CINE 340 Final

Hayward argues that metonyms, unlike metaphors, are ____________.

invisible *"Metaphors, then are very visible. They draw attention to themselves. Metonyms are not. And this is why the two terms can be seen as two sides of a same coin. Metaphors render the unknown visible, make the unknown have presence. Metonyms represent what is absent, stand as part of the whole story to which they refer, which is why they work invisibly" (Hayward, 251-2).

In classical Hollywood cinema, style ____________ narrative.

is subordinate to *David Bordwell has called Hollywood cinema an "excessively obvious cinema." Narrative is most important in this style. Lighting, editing, sound, and other formal devices are used to explain and support the narrative and should not call attention to themselves. Hayward writes, "in this cinema, style is subordinate to narrative" (Hayward, 84).

Cutting from one character who is looking at something to the object of her gaze is an example of a __________.

match cut Hint: This technique is also known as eyeline matching and is often used in Hollywood cinema to maintain continuity.

In trying to create a reality-effect in cinema, Hollywood cinema ________ reality.

naturalizes *Hollywood normalizes the reality it portrays, making the values and beliefs encouraged by the plot seem natural and proper. The propensity of Hollywood films to romanticize heterosexual relationships and domestic family life naturalizes patriarchal ideologies that govern society (Hayward, 84-85).

Saussure made the important claim that the relationship between signifier and signified are _______________.

Arbitrary *Saussure observed that the relationship between signifier and signified are arbitrary. The word 'tree' has nothing to do with an actual tree, but because of social convention and custom, we associate the two together.

Hayward writes, "Black film-makers have refused, through their film practices, to be measured by the two key modalities usually imposed by critics on films coming from the margins: __________."

Authenticity and Realism *Hayward stresses, citing Kennedy, that this black cinema "is not one that is seeking to marginalize itself as avant-garde but one that is seeking to deconstruct hegemonic practices from within" (59). The filmmakers refuse to be pigeonholed into niche roles of representing only a narrow black experience.

Quotes should ____________.

Be integrated into your argument *Quotes should be integrated into your argument and support your argument. Quotes should not make your argument for you. You need to contextualize and frame quotes to guide your reader to see how to interpret the quotation and how it fits within and supports your argument.

Blaxploitation films died out in the late 70s because _____________.

Black men felt they could no longer relate to the characters *Hayward cites two reasons for the downfall of the genre. First, blacks made up the majority of the audience for the films, and they only represented a fraction of the movie-going population, making the films not particularly lucrative for Hollywood backers. Second, the political rise of the Black Power Movement caused black men to see the images of blacks as pimps and drug addicts in blaxploitation films as not fitting with the new image of black masculinity (Hayward, 55).

The postmodern assembling of different styles, textures, genres or discourses is known as _______.

Bricolage *Hayward writes that bricolage "is an assembling of different styles, textures, genres or discourses. In oppositional postmodern art this takes the form of replicating within one discourse the innovations of another... The most common replication in cinema of other textural mediums is the plasticity of video and painting" (Hayward, 304-5).

The 'bankability' of a star refers to the star's _______.

Capital value *Star as capital value refers to the value of a star as an exchangeable commodity. Certain stars command higher salaries or draw wider audiences, so different stars have different capital value.

Hayward argues that the idea of the family, especially as seen in melodramas, is the site of and reproduces _______________.

Capitalism and patriarchy *Hayward notes that melodrama arose alongside 19th century capitalism, which created the need of the family in order to protect possessions through inheritance, and that "the family becomes the sites of patriarchy and capitalism - and, therefore, reproduces it" (Hayward, 236).

Hayward argues that the auteur theory of the Cahiers group is ________.

Conservative *"This quasi-Oedipal polemic established the primacy of the author/auteur and as such proposed a rather romantic and, therefore, conservative aesthetic. And, given the hot political climate in France during the 1950s, it is striking how apolitical and unpoliticized the group's writings were — pointing again to a conservative positioning" (Hayward, 33).

__________ was not considered in film theory until the 1960s.

Deconstruction *Deconstruction, which argued that there was no single reading of a text, was introduced by Jacques Derrida around 1967 (Hayward, 413). Deconstruction was the real break that signaled the shift from structuralism to post-structuralism.

Whenever you use specific terms critically, you must first ____________.

Define them *It is important to first define the terms you engage with critically, since the reader may not know what you mean. Even with an academic audience, there are many different definitions and interpretations of a single term or topic, so it is important for you to make sure you tell the reader how you are understanding and using your terms.

Though stardom is built on excess, once that excess has negative value, Hayward writes, it becomes translated into ____________.

Deviancy *"The construction of a star is about excess, excess of meaning ascribed to her or him...Excess then has positive value for the studio, star and spectator. But it soon becomes translated into deviancy once it has negative value primarily for the studio. Sexuality and consumption practices are, unsurprisingly, the areas in which stars 'transgress'" (Hayward, 380).

