film essay

10 years after the Marker conceived Loin du Vietnam, a protest film against the Vietnam war structured in segments from a wealth of French Filmmakers including Godard, Resnais, Lelouch, Varda and Klein, the film is markedly more melancholic, plagued by a scepticism highlighted in the French title (directly translated as the essence of the air is red) that implies the socialist sentiment only ever existed in the air.
In a year of 3 Godard diatribes against neo-capitalism, 2 or 3 Thing I Know About Her is the most contemplative; if La Chinoise a document of the soon to be riotous students, 2 or 3 is the suburban families watching the events unfold on their television screens.

Essay films, unlike conventional documentaries, are only partly defined by their subject matter. They tend not to follow linear structures, far less to buttonhole viewers in the style of a PowerPoint presentation or a bullet-pointed memo; rather, in the spirit of Montaigne or even Hazlitt, they are often digressive, associative, self-reflexive. Just as the word essay has its etymological roots in the French “essai” – to try – essay film-makers commonly foreground the process of thought and the labour of constructing a narrative rather than aiming for seamless artefacts that conceal the conceptual questions that went into their making. Incompletion, loose ends, directorial inadequacy: these are acknowledged rather than brushed over.
Essay films sometimes exhibit a quality of vagrancy and drift, as if they are not wholly sure of what they want to say or of the language they need to say it, which may stem from their desire to let subject matter determine – or strongly influence – filmic form. Here, as in the frequent willingness to blur the distinction between documentation and fabulation, the essay film has much in common with “creative non-fiction”. The literary equivalents of Hartmut Bitomsky, director of a mysterious investigation of dust, and Patricio Guzmán whose Nostalgia for the Light (2010) draws on astronomy to chart the poisonous legacies of Pinochet’s coup d’etat in Chile, are writers such as Sven Lindqvist, Eduardo Galeano and Geoff Dyer. Perhaps it’s no coincidence that one of the most celebrated modern creative non-fiction authors was the subject of an equally ruminative, resonant essay film – Grant Gee’s Patience (After Sebald) (2011).

In Night Mail especially there is, in the whimsy of the Auden text and the film’s synchronisation of private time and public history, an intimation of the essay film’s musing, reflective voice as the chugging rhythm of the narration timed to the speeding wheels of the train gives way to a nocturnal vision of solitary dreamers bedevilled by spectral monsters, awakening in expectation of the postman’s knock with a “quickening of the heart/for who can bear to be forgot?”
But that observation still doesn’t pin down the uniqueness of a work that forces history through a series of registers, styles and dimensions, wiping out the distance between reality and subjectivity, propaganda and literature, cinema and journalism, daily life and dream, and establishing the idea not so much of communicating vessels as of contaminating vessels.

Therefore, after watching the movie, think if the actors are realistic and if they portray the role of their character effectively? More importantly, consider how their acting corresponds to the main idea of the film and your thesis statement.
Also, films are complex artwork that include many creative elements which are all connected and have their reason of existence. That’s why you should pay attention closely to these elements and analyze them too.

Biemann, Ursula, ed. Stuff It: The Video Essay in the Digital Age. New York: Springer, 2003.
Both anthologies dedicated entirely to essay film have been published in order to fill gaps in essay film scholarship. Biemann 2003 brings the discussion of essay film into the digital age by explicitly resisting traditional German and French film and literary theory. Papazian and Eades 2016 also resists European theory by explicitly showcasing work on postcolonial and transnational essay film.

References:

http://www.theguardian.com/film/2013/aug/03/rise-essay-film-bfi-season
http://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/deep-focus/essay-film
http://www.raindance.org/tell-me-everything-about-it-how-to-write-a-film-analysis-essay-correctly/
http://www.oxfordbibliographies.com/view/document/obo-9780199791286/obo-9780199791286-0216.xml
http://johnwatsonsite.com/MyClassNotes/Topics/Film/FilmNarrative/NarrativeInFilm

technology essays introduction

How technology has affected the world and people has been a hot topic for discussion. With over 7 billion people in the world and 3.4 billion of those people online it’s a very sensitive subject, especially when 15% of those users saying it’s bad. Technology has connected people from all over the world. Technology is truly an amazing advancement in modern society. As a homeschooler, I was taught a lot through the internet and technology, although my parents made sure to keep a good balance between
Everyone has their opinions on what kind of role technology should play in students’ lives. Most people seem to agree that when used correctly, technology is a great tool that can be used for a wide range of constructive purposes including teaching, communicating, and organizing information. When used incorrectly, it can be a distraction in the learning environment, and a means of negatively impacting a person’s self-esteem or health. With the increasing relevance of computers in daily lives, educators

