Extended analysis #1 (guidelines) (1)

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Oct 30, 2023

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1 HUM 321W The Humanities and Critical Thinking Shooting the Mafia EA #1 (guidelines & instructions) For the first EA – written at the time of your choosing between Weeks 6 and 9 – you will analyze the film assigned for your week in two ways: (1) on its own terms as a historically minded, socially engaged humanistic text and (2) in relation to cinematic representations of the Sicilian Mafia since 1949, the year when Pietro Germi’s In nome della legge was released. In other words, when taking the most recent film as your endpoint, how would you interpret the evolution of Italian filmmaking about the Sicilian Mafia from 1949 to that specific point in time? Structurally, your EA should not be divided into two sections (one on the film itself, and another on the “evolution” question) that are brought together only in the introduction and conclusion. In short, the key to an effective analysis is an integrated interpretation (as much as possible) throughout the paper. Overall, your EA should be presented as a single narrative; thus, it should not follow the various structural guidelines for the SAs that you have done so far (the objectives for those assignments are different). For instance, sub-headings (thesis, context, etc.) and/or separate parts should not be used to break up the analysis. A “historical context” paragraph in the body of your analysis is (are) unnecessary should be avoided. Context, of course, is critically important for interpreting your films, but you should demonstrate your knowledge and awareness of the wider context by integrating it within your analysis of the films themselves . Finally, for this assignment, a close reading of a specific scene (as you will attempt in the subsequent film analyses) in the body of the paper is not required. You can , however, do a close-reading of a scene if you so desire; but in a relatively short paper such as this one, your scene analysis might consume a disproportionate amount of space and/or prevent you from presenting other important evidence in support of your thesis. Paper length: the EA should be c. 1,800 to 2,000 words in length (slightly more is better than less). According to the formatting requirements detailed below, your analysis should be 5-6 pages in length (properly formatted, and title page excluded). Standards of evaluation: Your EA should reflect our various approaches to humanistic/historical film analysis since the start of the term. I will be evaluating your work based upon [1] the quality of the interpretive thesis; [2] the selective and analytical use of evidence; [3] the relationship between the thesis and the supporting evidence; [4] the logic, clarity, and cohesiveness of your presentation; and [5] the overall persuasiveness of your argument. General tips Pre-writing Before you begin writing, you should view your new film at least twice and revisit (as much as possible) the previous ones. Naturally, you won’t be able to rewatch all previously assigned films, but you should be familiar enough with them so that you can draw upon them effectively for evidence when making and defending your specific claims.

2 Make sure that you study your film(s) actively. For the most recent film, take detailed notes as you go so that you can have a record of all your immediate observations and questions and begin to draw interpretive connections among the broader corpus of films. Also be sure to do as many of the relevant readings as possible. To put the films in their proper context, it is recommended that you review readings (available on Canvas) before you sit down to write. Developing and organizing your ideas As you start to flesh out your ideas and write in earnest, you should address a number of important questions that will help to give shape and direction to your argument. First, remember the three essential questions (the “Ms”) that should help you arrive at and articulate a clear, compelling, and overarching interpretive thesis for an extended film analysis: [1] What are the modes of filmmaking?; [2] What might be the filmmaker’s motives (both strategies and objectives) for making the film that he/she did?; and [3] What messages do the filmmakers appear to be communicating to their respective audiences? There are a few other questions worth asking as well in terms of both your new film and its relationship to the previous ones: • Why are these films significant as historically-minded humanistic texts? • Why would present-day students of the humanities be interested in these particular films as documents of the period(s) in which they were made?; • Most importantly for your thesis: What is my interpretation of the director’s interpretation of the problems raised in his/her film? In sum, your answers to these questions are crucial for articulating a solid thesis and conveying the humanistic/historical significance of the film(s). Remember that your thesis should appear in your introductory paragraph . That paragraph, ideally no more than ¾ of a page in length, should [1] orient the audience (briefly) to the subject matter of the film (what is the film about/what story does it tell?); [2] account for the specific issues or problems raised by the film; [3] articulate explicitly your thesis statement; and [4] suggest, even if only indirectly, where the paper is going. In other words, by the end of your first paragraph, your audience should have a clear grasp of the film’s contents, your explicit interpretation of those contents (your thesis), and the general direction of the argument that will follow. Writing the extended analysis The successful EA will do the following: [1] Have a clear, concise thesis statement that governs the entire analysis. [2] Develop a sustained and structured interpretive argument that does more than summarize or describe the film. Your argument must offer an interpretation of the film’s central meaning – it should aim to illuminate something about the film and to explain something that needs explaining.

