1. What devices does Ousmane Sembène use in Moolaadé to appeal to his rural African audience – how does he convey his message without alienating this intended audience?
African Politics in the films of Ousmane Sembene
Screening:Moolaadé (Ousmane Sembene, 2004, 120 mins.)
Jared Rapfogel and Richard Porton, ‘The Power of Female Solidarity: An Interview with Ousmane Sembene’, Cineaste, v 30, n 1, pp 20-25.
David Murphy and Patrick Williams, ‘Ousmane Sembene’ in Murphy & Williams, Postcolonial African Cinema: Ten Directors, Manchester: Manchester University Press, 2007, pp 50- 70.

2. How is the political and social reality of life in Palestine displayed in Paradise Now? (In terms of the mise-en-scene and notions of the everyday).
Traumatic Reality: Palestinian Film
Screening:Paradise Now (Hany Abu-Assad, 2005, 90 mins)
Dan Georgakas and Barbara Saltz, ‘This Is a Film You Should See Twice: An Interview with Hany Abu-Assad’, Cineaste v 31 no1, Winter 2005, pp 16-19.
Ruby Rich, ‘Bomb Culture’, Sight Sound, v 16 n4, April 2006, pp 28-30.
Nurith Gertz and George Khleifi, ‘Introduction’ in Gertz and Khleifi, Palestinian Cinema: Landscape, Trauma and Memory, Edinburgh: Edingburgh University Press, 2008, pp 1-10.

3. In the absence of dialogue and exposition, how does Warwick Thornton use the ‘language of cinema’ to tell the story of Samson and Delilah?
Reframing Aboriginal Experience: Warwick Thornton
Screening: Samson and Delilah (Warwick Thornton, 2009, 101 mins)
Therese Davis, ‘Love and Social Marginality in Samson and Delilah’ Senses of Cinema No.51, 2009
Felicity Collins, ‘After the Apology: Reframing Violence and Suffering in “First Australians, Australia and Samson and Delilah’ Continuum No 24:1 (2010), pp 65-77.

4. How does Michael Haneke create discomfort and unease for the spectator in Caché?
Repressed Histories: The Films of Michael Haneke
Screening: Caché(Michael Haneke, 2005, 117 mins.)
Mattias Frey, ‘Michael Haneke’, Great Directors, www.sensesofcinema.com
Richard Porton, ‘Collective Guilt and Individual Responsibility: An Interview with Michael Haneke’, Cineaste (Winter, 2005),pp.50-51.
Christopher Sharrett, ‘Caché (Hidden)’, Cineaste (Winter, 2005), pp.60-62, 84. Helen Macallan and Andrew Plain, ‘ Hidden’s Disinherited Children’, No. 42
(Jan-March, 2007): www.sensesofcinema.com

5. What are the ethical implications of Herzog’s use of ‘found’ video footage in Grizzly Man?
The Documentary Cinema of Werner Herzog
Screening:Grizzly Man (Werner Herzog, 2005, 103 mins.)
Paul Arthur, ‘Beyond the Limits’, Film Comment (July/Aug, 2005), pp.42-47. David T. Johnson, ‘You Must Never Listen to This: Lessons on Sound, Cinema and Mortality from Herzog’s “Grizzly Man”‘ Film Criticism No32:3(Spring 2008) pp 68-82.

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