Writing and Reading Film

Our third project extends and elaborates our close/slow reading focus from the last project into a different medium. We do so not only to explore critically the way Shelley’s “hideous progeny” lives on in film, but also to explore and practice the ways we, as critical readers and writers, need to be specific about the medium we are reading and writing.

The reading assignment (“Writing About Film” from the Dartmouth Writing Program site) provides a basic introduction-as well as a glossary. I don’t expect you to become an expert film critic in the space of one reading assignment, or even one writing project. However, I do want to emphasize that we need to deal with the complexity of film–just as we have been dealing with the complexity and complications of Shelley’s print novel (language, intertextuality, multiple frames to the narrative, etc). Film, as the site informs us, has “elements of composition.” We need to read those–and as it suggests, pick one or two that seem particularly important. And we need to give our attention to writing about those elements in the essay, showing them to your reader in your effort to elaborate your argument. The site recommends annotating a shot sequence in a key scene you will be looking at. It is a good strategy; you might begin to use some of the terminology (jump-cut, etc.), but don’t worry so much about the terms. Pay attention to what you notice going on with the filming (and not just in the plot of the film). Be specific, as we have been emphasizing, with the medium.

As an example of a scene to do some media specific analysis–and notice the various elements of composition, consider the famous cyclone scene from .

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