I’m working on a film question and need a sample draft to help me understand better.

This is the prompt I have attached the readings,. lecture notes and will attach the class recordings that will help you answer this prompt :).

Prompt: Describing the power of the cinema as an institution, Metz says that “loving the cinema and understanding film are no more than two closely mingled aspects of one vast socio-psychical machinery.” But he also says that the spectator of a film, who he calls a “deluded subject ego,” is different that a film theorist, who approaches cinema scientifically. How do you see this contradiction played out and explored in François Truffaut’s 1973 film, Day for Night?

class recording 1: https://drive.google.com/file/d/1Er4eFBTr80P5wOloa…

class recording 2 (this will help answer the prompt as this is where we discuss the prompt in a small group discussion: https://drive.google.com/file/d/1ABV6vdKYgOcSPDZYr…

PLEASE READ to answer the prompt : Metz, Christian, From The Imaginary Signifier (1976/86) 17-33

and PLEASE WATCH to answer the prompt : DAY FOR NIGHT (François Truffaut, 1973, 116m)3 attachmentsSlide 1 of 3

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UNFORMATTED ATTACHMENT PREVIEW

Apparatus/Psychoanalytic Theory Week VB Shift into Contemporary Film Theory, the result of left-wing, politically motivated ideological critique combined with the influence of Jacques Lacan and psychoanalysis—as well as a growing acknowledgement of the power and reach of cinema. • Part of the process of making film studies a serious endeavor, through the use of linguistic analysis, scientific method, and the elaboration of the analogy between cinema and psychoanalytic notions. • From an ontological paradigm (MunsterbergàBazin) to a methodological one. Louis Althusser, Marxism and Humanism, 1964 “Ideology has very little to do with ‘consciousness’—it is profoundly unconscious.” • Cinema is one of the means through which Ideology most effectively functions in the creation of the subject. • Responsible film theory and criticism must

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