https://drive.google.com/file/d/1tnd3DeWj6W8usKEUB…

Answer one of the prompts below regarding the use of Editing (and to a lesser extent, cinematography and mise-en-scene) in In the Mood for Love. Your response should be between 300-500 words and should include minimal plot summary. Assume that your reader has seen the film but please do set up specific scenes with a sentence or two if you plan on discussing them in depth. It’s often helpful to focus on a specific scene or shot for careful detailed analysis as a means of supporting a larger claim. Please be sure to proofread, use specific terms from lectures/readings when relevant, and review the included rubric!

You are required to use 2 terms from the Editing lectures (week 3), 1 term from the cinematography lectures (week 2) and, 1 term from the mise-en-scene lectures (week 1).

Some questions to help guide your thought process are below (you do not need to answer all of them, or any of them necessarily. They are simply suggestions):

1. How does the film’s editing suggest about social life in the domestic and urban spaces in which the film takes place? What does the editing suggest about the relationships between characters?

2. What does the editing tell us about the internal feelings of the characters? Who are we meant to identify with in any given scene, based on the way the scene is edited?

3. How does the editing affect our experience of time (including the passage of time in the overall narrative, the flow of time in individual scenes, and our experience of the setting of the film as a 60s period piece?)5 attachmentsSlide 1 of 5

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UNFORMATTED ATTACHMENT PREVIEW

Editing: Part I In his essay “A Dialectic Approach to Film Form,” Soviet filmmaker Sergei Eisenstein argued that montage, otherwise known as ‘editing,’ is the quote ‘nerve’ of the cinema. “To determine the nature of montage,” said Eisenstein, “is to solve the specific problem of the cinema.” Eisenstein has his own very particular ideas about what montage is and how it works, and we’ll get into those a little bit later. But first, he has already raised an interesting argument: that editing is, perhaps, that which makes cinema unique as an art form: that is, editing is perhaps what defines the specificity of the medium of film. It’s a compelling, provocative argument: thus far, the formal elements of the cinema we’ve discussed are mise-en-scene, and cinematography. Mise-en-scene, is, of course, a term borrowed from theater.

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