For this paper you will stage a critical conversation between a film and two of

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For this paper you will stage a critical conversation between a film and two of the readings on cinema, politics, and aesthetics that we have engaged this semester. Your paper should be organized around a clearly stated and well-supported thesis.
This paper should be 6-7 pages in length (12-point font, double spaced).
Proper documentation is essential. Whether quoting directly from a theorist or simply referencing their ideas, be sure to cite your source. Papers without either a works cited list or complete footnotes/endnotes will be penalized 5 points. No outside research is necessary for this paper: it is an exercise in close reading.
Choose one of the following topics:
Analyze Dolly Back (Juan Carlos Tabio, Cuba, 1986) through the perspective of Julio García Espinosa’s “Imperfect Cinema” and Antoine de Baecque’s “cinematographic forms of history.” How does the film’s content and form engage with key aspects of Espinosa’s concept of imperfection? In making your argument, it will be important to clarify the main points of what imperfect cinema is and what it aims to counter. In what ways might the film’s mise-en-scène be understood as engaging in a cinematographic form of history? In all aspects of your paper, support your argument with concrete analysis of the film and careful explication of the key theoretical/historiographical concepts.
Analyze Now! (Santiago Álvarez, Cuba, 1965) or La Battaglia di Algeri / The Battle of Algiers (Gillo Pontecorvo, Italy and Algeria, 1966) through a consideration of Frantz Fanon’s conception of violence in The Wretched of the Earth as applied to cinema and Fernando Solanas and Octavio Getino’s conception of Third Cinema. In accomplishing this, be sure to integrate a close-analysis of key aspects of the film with a careful explication of the salient ideas you draw upon from the theoretical materials.
Analyze La Noire de / Black Girl (Ousmane Sembène, Senegal and France, 1966) or Le Retour d’un aventurier / The Adventurer is Back / Hands Up! (Moustapha Alassane, Niger, 1966) through any two of the following texts: Med Hondo’s “What is Cinema for Us?,” Frantz Fanon’s “This is the Voice of Algeria,” and Jacques Rançière’s notion of distribution/partition of the sensible in “The Politics of Literature.” In accomplishing this, be sure to integrate a close-analysis of select sequences from the film with a careful explication of the key ideas you draw upon from the theoretical materials and their application to cinema studies.

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