Hayward writes, "Ideology is the ____________ that invests a nation or society with meaning."

Discourse *Hayward writes that ideology is discourse and thus lies at the juncture of language and politics. It is a set of beliefs, a system of meanings of signs that is commonly shared by a society. She writes, "It is a system of ideas that explains, makes sense of, society" (Hayward, 215).

Sturken writes that men are "ultimately ____________ the story."

Dispensable in

What aspect of the narrative does Motley use to make the following argument: "After considering the film carefully, I have come to realize that Unforgiven, while retaining the complexity I suspected it of having, has none of the subversive elements. In fact, the elements of the film often noted as critiquing traditional notions of Western manhood—such as Eastwood's portrayal of the aging killer turned-unimpressive "pig farmer" William Munny — actually are the mechanics enabling the attainment of a manhood predicated on Slotkin's redemptive violence and manly aggression (1)."

Ending scene *"The bulk of the film appears to subvert our conception of Western manhood only to allow for the vindication of Munny's manhood during the climactic ending (1)."

Modernism is said to begin with the ____________.

Enlightenment *"Modernism finds its roots in the Enlightenment period of the eighteenth century and man's (sic) belief in the supremacy of human reason over all considerations" (Hayward, 254). Modernism is further characterized by an optimistic belief in scientific progress. The scientific method was considered the only valid way to gain knowledge.

In cinema studies, you will most likely not write ____________ essays.

Evaluative *In cinema studies, you will rarely if ever write evaluative essays. Evaluative essays are for critics whose job is to tell their audience if they felt the movie was good or bad. Such essays are always based on personal criteria of what makes a film good and are not critical. In other words, evaluative essays are opinion pieces. Critical essays are mostly interpretive, with descriptive parts.

One of the key defining traits of melodrama is ____________.

Excess *Hayward sees at least two reasons for the excess in melodrama. First, in trying to appeal to women, the "arbiters of taste in the home," filmmakers invest in "a surplus of objects and interior decor" (Hayward, 237). Second, because it "reflects the bougeois desire for social order to be expressed through the personal," "there is an over-investment in the family," leading to excess (238).

Guerrero believes that Spike Lee's depiction of the circumstances surrounding police brutality is ____________.

Fairly balanced *Hint: Guerrero writes that Lee's treatment of the situation is similar to how he portrays other controversial topics in the film.

Cross-cutting is another name for parallel editing.

False * Parallel editing is used to show two actions that are related but take place at different times.

Gender is another word for biological sex.

False *"Gender has a socio-cultural origin that is ideological in purpose and must be seen as quite distinct from the notions of biological sex and sexuality," writes Hayward (179). Thus gender is not biological sex. Gender refers to socio-cultural constructs of what it means to be male and what it means to be female. However, part of the ideology tries to make the connection between the two natural.

The shift from modernism to postmodernism occurred in 1968.

False *"You will note from the entry on postmodernism that it is difficult to pinpoint where modernism ends and postmodernism begins. It is better to think in terms of an overlap between the two — an overlap that occurs, first, because not all aspects of art became postmodern simultaneously and, second, because there is not often full agreement, among critics and theorists, on the categorizing of a particular cultural artefact" (Hayward, 253-254).

Annette Kuhn stresses the importance of having only a single theory of feminist film theory.

False *According to Hayward, Annette Kuhn "rightly points out that there does not exist one single theory, rather a series of 'perspectives'" (Hayward, 134). Kuhn writes that feminism is "a set of political practices," not simply one (as quoted in Hayward, 135).

Annette Kuhn argues that films purposefully leave things out to draw attention away from them.

False *According to Kuhn, "what gets repressed, left out, draws attention to itself by its absence" (Hayward, 217). So the absence of these ideological elements, what Kuhn calls structuring absences, draws attention to, not away from, them, making their absence palpable.

Foucault writes the author is an inexhaustible source of meanings.

False *Foucault argues that the author limits the proliferation of meaning. He writes that we use the idea of the author to limit meaning, making the author "the ideological figure by which one marks the manner in which we fear the proliferation of meaning." Essentially, when we tie a work to an author, we are limiting the interpretations of that work.

Genre is determined by the form and content of the film, from themes and specific plot structures to editing and cinematography.

False *Hayward writes, "genre does not refer just to film type but to spectator expectation and hypothesis (speculation as to how the film will end). It also refers to the role of specific institutional discourses that feed into and form generic structures. In other words, genre must be seen also as part of a tripartite process of production, marketing (including distribution and exhibition) and consumption" (185).

Foucault calls for a writing that would be without limits, allowing for the proliferation of meaning.

False *He believes it is impossible to not limit writing. "It would require pure romanticism," he writes' "to imagine a culture in which the fictive would operate in an absolutely free state.... I think that... the author function will disappear, and in such a manner that fiction and its polysemous texts will once again function according to another mode, but still with a system of constraint..."

The Cahiers critics originally used the term auteur to refer to the French New Wave filmmakers such as Truffaut and Godard.