3 Keep in mind that a good interpretation will be debatable ; in other words, someone should be able to disagree with your claim and offer a counterargument against it. Another way to think about your argument: first, remember that you are writing not for yourself , but for an audience ; and second, presume that your audience might be naturally skeptical of the argument you are making. Based on that assumption, your task should become clearer: since your audience doesn’t automatically accept your argument at face value (as wonderful as you might be!), you have to work hard to persuade them (by defending your thesis) to adopt your point of view. The more you keep your audience in mind, the more focused and persuasive you are likely to be when making and defending your argument. [3] Make sure your body paragraphs advance the interpretive argument by offering a clear presentation of your evidence and logical development of your supporting ideas. Each paragraph should begin with a topic sentence that introduces an interpretive main idea (or claim ) that both supports your thesis and advances your argument . The remainder of the paragraph should elaborate on the meaning of that interpretive claim by drawing upon evidence from the film(s) that directly relates to it (and upon historical context, when appropriate). Furthermore, each body paragraph should build upon the previous one(s) in a logical and sustained way. In your first body paragraph, make sure you begin in a logical place . Begin by presenting your most salient evidence about something that is central to the structure and/or the meaning of the film: for example, the narrative, the protagonist, the setting, an opening sequence, etc. There is no formula here: you have to decide which idea/claim makes the most sense to develop first – both on its own terms and as a necessary springboard for what you will go on to analyze later in the paper. In subsequent paragraphs, make clear transitions from one idea to the next so that your audience does not have to strain to understand your train of thought – or to do the thinking for you. In a well- written analysis, it is the writer who does all the work; the audience, like a passenger in a car, simply goes for the ride. [4] Refrain from concerns about historical accuracy (or inaccuracy), reflections on your own personal tastes, and/or subjective judgments about the quality of the film’s direction, acting, etc. All such concerns and opinions are irrelevant. [5] Draw upon a variety of evidence. Your EA should go beyond the film’s plot and dialogue to examine other cinematic devices and aesthetic techniques: e.g., narrative, character development, setting, cinematography, sound, editing, etc. For help along these lines, you may also consult the Celli & Cottino-Jones file I uploaded to Canvas earlier this term: it offers brief explanations of film techniques and language (see pp. 161-169) that you may use as a quick reference source. Submission instructions • Your EA must be uploaded to Canvas by 9:30 a.m. (the start of seminar) on the day we will be discussing your main film in seminar. Please submit the paper in a MS Word file only. • Lateness policy : It is not possible to submit a late extended analysis. If your EA is not uploaded to Canvas by 9:30 a.m. on the due date (the start of seminar) for any reason, then your assignment will be automatically postponed until the following week. You will write a new

