ARTS2000 Final Project
ARTS2000 Final Project
ARTS2000 Online
Film: Styles, Narratives and Techniques
Final Project
Introduction
In this major, final project you will have to apply what you learned throughout the course, by carrying
out a film analysis. You can choose any film that you want. You can begin by discussing generally what
the film is about and the historical context in which it was made (how much you want to go into this
depends on how relevant you think it is). But the focus of the assignment is to analyse the style of
the film, specifically its editing styles.
This assignment consists of 2 parts which will be described in more detail below:
1. Final Project Outline (10%) – due end of Week 9
2. Final Project (30%) – due beginning of Week 14
Overarching Details:
• Individually or in groups (up to 4 people per group)
• Completed as an essay or a podcast (discussion/conversation style)
• The outline that you/your group submits will be reviewed and sent back to you/your group with
feedback from your professor
• The final submission should include suggestions made by your professor
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Assessments: Final Project
ARTS2000 Online
Film: Styles, Narratives and Techniques
You can begin by briefly recounting what the film is about and the historical context in which it was
made.
In an introductory way, try to place the film on the film styles spectrum, and identify the types of editing
that are used throughout the film and that you plan to analyse in more detail. Here you should also
spend some time defining the three film styles discussed in the course in a general way, as well as the
different editing techniques, continuity editing and montage.
Subsequently, you need to provide a detailed analysis of at least two montages in the film (if you
cannot identify a montage in the film, choose a different film). First, say what makes it a montage, in
contrast to continuity editing. Second, drawing on Eisenstein’s montage theories and his different types
of montage, try to identify the type of montage used. In other words, what holds the montage together,
technically; is it rhythm, the mood of the sequence, or are there metaphors or themes that establish
conceptual connections?
To make this easier, look for montages that resonate with Eisenstein’s ideas. But also remember that
although Eisenstein's ideas are foundational for all film, filmmakers don't use them in exactly the same
way that he did. For example, a montage based on rhythm might not be exactly "metric" or "rhythmic" in
Eisenstein's precise sense of the term. Nonetheless, if it is rhythm driven - then we can identify it as a
rhythmic montage; similarly, if it has metaphors, we can call it conceptual montage; etc... You can use
Eisenstein’s ideas similarly to how filmmakers used them, as the starting rather than the be-all end-
point of your analysis.
Lastly, while the focus here is more on film form, you should also reflect on the content of the film, and
try to explain how the content (i.e., the meaning or theme of the film) is reflected in the form. For
example, in analyzing a montage, you should also ask what function it serves in relation to the story.
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Assessments: Final Project
ARTS2000 Online
Film: Styles, Narratives and Techniques
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sources. all sources. all sources.
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