Sequences Comparison Movie Review - Geostorm and Stagecoach

Art History 1921 Term Paper Fall 2017

Write on one of these assignments:

1)  See Geostorm (dir. Dean Devlin).  Then write an essay comparing the Indian attack sequence in Stagecoach with the car chase sequence toward the end of Geostorm when Max, Sarah, and another character (not to be identified here) leave the national convention at the stadium in the commandeered taxi. Then discuss those sequences in relation to the films as wholes, in terms of narrative concerns and construction, and cinematic style. For each sequence, analyze how the drama is constructed.  Consider not only dialogue and action, but also visual and aural elements such as lighting and camerawork (position and POV, framing, movement), editing, mise-en-scene, the sound track, etc.  Stylistically, is each sequence representative of the film as a whole?  Exceptional?  What is the relationship between the sequence and the larger narrative?  Does it build upon earlier moments?  Set up later ones?  How does the sequence fit in the larger narrative in terms of the personal relationships? Do the relationships and the outcome suggest particular sets of values? 

2) See Professor Marston and the Wonder Women (dir. Angela Robinson). Then write an essay comparing the relationship between Rick, Ilsa, and Laszlo with the relationship between Bill, Elizabeth, and Olive. What kind of relationship is involved?  What kind of issues? Consider how each narrative presents the relationship, its development, and resolution by focusing on a key scene (if possible not the first meeting of the three, or the final one, or the scene from Casablanca discussed in section; your selected scene does not need to include all three characters).  Each film uses surprises, reversals, and other plot devices to make the relationships dramatic and the outcome uncertain until the end; you may wish to select a scene that marks one such shift.  Consider not only dialogue and action, but also visual and aural elements such as lighting and camerawork (position and POV, framing, movement), editing (including transitions between scenes), mise-en-scene, the sound track, etc. Stylistically, is each scene representative of the film as a whole?  Exceptional?  What is the relationship between the scene or sequence and the larger narrative?  Does it build upon earlier moments?  Set up later ones?  How does the scene or sequence fit in the larger narrative in terms of the personal relationships and the events? Do the relationships and the action in the scene suggest particular sets of values?  

As a reminder, some other questions to be considered:

--What are the basic similarities and differences in the kinds of stories, and how are they reflected in the styles of the films, including their patterns of developments and key moments?  (It may be useful to prepare plot segmentation charts like the one in B&T, pp. 68-69).

--How is the relationship between plot and story handled?

--How are time and space handled?

--How does mise-en-scene support the action?

--What is the relation between sound and image?  How is dialogue used?  Music?  Other sounds? 

--How does the camera move, and with what effect?

--How do camera position and editing help to establish a point of view?

--What values does each film present, and how are they established?  Consider not only political and social values but, more generally, the kind of experience created by the movies.  Do they rely on fast-paced action?  Violence?  Suspense?  Surprise?  Comedy?  Melodrama and sentiment?  Romance? (You may wish to review B&T on form, feeling, and meaning, pp. 56-60.)

These questions should not be used as a mandatory checklist.  You may consider other questions and should decide what importance you wish to award any specific element.  You must, however, consider visual style.  

  Please italicize or underline your thesis statement, and the film titles. 

Credit lists are available on IMDb.com.  Use character names except when specifically referring to the actors.  

Papers should be five pages long, double-spaced, with one-inch margins (and no extra spaces between paragraphs), and printed out using 12-point Times New Roman font; make a xerox copy, just in case.  Submit your film notes with your paper, stapled or clipped together.