actors accord with or run counter to movements or gestures specified or implied in the script;
how music or sound effects affect the tone or mood of the script in performance;
how camera techniques accord with or change the focus of attention within a passage.

You cannot discuss every similarity and difference between the script and the filmed performance, so focus on describing the most important similarities and differences as specifically and precisely as you can. Avoid using language that brings value judgments into play. Avoid words like, for example, "effective" or "not effective," "enhances," "deviates" or "detracts from"; instead prefer more neutral terms like "adds," "changes," or "revises." This is due at class time on March 4, 2002.