go a week without news articles online saying how modern technology is affecting us both cognitively or behaviorally. People in the 21st century are no more affected by our modern technology than people from the 20th century theirs. Every generation has technological breakthroughs that advance humans whether it is in medicine or entertainment. The media is claiming that technology is rewiring us; telling us that we are feeling less, that technology is making children developed ADHD tendencies, that
mom is lecturing him on getting good grades. Each of them took a shower that morning, and each of the girls used a hairdryer to dry their hair. This is the common reality of our modern world. People go through life and do not even recognize how much energy and water we use. Events leading up to innovations in the modern world started with a simple idea, and grows with new discoveries. Every idea begins as an experiment and with an unknown outcome. These experiments are cause and effect. Somewhere

A single machine can replace many workers. Also, machines can do work at a constant pace for several hours or days without stopping. Due to this, many workers lost their job which ultimately increases unemployment.
Regularly evolving technology has become an important part of our lives. Also, newer technologies are taking the market by storm and the people are getting used to them in no time. Above all, technological advancement has led to the growth and development of nations.

Modes of transportation has increased the ease of access but has also increased the amount of pollution. Due to technology, a broad range of options have become accessible to people. Technology has also benefitted people with special needs by providing them with hearing aids, text readers, special chairs etc. Now they too can enjoy daily life without having to think about their disabilities.
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There are people who strongly oppose technology and claim that it spells the death of ‘humanity’, and that we are approaching the day when machines will rule everything. They refer to fans of technology as ‘techies’ or sometimes ‘geeks’. On the other hand, proponents of technology call these people Luddites, a derogatory name for someone who is opposed to industrialisation, automation, computerisation and new technologies in general.
Machines that do Human Jobs:

References:

http://www.bartleby.com/topics/Modern-Technology-Essay
http://www.toppr.com/guides/essays/essay-on-technology/
http://postmodernclog.com/a-5-paragraph-essay-sample-on-modern-day-technology.php
http://www.thewisdompost.com/essay/technology-essay/3387
http://www.bartleby.com/topics/Modern-Technology-Essay

scene analysis essay

Gaby Mosseri Ms. Cohen Hamlet Essay- scene with the play William Shakespeare’s Hamlet is filled with many schemes and situations that are a challenge to interpret. The play centers around Hamlet, whose uncle murdered his father and married his mother. Certainly no one could blame Hamlet for appearing a little bit crazy after having to deal with that type of trauma. There are several times during Hamlet when Prince Hamlet appears to be crazy. What makes assessing the prince’s mental state
From the opening seconds, when Alfred Hitchcock’s camera closes in from afar on a private lunchtime rendezvous, Psycho makes clear that its focus is on the secretive and reserved. This scandalous scene is the first of many that initiates the viewer to the notion that beneath the surface lays a distorted and crudely reticent domain. Hitchcock seems determined to trick the audience, delightfully subverting character tropes and conventional setting as the plot descends further into darkness. This high-strung

The scene from Othello my group is performing is act 5, scene 2. In this scene, Desdemona is sleeping and Othello enters her room. He intends to kill her because he is convinced that she has cheated on him. She awakes from her slumber and she and Othello converse. Othello suggests to her that he is going to kill her, but she pleads him not to and to wait because she is not guilty of any sin against him. He does not listen to her and eventually smothers her with a pillow. Emilia then enters the room
can be absolutely no plagiarism in this. This will be submitted to Safe Assign. This paper is mostly your close reading or film scene analysis interpretation.For example evidence in a particular scene you analyze relates to Cameron ‘s reverse gender roles in the film. You can use an outside source but it should mostly be your interpretation and citing specific film scenes. A range (90-100): Truly outstanding work, with very extensive close readings of textual quotes and/or visuals. A focused, thoughtful

Assignment : Write a thesis-driven essay in which you examine ONE scene from a film scheduled to be viewed in class.
Finally, figure out what the overall impact and / or message of the scene is. As you ponder this, you will want to consider the events that transpire in your scene. Is there dialogue? Is there action? How does the film construct meaning beyond the actions and words of the characters in the film? What film techniques do you see employed in this scene? What are the shot angles? Are there close ups? Establishing shots? Crane Shots? Are there abrupt cuts? Slow fades? Steadicam? Extended shots without cuts? Use of montage? Does the scene violate the 180 degree rule? Does use of sound help to construct meaning? Is there music? What is the music? How does it help construct meaning? Is there information entering the film from outside the diagetic world created by the camera? Is there anything in the scene that draws your attention to the filmic apparatus? How does all of this affect your understanding of the scene?

