How do we cite a source for Memento when none was assigned

Had a few queries to the effect: “How do we cite a source for Memento when none was assigned?”Part of the prompt is for you to find an assigned source that feels relevant to your point about Memento. This may be Villarejo’s Film Studies, or something drawn from the many pdfs you read.
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Experience, History, & Analysis of Cinema
Final Prompts (Distributed December 7t h, 2017)
Due by or before December 14t h, 2017 at 5 pm.
Submit as pdf via Blackboard (under “Content”)
File name should be formatted this way: LastName_FirstName_CINE121_Final
Exam
Complete 4 of the 6 prompts below. 2 of the 6 are required
; the other 2 are your
choice. Assessed on the 20 point scale (using the Rubric), each prompt is worth 25%
Each reply should be a typed, single­spaced, half­page (not longer, not shorter) with 1”
margins on all sides, Times New Roman 12­point font . Thus, 2 pages of total text MAXIMUM.
Do not exceed 2 pages. The length limitation is part of the assignment. Write with clarity and
purpose. Revise and edit with rigor.
Because this course carries a W credit, because film criticism exists in written language, and
because this is a take­home assignment, please exhibit special care with grammar, spelling, syntax,
diction, etc. Use the language of cinema wherever and whenever possible. Cite at least one
assigned text IN EACH of the FOUR PROMPTS (using page numbers in parenthesis). Describe
specific scenes and discrete elements of assigned films (vagueness is your enemy). Be sure to
addr ess all parts of each question .
—Refer to the Rubric in the syllabus for specific descriptions of standards and expectations.
—Cite relevant assigned texts (written and cinematic) as indicated in each prompt.
—Use the language of film accurately and consistently in each reply.
—Avoid extraneous plot summary or broad restatement of a film’s story.
—Write with specificity at all times. Take care with your language and with your
citations.
—Read your work aloud. Does it sound
like it makes sense
conceptually, grammatically?
1.
2.
REQUIRED: (a) What do the terms fabula and syuzhet mean and (b) how are they
transformative for our understanding of Memento ?
REQUIRED: I’ve created a framework for a thesis that I would like you to provide an
argument for (viz., complete the thesis, offer evidence, warrants, and conclusion):
In Raise the Red Lantern , the sounds of the foot massage signal that a wife has
been chosen for the night; likewise in In the Mood for Love , we are given a sonic
cue in the form of Yumeji’s theme—which is played numerous times throughout
the film: (a) Name two film elements —indeed, attributes of the medium itself—
that are affected by the announcement of Yumeji’s theme; (b) make an argument
for what those changed film elements contribute to our understanding of the
relationship between Mrs. Chan and Mr. Chow; and (c) cite Marchetti’s article at
least once to support your observations and argument.
3.
(a) Name two signature attributes of Jean Renoir’s cinematic style from The Rules of
the Game ; (b) provide concrete, specific descriptions of shots, scenes, or sequences that
illustrate these two film attributes; and (c) cite Faulkner’s article at least once to support
your observations and argument.
4.
Thinking of Breathless : (a) articulate the meaning of a jump cut (as part of the style
known as “disjunctive editing,” and (b) provide an explicit cinematic example of this
technique as featured in Godard’s Breathless . Lastly, (c) how does your selected jump cut
relate to a possible reading of this film (e.g., specifically, given the jump cut’s origins in
documentary cinema)? Cite Neupert’s article at least once to support your observations and
argument.
5.
(a) How does Michael Haneke’s use of “videotape” complicate our understanding of what
happens in his film Caché ? (b) Reaching back to Rear Window , articulate how the
depiction of point of view (POV) in Hitchcock’s 1954 film similarly troubles our ability
to say what we see—and to say, with confidence, that we know what we see? Cite
Sherman’s and Cowie’s articles—at least once each —to support your observations and
argument.
6.
Given what you’ve learned in this class—reflecting back on the broad range of
investigations into the formal attributes of the cinematic medium and its language—(a)
make a case for the way one film element of Citizen Kane distinguishes this work by
Orson Welles (and cinematographer Gregg Toland). To strengthen your reply, (b) make
reference to specific shots, scenes, or sequences in another film we’ve screened in class
that helps amplify your point about Citizen Kane ’s distinctive contribution to film history.
(c) Cite Naremore’s article at least once to support your observations and argument.

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