HUM 110 (Hankinson)

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HUM 110: Hankinson- Assignment

Context

Keywords: comparative analysis, film studies, intertextuality

Skills/Outcomes: This assignment is targeting CLO 4: Analyze film as as a vehicle for uncovering and understanding America's perception of itself, CLO 5: Recognize and analyze key elements of the language of film at work in film texts, and CLO 6: Read a film critically and write analytically about it. If I had to select just one CLO that this assignment is designed to target it's #6 -- the focus is critical analysis.

Timeline within Course: This assignment serves as the final project for the class. I share the prompt (and we discuss the project as a class) during week 8. Week 9 and 10 have discussion assignments and in class workshops where they build the skeleton of their projects in collaboration with other students. This is also a chance for students to "try on" various arguments, refresh each other's memories of themes/scenes they might use as part of the analysis, and share resources freely with one another from the class archive.

How does this fit into the course: This project, although it looks like a run-of-the-mill comparative analysis project, is imagined as a final self-reflection for the quarter rather than a formal academic analysis. Since HUM 110 is an introduction survey class we cover films from over 100 years of US cinema -- this project asks students to create intertextual connection and share their individual perspective on 2 feature length films we studied throughout the quarter. Students spend the last two weeks building their projects as loosely defined "teams" -- I break them into groups based on the films they've selected so they can have generative conversation related to the project. Typically we start with outlining ideas for each film, pivotal scenes, technical elements, and historical/social context for each of the films they've selected. They're working together with others in their team to develop these outlines. The idea here is to source as many possible perspectives as you can from "experts" on the film. I also wanted to share this assignment because I think it's a good example of how you can ask for students to take ownership of course materials while also having the guidance of collective peer feedback on their ideas.

Why does this work well: This is a major element of the class: empowering the students to think of themselves as film critics (with relevant and interesting perspectives on film). This is often the first time students have considered "movies" as being cultural artifacts worthy of academic study -- that film creates opportunities for meaningful connection related to issues in society, politics, and history.

Teaching Tips: During quarters where I teach the class in person (or have a handful of super-engaged film students) I open up the requirements for the "second film" and they can propose a film outside of the course to add to their analysis. This takes a bit more effort on my part -- I have to screen the film if I haven't watched it. But it also provides new ideas for content as well as empowers the students to bring more of their original thinking to the comparative analysis.

Content

Context. 

For your final assignment over the quarter I'm asking you to write an extended self-reflection which compares two of the films that we've watched throughout the quarter. I encourage you to revisit the discussion boards, your previous self reflections, and the resources provided (readings and videos) with the two films as you craft your final reflection. You can make use of everything -- just be sure you give credit to ideas that aren't your own. (I'm not expecting formal citations, you can simply mention the author or source reference in your sentences...just so I know what's your original thinking and what you're borrowing from someone else.) For example, you might write: In Steph's intro video for Moonlight she mentioned....or In the New York Times review of Promising Young Woman...etc. 

The idea of comparative film analysis is an approach that attempts to understand one film by relating it to another object, often another films or a concept from outside the world of film. Comparative film analysis projects attempt to illuminate specific films by drawing out formal and thematic comparisons to other films -- at the core they present the author's perspective, or an argument, about why/how this (thematic or formal) comparison is interesting to a reader. I'm interested in your perspective for this project -- though you can include ideas shared in your group discussion as long as you give credit. 

Comparative Analysis Prompt. (~700-1000 words or 8-12 min video presentation):

Use what you've learned from the group discussions as well as our class readings and reflections throughout the quarter to draft a comparative analysis of at least 2 films. You can select any two films we've watched this quarter (or anything else that's in the HUM 110 film drive. If you're interested in a comparative analysis using an outside film, please email me to make sure I've seen the film! You comparative analysis project must include:

  1. A thesis or overarching point of view that structures your comparative analysis. You should consider why you find it it interesting or productive to comparatively analyze these two films? What shared or productively contrasting thematic, historical, aesthetic, political, and/or technical elements will your comparative analysis address? You should identify this early on.

Note: you shouldn't try to cover "it all" -- but rather use this project as an opportunity to explore the most interesting aspects of the films as you comparatively analyze them. Remember, assume your readers know the plot, I am looking for thoughtful, detailed thematic, cultural, and/or technical analysis -- not plot summary.

However, I recommend you brainstorm ideas with the following areas for comparative analysis (even though you  might not talk about them all!): 

  1. thematic and character elements
  2. historical / political contexts
  3. aesthetics or setting
  4. technical contexts: direction/editing/cinematography (could also include information about the director's background/perspective)

Suggested outline structure for a comparative analysis self reflection:

Step 1: Give your readers/viewers some framing or context for the cultural/social/historical elements of your selected films -- for example, the #MeToo movement and Promising Young Woman compared with the Chicanx cultural context for something like Mosquita y Mari. Why did you pick these two films? What is interesting to you as a viewer in sharing this comparison?

Step 2: Analysis/examples from film #1 that speak to your overall comparative analysis goals. 

Step 3: Analysis/examples from film #2 that speak to your overall comparative analysis goals 

Step 4: Provide your reader with a final reflection / takeaway. Share how you responded to these films as a viewer -- why did you choose to compare these? What did you find most interesting? What's the major takeaway from your comparison? What's the relevance to how these films shaped your experience in HUM 110? 

Examples of previous Comparative Analysis Self-Reflections

For examples of comparative film analysis please revisit the following course materials. Each of these presents a very different version of what "comparative film analysis" looks like. Feel free to experiment with the limits of how you understand this work -- but no matter how you structure your project, move beyond plot summary, be specific, and explore what's more interesting to you:

Check out some samples of student work: Comparative Film Analysis Examples Links to an external site.

 

Comparative Analysis Self Reflection (due Fri 8/19 @ 11:59pm)

 

Student Examples

The idea of comparative film analysis is an approach that attempts to understand one film by relating it to another object, often another films or a concept from outside the world of film. Comparative film analysis projects attempt to illuminate specific films by drawing out formal and thematic comparisons to other films -- at the core they present the author's perspective, or an argument, about why/how this (thematic or formal) comparison is interesting to a reader. I'm interested in your perspective for this project -- though you can include ideas shared in your group discussion as long as you give credit. 

I've included 3 examples of previous student comparative analysis projects. These are all written submissions (to protect the privacy of the authors) but you're welcome to create a video response instead of a written reflection (as always).

STUDENT EXAMPLE 1: Edge of the Knife + District 9: Download edge_dist9_Individual Comparative Analysis.docx Links to an external site. Links to an external site.  

STUDENT EXAMPLE 2: The Lunchbox + Shoplifters: Download lunchbox_shoplifters comparative.docx Links to an external site. Links to an external site.  

STUDENT EXAMPLE 3: Embrace of the Serpent + Birds of Passage: Download embracetheserpent_birds of passage.pdf Links to an external site. Links to an external site.  

I've also included a link to a 2011 issue of Off Screen specifically dedicated to comparative film analysis essays to provide a few additional examples for you to consider as you draft your own comparative film analysis. Remember, you're the boss -- I'm most interested in your perspective about why it's interesting to comparatively analyze your selected films. Do not try to cover it all. Be focused and specific. 

LINK TO OFF SCREEN: Comparative Film Analysis Issue Links to an external site.

Volume 15, Issue 9 / September 2011 Links to an external site.