At the beginning of the scene, Clyde holds the gun and cleans it. Before talking to Bonnie, Clyde looks down at his gun, as if it would give him courage. It only takes a few moments after Clyde puts the gun down, for him to become less courageous and more nervous. After Clyde removes himself from the bed, the camera cuts to a close up of Bonnie’s head on the pillow. Beside her- almost overlooked- lies Clyde’s gun, right by her head. She hugs the pillow, almost hugging the gun as well. On the surface this just seems like Clyde put down his gun on the bed and it happened to end up by Bonnie. But the particular placement of this prop represents more than coincidence. Because the gun is no longer in Clyde’s hands, he no longer has the boldness to be intimate with Bonnie. Also, Bonnie seemingly hugging the gun represents how she needs for Clyde to confront his feelings. Clyde has run away from her, but she now clutches the very thing that he needs to feel whole- his gun, and his heart.
For this sequence of shots to be considered a scene, there needs to be a clear beginning and end. Both the beginning and the end of the scene are clearly marked by fade-ins and fade-outs- classic methods of jumping from scene to scene. This scene also is its own mark in time; the scene before and the scene after are at different times than this scene. The break in time makes this particular sequence stand out as its own individual scene.

When we go to the reverse angle shot looking over Brad’s shoulder, Brad’s head is out-of-focus and slightly off-screen.
In the scene from American Beauty, the low angle shot works TOGETHER with a variety of different elements to create the effect of dominance:

References:

http://www.bartleby.com/topics/Scene-Analysis-Essay
http://www.elcamino.edu/faculty/sdonnell/scene_analysis.htm
http://gradesfixer.com/free-essay-examples/a-scene-analysis-in-bonnie-and-clyde-film/
http://longzijun.wordpress.com/2014/04/03/film-scene-analysis-cinematography-and-mise-en-scene-in-american-beauty/
http://gradesfixer.com/free-essay-examples/movies/

how do you write a movie title in an essay

APA’s Publication Manual (2010) indicates that, in the body of your paper , you should use italics for the titles of:
On an APA-style reference page, the rules for titles are a little different. In short, a title you would italicize within the body of a paper will also be italicized on a reference page. However, a title you’d place in quotation marks within the body of the paper (such as the title of an article within a journal) will be written in normal lettering and will not be in quotation marks.

Time4Writing provides practice in this area. Sign up for our Middle School Basic Mechanics course or browse other related courses below to find a course that’s right for you.

• Capitalization of titles of works (books, articles, plays, stories, poems, movies, etc.)
  • Use all capital letters. THE MYSTERY OF THE MISSING BRIEFCASE. . . OR
  • Capitalize the first word and all the main words. Do not capitalize articles (like a, an, the) or conjunctions and prepositions if they are less than four letters. However, you should capitalize them if they are the first or last words in the title.
    • The Mystery of the Missing Briefcase
    • A Day in the Life of Dogs
• Italicize titles of works (books, magazines, newspapers, movies, plays, and CDs).
  • The Mystery of the Missing Briefcase
• Use quotation marks for shorter works (book chapters, articles, poems, and songs).
  • “Mary Had a Little Lamb”

Anyone living in the 21s century does not need any introduction to the term ‘movies’ or what they stand for and represent in our lives as such we should know how to write movie titles. Movies, which are also commonly referred to as films offer its viewers with different forms of visual communication mechanisms each utilizing motion graphics and audio technology. Films may be made for any number of reasons, and people often have even more reasons to watch them.
Therefore, since movies are accepted as viable sources of information in institutions of learning, more and more students have embraced this new idea. However, scholars are faced with challenges when citing and referencing these movie titles in papers using the information available about the writing styles available to them.

Chapter title in a book or anthology :
The title of source is the second core element in the Works Cited entry. In general, the title of a work is taken from the title page of the publication.