False *The Cahiers critics initially used the term for directors such as Alfred Hitchcock and Samuel Fuller, filmmakers who could maintain their distinct visual style within the limitations of Hollywood. They argued that such directors were the authors, or the main creators, of their films. They then used the term for other directors outside of Hollywood who had their own unique style. Many from the Cahiers group went on to make their own films, starting the French New Wave (Hayward, 32).

The film ends with the suicide of Thelma and Louise.

False *The ending is ambiguous and not necessarily a suicide. Sturken quotes screenwriter Khouri as denying that the film ends with suicide, claiming that the ending is symbolic, showing the two women as flying away, not dying (Sturken, 73).

Barthes' initial work on Saussurean semiotics initiated poststructuralism.

False *While Barthes was an important precursor to poststructuralsm, his initial work following Saussure "gave birth to a new theoretical system known as structuralism" (344). Barthes used semiotics to look beyond just language towards other sign systems in use throughout society and culture.

The idea of the author, according to Foucault, is universal across time and other cultures.

False *Foucault writes that the idea of the author has a history and is not a concept that has always existed. Furthermore, the idea is not the same across all cultures, either. He writes that "the author function does not affect all discourses in a universal and constant way... it does not affect all discourses in the same way at all times and in all types of civilization."

Black cinema has always been and continues to be independent on Hollywood.

False/Nope *Hollywood has played a significant role in the development of black cinema. Hayward writes that "the emergence of Black cinema is not thanks to Black financing but is a result of Hollywood's economic policy which has co-opted Black cinema into its industrial monopoly" (59). Many black filmmakers in Hollywood argue that they are there "to expand the definitions and possibilities of being black and to subvert the dominant norm by marketing a 'black sensibility' to as broad an audience as possible" (Guerrero as cited in Hayward, 57).

The binary of the star being icon and person functions to __________ the star.

Fetishize *Hayward writes that stars function on two levels. First, they are extraordinary, icons that have cultural value and are impossible objects of our desire. Second, they are ordinary, individuated persons with whom we can identify. She writes, "This binary effect functions to fetishize the star - in neither instance is the star subject, always object" (Hayward, 381).

What cinematic technique does Eastwood use to associate his regained manhood with the med in the audience?

First-Person Angle *"Importantly, during the shootout at Greeley's, Eastwood as director employs first-person camera angles that put the viewer in the perspective of Munny (5-7)."

Originally, writing was linked with __________ death.

Forestalling *Foucault writes that there was "an old tradition exemplified by the Greek epic, which was intended to perpetuate the immortality of the hero... [an] idea of narrative, or writing, as something designed to ward off death."

Feeling limited by psychoanalytic theory, feminists in the US such as Teresa De Lauretis turned toward the work of __________.

Foucault *Writes Hayward, "In the United States, feminists more specifically turned their attention to the French philosopher Michel Foucault and his theory of power as well as his 'notion of the social as a practical field in which technologies and discourses are deployed'" (Hayward, citing De Lauretis, 144).

The film (Thelma and Louise) mixes and rereads a variety of _______________.

Genres *The film is a blend of a wide range of genres, from the buddy film and the road movie to the outlaw movie and rape-revenge film. But moreover, Sturken notes, the film is also "a rereading of several classic film genres. As unlikely criminals and outlaws, Thelma and Louise recall and then rescript many iconic heroes of American cinema" (Sturken, 23).

One problem with the psychoanalytic debate on gender, according to Hayward, is that it ignores _______________.

History, class and race *Hayward writes that the psychoanalytic debate "does not go far enough... for two reasons. First, it smacks of a self-fulfilling essentialism: 'it will always be like this'. Thus psychoanalysis explains subject construction and so to a degree sanctions it. Second, if it does show a way to challenge gender ideology it assumes that it will take place at the level of language. But this is to ignore the other forms of social determination such as history, class and race" (Hayward, 181).

What is the audience of Unforgiven invited to see?

How audiences can regain their manhood. *"The audience is not to view William Munny's progression from pig farmer to Western hero as something isolated and fantastic, but rather we are invited to see Munny's attainment of manhood in a "realistic" world as what is possible for all men when their manhood is challenged."

Robin Wood argues that genres are not 'safe' but rather influenced by ____________.

Ideology *"As Robin Wood makes clear, genres are not 'safe' but are ideologically inflected. Ideological inflections within film genre find representation through a series of binary oppositions" (Hayward, 186). For instance, the genre of the Western includes the opposition of cowboys and Indians, with the former being good and the latter evil.

Daniel Dayan looked at suture of shot/reverse shot in the context of __________.

Ideology *"If, [Dayan] argues, the system of suture renders the film's signifying practices invisible, then the spectator's ability to read or decode the film remains limited. In this way the system allows the ideological effect of the film to slip by unnoticed and to become absorbed by the spectator. Film becomes hegemonic rather than a reflection of reality" (Hayward, 381).