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4 analysis on the following week’s film instead. You will be required to submit a short analysis (SA) instead. • Technical difficulties : If you are unsure that your file has uploaded properly, then please e-mail directly to me – prior to the submission deadline – the same file that you have uploaded to Canvas. You are solely responsible for submitting your work on time. Trouble with Canvas is not a valid excuse for a late submission. The lateness policy above will apply in these cases. • Incorrect file : Make sure that you upload to Canvas (or e-mail to me, if applicable) the correct file of your completed EA. If an incorrect file is uploaded, then the lateness policy above will apply. • Because the writing schedule is flexible, and because the EA must be submitted prior to seminar discussion, no extensions will be granted for these assignments. Formatting instructions All EAs must be formatted according to the following instructions, so please pay careful attention so that the quality and readability of your paper are not compromised: • Title page (your name, title of your work, and exact word count of the paper itself) • Font : Times New Roman, 12 -point only (no fancy fonts, please) • Double-spacing of text: no 1.5 spacing, no quadruple-spacing between paragraphs, no headings/subheadings, and no block quotations • Pagination : include page numbers in the center or lower-right corner of each page • Margins : one inch (or 2.54 cm) on all four sides of the page • Alignment : please do not “justify” the text; use the normal “align left” option. Research and footnoting • This EA is not a research paper. Outside research, including the use of any AI source, is neither necessary nor permitted. The only “research” allowed is your assigned readings for the seminar – and only for the purposes of contextualizing your film(s). Your EA should be only about the film itself (and films themselves). • Footnotes are – and should be – unnecessary; however, if you have incorporated into your paper something from the course readings, then you may use a quick parenthetical reference in the body of the paper (for example: Dickie 254). Any such references must be subtracted from the total word count of the paper. • Please do not cite the film itself. If you need to refer to a specific moment in a film, then please put a time stamp in parentheses at the end of the sentence (e.g., 24:45, or 43:16 – 46:29 if you’re referring to the starting and ending points of a scene). Any such references must be subtracted from the total word count of the paper. • A bibliography (or works cited) page is unnecessary.

5 Grammar and style • Be conscious of effective, economical language and sound writing mechanics so that your ideas are clear . The more your audience has to struggle to understand what you’re trying to say, the more they will be distracted from the substance of your ideas . • In your prose, write in the people’s English while maintaining a scholarly voice. • Proofread your work to avoid errors in spelling (including Italian words & names), punctuation, and sentence structure. Make sure that you spell correctly the name of the director, the title of the film, characters’ names, etc., so that you demonstrate attentiveness to details and cut a bella figura (as Italians like to say)! • Appearance matters! The presentation of your work will factor into the evaluation. Academic integrity In an upper-level HUM seminar, you are expected to know what constitutes academic dishonesty and what the consequences are if you submit work that is not 100% your own and/or is not properly cited. Ignorance of academic-integrity standards, seminar policies, and/or SFU policy is not an excuse. • Authorship : You are expected to work independently and to be the sole author of your work. • Editors : The hiring of an editor (whether formally or informally) constitutes academic dishonesty and is expressly forbidden. This includes soliciting the editorial help of anyone (amateur or professional) who “picks up the pen” on your behalf. • Outside sources : all print, online, AI, and visual sources (books & articles, websites, chatbots, film reviews, DVD booklets and extras, etc.) other than your required course readings are prohibited . The point of the assignment is for you to think independently about the films in relation to the course content. If outside sources are consulted, then you will be in breach of my and SFU’s policies on academic integrity. • Collaboration with classmates : Apart from your optional film-group meeting with me, you are not permitted to discuss and/or to share information about your EAs with your fellow classmates prior to submission. • Consequences : I take academic integrity seriously. In fact, I recently served a three-year term as the Chair of the University Board on Student Discipline! Therefore, any breach of these policies will normally result in a grade of zero for the assignment, but more serious sanctions could be imposed depending on the circumstances of the case. University policy requires instructors to file all cases of academic dishonesty with the Registrar. Office-hours consultations

6 For each week’s assignment, I will schedule a weekly “writing group” via Zoom so long as you are interested in having one. Time permitting, I am also happy to consult with you individually about your EA if you wish to request an appointment beyond (or in lieu of) the group meeting. The writing-group session will concern only the questions you have about your film and possible strategies for writing the EA. It is meant to provide neither an advance discussion of the most recent film or a review of the earlier ones. My role is simply to answer your questions and to offer more general tips and suggestions, etc., not to reveal the “right answers” or to advise you specifically on how you should write your analysis. E-mail inquiries are also welcome if you have short, specific questions that require only brief responses. Weekend e-mails should expect a reply on Monday. Finally, please do not e-mail drafts (or portions thereof) of your work for written feedback. Individualized feedback is meant for office- hour consultations only. Auguri!, Il Professore

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