“I am excited to work on any film as complex as ‘The Prestige,'” he said.
In the body of a paper, APA, Chicago and MLA all use title case capitalization for titles of movies. All major words — such as nouns, verbs, adjectives, adverbs and pronouns — are capitalized. Minor words — such as prepositions, conjunctions and articles — are lower case unless it is the first word of the title. APA also specifies that all words more than four letters should be capitalized: Gone With the Wind. APA uses sentence case capitalization for movie titles in reference lists, which means only the first word of a title and proper nouns (names of specific people, places or things) are capitalized: For whom the bell tolls.

References:

http://www.time4writing.com/writing-resources/proper-punctuation-titles/
http://cite4me.org/blog/how-to-write-movie-titles/
http://irsc.libguides.com/c.php?g=483085&p=3303403
http://penandthepad.com/write-title-movie-paper-8692545.html
http://cite4me.org/blog/when-and-how-do-you-italicize-movie-titles/

how to write a movie in an essay

Use italics in a word-processed document for the types of titles you’d underline if you were writing by hand. A general rule of thumb is that within the text of a paper, italicize the title of complete works but put quotation marks around titles of parts within a complete work.
Beyond APA’s specific examples, know that certain types of titles are almost always written in italics.

• Movies titles
• Directors’ names and relevant names of the performers
• The studio that produced the movie
• Distributor(s) of the film
• Release dates

Anyone living in the 21s century does not need any introduction to the term ‘movies’ or what they stand for and represent in our lives as such we should know how to write movie titles. Movies, which are also commonly referred to as films offer its viewers with different forms of visual communication mechanisms each utilizing motion graphics and audio technology. Films may be made for any number of reasons, and people often have even more reasons to watch them.

Pirates of the Caribbean broke from Disney’s tradition of releasing more mature titles under alternate studio names.
“I am excited to work on any film as complex as ‘The Prestige,'” he said.

If you are thinking that we missed adding ‘A’ at the end of AP then please stops this tricky yet trappy thought, because we haven’t! It’s AP and not APA.

• Introduce the name of the movie with the limits of quotations.

Writing essays about films should be exciting and easy activity. Just follow these guidelines on how to structure it, details you need to pay attention to, and what should be the essence of your essay, so you’ll definitely look forward to writing your next film analysis essay and enjoy in the whole process.
That’s why you should try to evaluate how music reflects the mood of the film or the impact it has on what is happening on the screen. Is it supportive or distracting?

References:

http://cite4me.org/blog/how-to-write-movie-titles/
http://penandthepad.com/write-title-movie-paper-8692545.html
http://www.6dollarsessay.com/the-right-way-to-write-movie-titles-in-your-essays/
http://www.raindance.org/tell-me-everything-about-it-how-to-write-a-film-analysis-essay-correctly/
http://cite4me.org/blog/how-to-write-movie-titles/

what is a narrative film

More the province of fiction, point of view is nonetheless used in film. It is most often varied, moving from :
objective point of view (generally a long shot, standing back observing the action)

Narrative is generally accepted as possessing two components: the story presented and the process of its telling, or narration, often referred to as narrative discourse. Story is a series of represented events, characters (or agents for some), and actions out of which the audience constructs a fictional time, place, and cause–effect world, or diegesis. In the Lumière short, the material elements include the arrival of the train, the scurrying of rushed passengers, the gestures of the railway workers, the steam emitted from the engine, even the moving shadows beneath people’s feet. Out of these rather minimal visual objects and actions, the viewer generates tiny story events, including any effects that the train has on the people on the platform. The narrative discourse is evident in strategies of presentation, especially the camera position, which offers a view of the action that emphasizes perspective and depth, but also allows the viewers to watch the faces and movements of a number of the people involved. However, Lumière’s film offers a very low level of narrative development, in part because of the short length and paucity of story events, but also because of the absence of other narration devices, including plot ordering, mise-en-scène choices, editing, sound effects, intertitles, or camera movement. As films expanded in length and technical options, narrative strategies increased as well. Stories could develop more complex characterization, thematic concerns, and temporal development, along with increasing devices for the narrator to manipulate and present those events.
While many sorts of films employ some storytelling strategies, when we speak of narrative film we are typically referring to fiction films. However, before moving to fiction films completely, we should acknowledge that French film theorist Christian Metz has famously argued that on one level, all films are fiction films. All cinematic experience is based by definition on illusion. Motion pictures are fundamentally still images projected onto a flat screen. Nothing moves and there is no real depth of space, yet we cannot help but “see” movement and spatial cues as the film is projected. The entire process is based on a fiction that what we see is actually present. We know Cary Grant is long dead, we know that we are only seeing his shadowlike image projected on a screen, and yet we see and hear him in an illusory three-dimensional world in which he moves in front of and then behind his desk, right there in front of us. Lumière films, Cary Grant laughing, or a bird chirping in a sex education documentary are all based on an illusion, an absence, that is only possible thanks to the cinematic apparatus and the audience’s perception system. From this perspective, the fiction film is a specific type of cinema based on the content of the images and sounds rather than their material traits. The fiction film, the subject of narrative history, theory, and criticism, assumes a spectator who not only sees movement where none really exists, but also constructs characters, time, space, and themes.