Hayward writes that Barthes' two orders of signification, denotation and connotation, produce a third: ____________.

Ideology *Denotation is the surface meaning of a sign, what the sign signifies literally. Connotation includes "all the associative and evaluative meanings attributed to the sign by the culture or the person involved in using it — and as such is always sensitive to context" (Hayward, 346). Because both are socially constructed and reflect not only individual but cultural attitudes and values, signs have an ideological element.

The thesis must be supported _______________ of the paper.

In every paragraph and section *Every element of your paper should be in support of the thesis. The thesis is the main argument and the main point of your paper. The purpose of the entire essay is to convince the reader of the argument made by the thesis, so all parts of the essay must follow from that goal. This also helps you stay focused while writing.

Sturken writes that the most important progression in the film is ____________.

In how the characters change roles *Initially, Sturken writes, Thelma is the childish and impulsive character while Louise is the parental figure. However, their roles switch during their journey, with Thelma taking charge and Louise following. There is a power shift within the film (Sturken, 27).

According to Guerrero, one of the unique aspects of Do the Right Thing that separates the film from other Hollywood productions is that it addresses racism ____________.

In the present *Guerrero contrasts Lee's portrayal of contemporary racism to Hollywood's traditional method of addressing racism through historical events such as slavery or in foreign contexts, such as South African apartheid (33).

Althusser's term for the production of the subject through ideology is ____________.

Interpellation *Althusser believes that ideology is "produced 'by the subject for the subjects'... Individuals recognize and identify themselves as subjects of ideology. Althusser's central thesis [is] that 'ideology interpellates individuals as subjects'—that is, that ideology constructs the subject, that the subject is an effect of ideology" (Hayward, 216). Thus Althusser disagrees with Marx that ideology is top down and says that there is a consensual aspect to ideology.

According to poststructuralism, all texts have ____________ relations with other texts.

Intertextual

Cinema is an ideological apparatus because it is ____________.

Invisible *Cinema is an ideological apparatus because it is seamless and we do not see its mode of production, instead making it seem natural. "Mainstream or dominant cinema, in Hollywood or elsewhere," Hayward writes, "puts ideology up on the screen" (216).

Saussure identified the universal structure of language and its manifestation in different cultures respectively as ____________.

Langue and parole

__________ was the first to look at the issue of female spectatorship in cinema.

Laura Mulvey *Hayward writes that Mulvey's 'Visual Pleasure and Narrative Cinema' "sought to address the issue of female spectatorship within the cinematic apparatus and psychoanalytic framework established by [Baudry, Bellour, and Metz]. Mulvey's essay represented a turning point in film theory in that it was the first to introduce emphatically the question of sexual difference as a necessary area for investigation" (Hayward, 372).

Guerrero writes, "Do the Right Thing's political voices, from loudly overt to suggestively simple, are rendered in _______________ heroic terms."

Less than *Guerrero argues that figures such as Buggin Out and Radio Raheem, who directly or indirectly espouse radical political action, are not wholly sympathetic characters and reflect Lee's rather complex approach to tackling issues of race (34).

Who represents the domestication of Big Whisky?

Little Bill *"Little Bill, though unequivocally manly himself, is paradoxically the primary domesticating agent in the film. He is always stopping the development of manhood in others and is ultimately Munny's nemesis in his own quest for manly redemption (3)."

Early theorists of the spectator assumed the spectator as ____________.

Male *Hayward writes that Baudry, Bellour, and Metz used Freudian theory to examine the role of the spectator, but following Freud's theory of the Oedipal trajectory, assumed the spectator as male (Hayward, 370).

Hayward argues that melodramas are inherently ____________.

Masochistic *Hayward argues that melodrama focuses on the victim and "dreams of the unobtainable - emotions, including hope, rise only to be dashed, and for this reason the melodrama is ultimately masochistic. Melodrama plays out forbidden longings, symptomatic illness and renunciation" (Hayward, 240).

Sturken writes that director Ridley Scott depicts the road as the territory of ___________.

Men and machines *Sturken writes, "Scott depicts the western road as the territory of men and machines, in which women are transgressing when they are driving, rather than working as store clerks, waitresses or prostitutes" (Sturken, 37).

Guerrero uses Radio Raheem's haranguing of the Korean grocers as an example of Lee's use of ____________.

Mirror effects *"Lee deploys the mirror effect, by which opposing personalities, ethnicities, social groups, generations tend to mirror each other's perceptions, suspicions and hostilities" (Guerrero, 49).

According to Sturken, the relationship between men and women in the film is essentially one of __________.

Misunderstanding *Sturken writes that the men and women in the film misunderstand each other. "Put simply," she writes, "the male and female characters of the film do not have the same understanding of words or ways of expressing themselves" (Sturken, 44).

Hayward writes that melodrama coincides with the rise of ____________.

