Following our initial screenings, up to two students will each select a sequence from the film in question — a series of shots that reflects the central themes or issue of the film itself.  For the sake of brevity, the sequence should be about 5-7 minutes in length (unless there are compelling reasons for it to be longer) and relatively self-contained.  The sequence might come from anywhere in the film — beginning, middle, or end — so long as it is sufficiently representative of the work at large.

A week after our screeings, each of the two students will offer a separate, 15- to 20-minute oral presentation in which he or she

• screens the sequence from beginning to end without commentary;
  
• re-screens the sequence, labelling each shot in terms of critical cinematic vocabulary (see handout from beginning of semester);
  
• explains how some of these shots engender meaning and contribute to the narrative of the sequence;
  
• explains how the sequence exemplifies the themes of the film as a whole.
  

Just before his or her presentation, each student will turn in to Professor Curley a write-up that contains the following:

• a list of the shots that make up the sequence, given in order and with a brief description of what the shot shows;
  
• an elegant, 3-5 page essay that explains the relationship of shots to sequence and sequence to film (along the lines of the explanations in your presentation).
  
• a list of any secondary sources (print or web-based) that helped in the analysis.
  

Please note the following:

•  Students should work on their own, communicating only to ensure they have not chosen the same sequence.
  
• If a screening covers only part of a film, students should choose a sequence from that part only.
  
• The entire write-up must be typed, numbered according to page, and grammatically/ typographically immaculate;  the essay should be double-spaced.
  
• Students should footnote (or otherwise reference) any words or ideas from secondary sources in their essays.