Given that The Wizard of Oz is a narrative film, every scene and song relates to the central plot and doesn’t diverge by introducing sub-plots or characters with their own storylines. Keep this is mind as we take a look at some early narrative films.
Since their emergence in the late 19th century, films have played a significant role in the lives of people around the world. For example, movies have the power to share new ideas and teach lessons about the past or future. Sometimes, films only exist to entertain us. Just like there are many different styles of art, there are many different styles of film, but the style most commonly found in movie theaters is the narrative film.

Story and Plot
Films don’t just start and stop – they begin and end. A narrative’s use of causality, time, and space usually involves a change from an initial situation to a final situation. A film’s beginning (possibly medias res) provokes expectations and our search for causal motivations by setting-up a specific range of possible causes and effects. The portion of the plot that lays out important story events and character traits in the opening situation is called the exposition. Most patterns of development depend on how causes and effects create a change in a character’s situation. There is no set pattern of development but some common ones are the goal orientated and investigation plots. Time and space can also provide plot patterns. E.g. deadlines, flashbacks, single locales.

What do the filmmakers expect of you?
To summarise, because of all of these things, the makers of the film can expect you to be in quite a different state of mind to someone who just happens to be watching the film on TV at home. You will be expectant and curious, anxious to find out the solutions to the problems the characters face (the resolution of the problematic)
adapted from Steve Baker “Film & Narrative”

References:

http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/Narrative-DEFINING-FILM-NARRATIVE.html
http://study.com/academy/lesson/narrative-film-introduction-history.html
http://filmandphilosophy.com/2015/02/11/film-narrative/
http://www.medienabc.org/page5/page23/page41/page41.html
http://courses.lumenlearning.com/introliterature/chapter/how-to-analyze-a-film/

analyzing a film

Films are similar to novels or short stories in that they tell a story. They include the same genres: romantic, historical, detective, thriller, adventure, horror, and science fiction. However, films may also include sub-groups such as: action, comedy, tragedy, westerns and war. The methods you use to analyze a film are closely related to those used to analyze literature; nevertheless, films are multimedial. They are visual media made for viewers. Films take command of more of our senses to create special atmospheres, feelings or to bring out emotions.
The narrator is the person telling the story.

Ideally, when I start on the path of reviewing a film, I will know very little about it—aside from the actors and the director involved. If I’m not familiar with the cast and/or the director, I’ll do a little filmography research, but only about their past work if I’ve never seen it before. Avoiding exposure to the movie can be more difficult than it sounds when it’s a popular film—as trailers and marketing run rampant. But if you can avoid watching the trailers and reading about other peoples’ opinions prior to watching, you won’t have any preconceived judgments and can go in with an unbiased perspective.
Without being affected by the trailers, marketing, and other reviews before watching a movie, you can really put your best foot forward to creating your authentic opinion and turning that into a movie review people can trust.

The Truman Show parallels with Hamlet:
Once you have watched the movie, facing the act of writing might knock the wind out of your sails because you might be wondering how to write a film analysis paper. Fortunately, writing film analysis papers it as difficult as it might seem and Custom-writing.org experts will prove this. Just keep reading our advice on how to get started.