Modernism *Hayward argues that melodrama "coincides... with the rise of modernism and can be seen as a response to the French Revolution, the Industrial Revolution and modernization" (Hayward, 236). Melodramas were based on bourgeois moral codes and focused on the family.

__________ distinguished between melodrama and women's films.

Molly Haskell *"In her analyses of the 1930s and 1940s Hollywood cinema," writes Hayward on Molly Haskell, "she made the important distinction between melodrama and women's films - the latter, as she pointed out, being made specifically to address women. This... point, that of the central role of the female protagonist and female spectator, led to a renewed and different focus on genre and the possible aesthetic and political consequences of gender difference" (Hayward, 135-136).

Spike Lee believes that Hollywood tends to see black audiences as ____________.

Monolithic *"Lee has consistently complained about the industry's tendency to see black people as a 'monolithic audience' at Hollywood's command, a captive social formation of unvarying consumer tastes with no class distinctions or differences in social or regional orientation" (Guerrero, 22-23).

Saussure argues that language signifies ____________, not transparency.

Myth

Who are the failed men that help establish the "true" manhood of William Munny?

Ned Logan and the Kid *"The Schofield Kid's disillusionment with violence is often noted as an important moment in the film's subversion of traditional Western manhood; in actuality, his lying, verbosity, bragging, ineptness, and ultimate refusal to partake in violence, only highlights Munny's bedrock manhood (4)." And "Ned Logan's failed attempt at manhood stands even more starkly in relief to Munny's successful bid"(4)

Ghetto-centric films tend to represent women ____________.

Negatively *"So far in the majority of these movies women occupy predominantly two positions: 'bitch', the wilful woman ripe for being brought down, or 'ho', the sexually demanding and not easily satisfied woman" (Hayward, 58). Hayward goes on to say that women are mostly defined in relation to men and not as independently developed characters.

Guerrero argues that Spike Lee's uses symphonic music to subtly assert a claim to ____________.

Nostalgic Americanness *Guerrero suggests that Lee lays claim to a certain nostalgic Americanness, "pointing to the broader African American contention that 'blackness'... is the quintessential American experience" (59-60).

According to Guerrero, Lee ____________ addresses issues of black sexuality in his films.

Often *"Lee has gone on to make the visual representation of black (or black/white) heterosexual pleasure a consistent component, scene, moment, or issue in almost of all of his films" (Guerrero, 65).

Women's films produce female subjectivity __________.

Only to destroy it *"Women's films," writes Hayward, point to Hollywood's capacity to produce a female subjectivity and then destroy it" (Hayward, 745). The woman is ultimately punished for having subjectivity and forced back into the bounds of patriarchal order.

The two aesthetic modes most often tied with postmodernism are ____________.

Pastiche and Parody *"In relation to the contemporary cultural aesthetic, then, the postmodern adopts two modes. In its mainstream mode, it manifests itself through mannerism and stylization, through pastiche — imitation of what is past. In its oppositional mode - that is, in its despair at the nothingness of style - it turns to parody, an ironization of style, form and content (as in Samuel Beckett's plays and novels)" (Hayward, 302).

Sturken argues that critics who feared the film's impact (Thelma and Louise) were ____________ the viewing audience.

Patronizing to *Sturken writes that "this accusation... not only ignores the complexity of the film's ending, but also assumes that viewers are easily swayed by what they see on the screen. The viewer might take this literally, these critics seems to imply, in a move that displays a certain contempt for the average movie-goer's capacity to separate story from reality" (Sturken, 17-18).

What must men in a Western film endure to attain the mark of a real man?

Physical Challenge *"Thus, for manhood in Westerns to be achieved, the male body must be challenged, beaten, convalesce, and recuperate to ultimately earn the mantle of manhood. It is the ability to persevere and triumph over hardship that is the mark of a man in the Western (5)."

Though necessary, please avoid writing more than a few lines of ____________.

Plot summary *Though it is necessary to set context for your analysis, this can be done in just a few lines. Entire plot summaries are usually unnecessary and take away precious space from your analysis. If it is necessary to summarize the film's entire plot, try to do so as concisely as possible immediately after the introduction.

____________ is one of the defining traits of postmodernism.

Pluralism *"In its rejection of universal norms, postmodernism refutes generalizations that exclude, and advocates a plurality of individualized agency" (Hayward, 309). Postmodern goes against modernism's obsession with grand narratives and instead shows the importance of other, typically neglected narratives.

Post-structuralism opened up textual analysis to __________."

Pluralism *Poststructuralism went against a singular reading of the text and stressed that there were multiple ways to read a text, that there is no one, final reading of the text. Hayward writes, "In the final analysis poststructuralism opened up textual analysis to a pluralism of approaches which did not reduce the text to the status of object of investigation but as much subject as those reading, writing or producing it" (Hayward, 413).

Guerrero sees the film's focus on ____________ as having the greatest impact on the film's stature as a socially important masterpiece.

