Due via email November 3, by the start of class. No attachments, please; just copy/paste directly into the email, making sure proper punctuation (film titles, release dates, etc.) is included. (I can respond much faster if I’m not opening attachment after attachment!)
Your intro/thesis, running no more than 150 words, should be formatted like the following samples. Intros (and conclusions, for that matter) should make up about 10% of your project.
In 1944, Variety praised Billy Wilder’s Double Indemnity (1944) as “rapidly moving and consistently well developed” (par. 3). Indeed, from the first moment that Walter Neff (Fred MacMurray) casts his eye on the not-so “fully covered” Phyllis Dietrichson (Barbara Stanwyck), the film is off and running. For example, within minutes, we have moved from a cordial meeting between an insurance salesman and his client to a torrid love affair, a murder-plot, and an actual strangling. This “rapid movement” that Variety speaks of is not only relegated to Double Indemnity‘s narrative, however. Rather, such haste may also be gauged by stylistic devices like mise-en-scene (lighting and props specifically), editing, and sound. As a result, I will consider these techniques and explain how they accentuate the fast pace of the classical film noir’s narrative. (135 words)
In Truth Be Told, Larry King says of Seinfeld (1989-98),” [Abbot and Costello] were always running into people and getting into silly hijinks. Same with Jerry, George, Kramer, and Elaine. All silly, with very little depth, but lots of laughs” (199). King is correct that Seinfeld gives us lots of laughs and features silly hijinks. For example, George (Jason Alexander) literally fishes for a loaf of bread in “The Rye” (1.4), Kramer (Michael Richards) pretends to be a doctor to steal Elaine’s (Julia Louis Dreyfus) medical chart in “The Package” (10.17), and Jerry (Jerry Seinfeld) returns a jacket out of spite in “The Wig Master” (4.4). However, King is incorrect when he claims the show has little depth, suggesting it’s merely a slapstick comedy with four vaudevillian characters. To this end, I submit Seinfeld uses humor—via dialogue, irony, and physical comedy—to convey (the rather deep message) that there's no true good/evil or karmic justice in the world. (155 words)