This final scene from the Lion King makes it easy to analyze all of the elements mentioned here. Think about the genre, and how the cinematography, editing, and music make you feel.
A film’s music score is there to convey a message, just like every other element. Music can help drive or support the on-screen action to make the audience feel an emotion. Here are some emotions we might feel while watching a film, and the music we might associate with that emotion:

It’s a classic, gothic horror tale of the sort that were popular from the late 19 th century to the 1960’s. Crimson Peak is frequently misunderstood due to the audience’s understanding of modern horror. Modern horror is relatively unsubtle, with lots of gore and jump scares. The film’s marketing also contributed to this misunderstanding: it was presented to the audiences as a modern horror, emphasising on the few ghost scares in the film’s trailers.
Only part 1 and part 2 are available to non-members, the How To Analyse Movies series is part of our premium content. Become a member to unlock the articles, or buy Film Analysis For Beginners: How To Analyse Movies on Amazon.

References:

http://sdfilmfest.com/how-to-analyze-a-movie-step-by-step-guide-to-reviewing-films-from-a-screeners-point-of-view/
http://custom-writing.org/blog/writing-film-analysis-essay
http://understandmedia.com/topics/media-theory/152-how-to-analyze-a-film
http://www.filminquiry.com/analyse-movies-introduction/
http://courses.lumenlearning.com/introliterature/chapter/how-to-analyze-a-film/

does every film have a thesis

You can read chapter four of Schaum’s Quick Guide to Writing Great Research Papers an eBook in our online collection, click the title to open: “How Do I Write a Thesis Statement?”.

• Narrows the topic down to a specific focus of an investigation.
• Establishes a direction for the entire paper.
• Points forward to the conclusion.
• Always stated in your introduction. (Usually at the end of the first paragraph).
• Always take a stand and justify further discussion.

Main Idea: Women’s labor in their homes during the first half of the nineteenth century contributed to the growth of the national economy.

• Primary sources: letters, diaries, government documents, an organization’s meeting minutes, newspapers.
• Secondary sources: articles and books from your class that explain and interpret the historical event or person you are writing about, lecture notes, films or documentaries.

The director is responsible for every aspect of the movie process, such as scenario execution, selection of the plans, and even tasks for actors.
In the end, re-state your thesis and offer a summary of the previously mentioned concepts in a new and more decisive way, making a case for your analysis.

• Unless you’re writing a technical report, avoid technical language. Always avoid jargon, unless you are confident your audience will be familiar with it.
• Avoid vague words such as “interesting,” “negative,” “exciting,” “unusual,” and “difficult.”
• Avoid abstract words such as “society,” “values,” or “culture.”

• Be prepared to answer “So what?” about your thesis statement.
• Be prepared to explain why the point you are making is worthy of a paper. Why should the reader read it?

If your discussion of the movie focuses mainly on one contributor (e.g. the director or a performer), you can choose to include that name at the start of the citation instead, where the author would normally go.
Professional editors proofread and edit your paper by focusing on:

References:

http://clas.uiowa.edu/history/teaching-and-writing-center/guides/argumentation
http://www.raindance.org/tell-me-everything-about-it-how-to-write-a-film-analysis-essay-correctly/
http://www.cws.illinois.edu/workshop/writers/tips/thesis/
http://www.scribbr.com/mla/how-to-cite-a-movie/
http://www2.hawaii.edu/~davink/ANALYTICAL/Film.html

essays on how social media is as dangerous as addicting behaviors

They become stages where observing, examining, take part to the “social staging”; the script interpreted is made by interactional dynamics, social rules, emotions and so on;
Social networks have the power to amplify this human nature. They have broken the barriers of distance and time, of presence and visibility. They expand the possibilities of sharing and playing identities. They fulfil the most deeply human need of finding a psychological distinctiveness and self-definition in a social context.

(Please note, this article was written with Dr. Daria Kuss and was the original extended version of an article that was subsequently published in The Washington Post)
If you want to check whether you may be at risk of developing an addiction to social media, ask yourselves these six simple questions:

While this is not to say that you should not spend any free time on social media at all, but you must keep a close eye on how much time you use up on social media, and not overdo it.
Even back then, people have said that the heavy usage of internet and cell phone may cause serious problems to work performance and negatively impact one’s life, but there is no official mentioning that social media addiction is a type of disorder.