Police brutality *"More than any other issue on Do the Right Thing's complex representational agenda, though, the film's astute and timely focus on police brutality, in all of its attendant, corrupt expressions, will always rank it as one of the most socially relevant and prophetic masterpieces of American cinema" (Guerrero 70-71).

Foucault argues that replacing the author with the work or writing itself _______________ the privileged position of the author.

Preserves

For Leo Braudy, genre also ___________ the social and cultural concerns of the audience.

Reflects *Hayward writes, "as Leo Braudy believes... genre serves as a barometer of the social and cultural concerns of cinema-going audiences. Genres have codes and conventions with which the audience is as familiar as the director (if not more so). Therefore, some genre films 'fail' because the audience feels that they have not adhered to their generic conventions sufficiently or because they are out of touch with contemporary times" (Hayward, 187).

Why did some critics of Unforgiven laud the film for its "realistic" representation of the west?

Represented mundane aspects of the West other films in the genre do not. *"Unforgiven earns the appellation "realistic" through its unglamorous view of Western life when compared to most movies of the genre. For example, the once-wild gunfighters, Will Munny and Ned Logan (Morgan Freeman), have married and become farmers (2)."

The problem with ideology, according to Marx, is that it reflects the beliefs and norms of the _______________.

Ruling class *Marx argues that "the ruling classes not only rule, they rule as thinkers and producers of ideas and so control the way the nation perceives itself and, just as importantly, they regulate the way other classes are perceived or represented" (Hayward, 215). Ideology sets up the ideas of the ruling class as the norm, creating what he calls false consciousness, a belief that the way things are is natural.

Outside support for your paper should come from ____________.

Scholarly sources *Scholarly sources are peer reviewed by experts that make sure the articles and books make valid, well supported arguments before they can be published. There is no guarantee of such vetting procedures for popular sources such as blogs or Wikipedia.

Foucault writes that after the 17th or 18th century, ____________ no longer privileged the author.

Scientific discourses *Foucault notes that before the 17th or 18th century, literary discourses typically were not attributed to the author while the author was important for scientific texts to establish authority. However, this changed and science was seen as a universal truth, and the author function became largely irrelevant.

Laura Mulvey primarily examined the relationship between ____________.

Screen and spectator *"Mulvey's focus was less on textual operations within the film and more on the textual relations between screen and spectator. ['Visual Pleasure and Narrative Cinema'] is perceived as the key founding document of psychoanalytic feminist film theory" (Hayward, 138).

Feminist film theory arose out of the ____________ wave of feminism.

Second *Hayward writes that "feminist film theory did not come about fully until the late 1960s as a result of the second wave of feminism—the first being the Suffragists and Suffragette movement of the early 1900s" (134).

Hayward writes, "In its _______________ the camera has built into it the very essence of modernism which it could exercise provided production practices do not render its operations invisible."

Self-reflexivity *Hayward identifies self-reflexivity as a defining trait of modernism, and sees in the camera's self-consciousness a self-reflexivity that makes it inherently modernist. The camera mirrors our own vision, and it only has meaning when someone sees what it sees (258).

Marxists argue that gender is constructed not simply by language but also ____________.

Society and culture *Hayward writes that Marxists "see gender ideology as a social and cultural construction that attempts to construct gender upon purely binary lines... Gender is constructed not just through language but through social ascriptions and cultural practice. Thus, gender ideology is represented in a variety of cultural practices: literature, mass media, cinema and so on" (Hayward, 181).

Suture usually refers to the relationship between __________.

Spectator and text *Suture is originally a medical term for stitching up a wound. "In film theory," Hayward writes, "the system of suture has come to mean, in its simplest sense, to stitch the spectator into the filmic text" (404).

Auteur theory is associated mostly with ________.

Structuralism *Auteur theory, which emphasized the importance of the director with creative control, became influenced by structuralism, because a structuralist approach seemed to lend an objective validity to the essentially romantic notion of the auteur (Hayward, 35). It was poststructuralism that shattered this notion by decentering the author and questioning the existence of a universally valid, underlying structure.

Film critic Manohla Dargis writes that Thelma and Louise's "crime is not murder, it's __________."

Subjectivity *Sturken writes, "Yet the film's most important statement on the question of the law and rape is precisely in its premise, from the moment htat the shooting takes place, that the women have no choice but to evade the law. Their crime is their inability to stay within the law" (Sturken, 68).

Guerrero compares _______________ with an "Afro-Greek chorus."

Sweet Dick Willie, ML, and Coconut *"Permanently installed on the end of the block and functioning as an Afro-Greek chorus, punctuating the day's narrative with their wry commentary, are the idle 'corner men'—Sweet Dick Willie (the late Robin Harris), ML (Paul Benjamin) and Coconut Sid (Frankie Faison)" (Guerrero, 30).

A helpful acronym that describes the structure of an argumentative essay is ____________.

TREE *TREE stands for: Thesis supported by Reasons, which rest upon Evidence and Examples. Critical essays should be based on evidence and examples and should not be opinion pieces. There needs to be specific reasons to support the argument that are based on theory and solid analysis. Critical essays are not opinion.

Where does William Munny redeem his man hood - what space?

Tavern *"The climactic shootout in Greeley's tavern is the full renaissance of western manhood in Munny and in the movie. Munny kills Little Bill, the one true man in town and its primary domesticator, along with four of his deputies" (5).

Sturken notes that it is ____________ that allows the men to find the women.

Technology *Sturken writes that "To know someone in legal terms is to know them thrgough technology and certain legal codes of description... As the film progresses, and the men get closer to finding out where the women are, it is technology that allows them to do so" (Sturken, 54).

Which of these will cause your professor to cry?

The entire essay being a single paragraph *Writing the entire essay as a single paragraph will cause Dr. B to cry. It is a scientific fact. (douche) Please make sure your paper is well structured and organized, with the various parts clearly delineated.

Who is to ultimately triumph in Unforgiven?

The male audience. *"Thus, Unforgiven's mix of the mundane and the manly, the 'realistic' and the fantastic, stepped into this cultural moment, assuring its male audience that when manhood is cornered, threatened, it is only an opportunity, a stage, for it to emerge triumphant" (6).

Film titles should always be followed by ____________ the first time they appear.

The name of the director and year of release *Film titles should be followed by the name of the director and year of release in parentheses. Doing so will avoid confusion in case there is another film of the same title, or even a remake of the film. Even if there is only one film of that name, that does not mean another film of the same name could not be made some time in the future.

For Oudart, the primary suturing device for classical narrative film is ____________.

The shot/reverse shot *"For Oudart the system of shot/reverse-angle shot is the primary suturing device in classical narrative film. In this series of shots, which establishes the point of view of two characters in (say) a conversation, the spectator adopts first one, then the other position and becomes both subject and object of the look" (Hayward, 407).

Hayward, citing Gledhill, writes that the star as construct has three parts: the real person, the character the star plays, and __________.

The star's persona *Stars build their own mythology, and the star's persona is a crucial element. There is the real person, then the characters on screen, but what really makes the star a star is their persona, which is produced by a combination of the other two.

The mid-twentieth century is defined by a search for a __________ theory.

Total *The film theories of the 1940s-1960s were primarily concerned with finding a total theory that could be a universal explanation of how film works. Structuralism, which was dominant in this period, sought the hidden, underlying structure of film (Hayward, 412).

Theorists such as Salt, Rothman, and Heath found the traditional idea of suture to be too limiting.

True *"Other theorists saw this interpretation of the system of suture as too limiting both in terms of its enunciation (how it negotiates the spectator's access to film) and in its relation to ideology... Salt, Rothman, Heath, and Silberman all argue that to limit suture to the shot/reverse-angle shot is to lose sight of the fact that, as a shot, it is not a dominant one in cinema... and that this shot should be seen as just one example of suture alongside other devices consistent with continuity editing" (408-409).

Foucault argues that the idea of the author is a construct and has not always existed.

True *Foucault begins the essay by writing that "The coming into being of the notion of ;author' constitutes the privileged moment of individualization in the history of ideas, knowledge, literature, philosophy, and the sciences."

Foucault argues that authors have a discursive function.

True *Foucault sees the author as a discursive function and not something entirely within or without discourse. The author function reveals how the discourse is to be received, thought of. He writes, "The author's name manifests the appearance of a certain discursive set and indicates the status of this discourse within a society and a culture."

Foucault shows that assigning a work to an author is a complex task.

True *Foucault shows that there are many problems with attributing works to a certain author. For instance, we can never really know with Shakespeare, if he did in fact write all of the plays attributed to him. Then we have to come up with different criteria to judge if a text belongs to a specific author, but this is never certain.

According to Foucault, the idea of the author as owner emerged from the need to punish the author.

True *Foucault traces this idea back to transgressive discourse, discourses deemed heretic or blasphemous to the powers that be, and writes that the idea of the author as owner came into being because of the need to punish those who wrote transgressive texts. He writes, "Texts, books, and discourses really began to have authors... to the extent that authors became subject to punishment, that is, to the extent that discourses couuld be transgressive."

Gaze theory posits that there are three gazes, all of which are assumed as male.

True *Hayward writes that "in so far as the exchange of looks is concerned, in dominant cinema, it comes from three directions - all of which are 'naturally' assumed as male" (Hayward, 177). The three gazes are that of the camera, the characters (man gazing at woman), and the spectator.

Mary Ann Doane argued that female spectators were positioned as either masochistic or transvestitial.

True *Hayward writes that Doane "argues that the female spectator's positioning was twofold. She adopted either a masochistic positioning (identifying with the female passive role) or that of a transvestite (identifying with the male active hero)" (Hayward, 373).

One of the appeals of melodramas for women is that the male characters are feminized.

True *Hayward writes, "The male is not in his typically ascribed space, in the work sphere, the sphere of action. He is in the domestic, female sphere which is the non-active, even passive sphere. In order to achieve a successful resolution to the conflict the male has to function on terms that are appropriate to the domestic sphere. In this way he becomes less male and in the process more feminized. And this is undoubtedly one of the reasons why the melodrama appeals to the female spectator" (Hayward, 239).

Even the dominant ideology is full of contradictions.

True *Hayward writes, "ideology is not a static thing nor is it immutable. Within dominant ideology, because it is composed of so many diverse institutions and institutional practices, there are bound to be contradictions. So while ideology is dominant (and despite its 'naturalness') it is also contradictory, therefore fragmented, inconsistent and incoherent" (Hayward, 216).

The film was actually popular with male audiences.

True *Sturken notes that the film was actually quite popular with men. She quotes screenwriter Khouri as saying "I'd be a millionaire if I had a nickel for every time a guy came over and said, 'I was one of the few guys that loved that movie'" (Khouri as quoted in Sturken, 21-22)

Mary Ann Doane argues that female masochistic fantasies in women's films are de-eroticized.

True *According to Hayward, Doane argues that "a despecularization and hence deeroticization takes place because it is supposedly the woman's point of view but it is a male fantasy. This two-way 'gazing' cancels out real agency and similarly empties the gaze of knowledge" (Hayward, 245).

It is because gender ideology is culturally represented that it can be deconstructed.

True *Hayward writes that "it is the examination of the inscriptions of gender into cultural practices that allows not only for a deconstruction of gender ideology to take place but also for other differences to emerge" (Hayward, 182).

According to Hayward, there are essentially two audiences that look at the star.

True *Hayward writes, "Essentially there are two audiences looking at the star: the diegetic and the extra-diegetic ones, That is, those on the inside looking on, and those on the outside looking in — but in both instances also looking at the star, if with different effect. With different effect because the spectator's look is mediated by the diegetic audience" (382).

Mise-en-scene was seen by the Cahiers du cinema critics as the expressive tool that a filmmaker could use to make their mark in the restrictive Hollywood system.

True *The term mise-en-scene includes setting, lighting, composition, and generally anything that is visible within the frame. The Cahiers du cinema critics used the term for the visual style of a film. They realized that certain Hollywood directors had particular visual styles across their films that could be recognized as authorial signs (Hayward, 253).

Guerrero argues that the sense of ____________ is one of the film's most significant contributions to an African American cinema that goes against Hollywood's skin color hierarchy.

Universal African American visuality *"This sense of a universal African American visuality, replete with hip-hop fashions and black music, is perhaps one of Do the Right Thing's most significant, and yet hardly remarked upon, contributions to building a mainstream, African American cinema practice that challenges and erodes the skin-colour hierarchy of Hollywood's classic optical hegemony" (Guerrero, 62).

According to David Bordwell, film scholars ask _______________ questions.

Why *Bordwell writes, "Film scholars mount explanations for why films are the way they are, why they were made the way they were, why they are consumed the way they are. Most ordinary talk about movies, and most film journalism, doesn't ask 'Why?' questions, or pursue them very far" (Studying Cinema).

Who does this apply to: "The trials and tribulations that distinguish him as unmanly only set up the necessary hurdles he must conquer to be a true man."

William Munny *"Soon, Munny does reclaim that mythic manhood as he kills five men nearly simultaneously at Greeley's—including Little Bill—but it is his long convalescence starting from the first time we see him as a pig farmer—and played out most dramatically after his beating by Little Bill—that makes his manly redemption possible" (5).

Classical Hollywood narration tends to follow the pattern of ____________.

disruption/resolution *Hollywood films usually end with the neat resolution of a crisis that disrupts the normal situation. Hayward writes "Narrative in cinema tends to follow a fairly standard set of patterns which can be defined by the triads order/disorder/order and order/enigma/resolution — often referred to as disruption/resolution" (Hayward, 284).

Hayward writes, "What has been overlooked is that the image is not the music and vice-versa and so needs to hold itself ____________ the image.

in counterpoint to Hint: This is a term often used in music to describe two different melodies that play harmonically.

Bordwell and Thompson identify three major features of lighting: ____________.

quality, direction, and source *"It is quite helpful to embrace Bordwell and Thompson's useful identification of the three major features of lighting: quality, direction and source — since this little triumvirate neatly encompasses film lighting practice. Thus the quality of light can be hard or soft, the direction can be front, side, back, and occasionally under (the light comes from below the subject), the source will be key and/or fill" (Hayward, 233).

Richard Dyer argues that traditional Western aesthetics of lighting is centered on ____________.

whiteness *Dyer argues that both lighting and film stock have typically been used to bring attention to whiteness as an ideal. Light has been used to enhance the whiteness of actors' hair and skin. Western lights and film stock were also designed for white subjects, making it difficult to portray non-white subjects well. Lighting thus discriminates against non-whites (Hayward, 234-235).