Because we need to continue to consume food and social media, these dependencies can’t be handled by the most effective means of ending addictions — going cold turkey. The feedback loop between our behavior and the part of our brain that responds to pleasure makes moderation very difficult to achieve. Few people can take one bite of a delicious chocolate cake and feel satisfied. Our hunger for more is powerful, and, as hard as it might seem, not taking the first bite can be easier than trying to stop after just one bite. I’ve had patients tell me that they recognize their helplessness in the face of food and wish they could totally give it up.
So. like patients who need to take control of their eating, could my patient use similar techniques to take control of her online life and start to feel better while keeping her job? Substituting the word “screen” for “food,” I asked my client to assess her relationship to social media and screen use in general. For example: Is my relationship to social media healthy? Does it reflect my values? At the end of each day, how has my time on screens helped me improve myself? What is one modification I can commit to to bring about sustained change with screen time in my life? If I think of every megabyte as a bite of food, what percentage of what I consumed online today was empty calories?

Publishing research on modern addiction
While we adjust to cope with the psychological effects of social media, gaming and internet use, researchers are working to understand the underlying triggers and consequences of our behavior. Here you can read some of the latest research, which provides an up-to-date overview of online addiction in the modern world. The collection is free until December 31, 2017.

References:

http://www.psychologytoday.com/us/blog/in-excess/201805/addicted-social-media
http://www.thewisdompost.com/essay/addiction/social-media-addiction/social-media-addiction-meaning-symptoms-causes-effects-treatment/1293
http://www.nbcnews.com/think/opinion/social-media-addiction-binge-eating-here-s-how-find-right-ncna1144586
http://www.journals.elsevier.com/addictive-behaviors-reports/news/addiction-to-modern-technology-what-the-science-says-free-co
http://www.forbes.com/sites/jacquelynsmith/2013/04/16/how-social-media-can-help-or-hurt-your-job-search/

what does it mean to annotate a film scene

It comes as no surprise that watching a Shakespeare film is inherently different than reading a Shakespeare play. The two mediums engage our minds differently. Thus, when we go to annotate the two, we approach from different angles. I personally am much more successful at annotating texts. The reason for this is two-fold; when reading a text I am both able to work through it at my own pace and able to physically make notes on it.
This page from act II scene 2 of Romeo and Juliet serves as an example of my annotation process. Textual elements, for example the oxymorons at the bottom of the page, are first identified and then grouped together. If the grouping then suggests something about the character or the scene I jot down a quick note of interpretation. If I cannot see some purpose to the textual elements of the passage I will write questions or question marks to help me identify what it is I do not understand. This specific page contains interesting annotations because here I have likened lines 158-159 to lines from A Midsummer Night’s Dream. These types of connections expand and enrich the meanings of passages.

This situation got me fantasizing about some better way to do this kind of assignment and assessment. I once tried, unsuccessfully, to embed clips in blackboard and have been wondering about some way to make a clip available to students for a set period of time and running the assignment as a kind of take-home test: Watch this clip as many times as you want, freeze it, rewind it, play it over and over, as much as you want within a time from of one hour, a half hour or whatever….and generate as detailed a “segmentation” or outline of formal components of the clip as you can; then write up an analytical interpretive essay and post that too. Even doing this, I think, could significantly improve the quality of their experience of practicing formal close analysis and the quality of what they turn in to me to be assessed.
But my fantasies didn’t stop there; I started to wonder if there might not be some cool way to have students actually annotate a film clip “on the clip” so to speak. Wouldn’t it be cool (and pedagogically awesome) if they could actually mark moments in time or spaces within the frame when and where something significant happens in the clip? Wouldn’t it be cool if some kind of clip analysis setup could have multiple tabs, each one dedicated to a different formal component of the clip (e.g. one tab would be for sound, another for editing, another for acting, another for costume, another for camera movement, another for camera angles, etc. etc.)? I could then require students to go through each tab and fill in observations on each of those aspects of the clip.

5 – There are also some graphical annotations such as banding or score (or pointing).The program Faux Raccord proposed by Allociné website is based on this model. We can hear a voiceover commentary associated with the film clips which reveals [editing] errors in the movie by inserting circles, arrows or crosses.
Let me now explain my focus: I will discuss the audiovisual annotation based on 2 analysis:

I believe you only need to a see a film once in order to critique a film. Of course, there are those who prefer at least a couple viewings, but from my experience multiple viewings can actually skew your assessment.
I want to ensure that my thoughts encourage readers to create a constructive discussion around the film, or help them decide whether or not the movie is for them. And hopefully, the audience will have as much fun reading my review as I did writing it.

As a teaching aid, OTTO provides a template for students on how to write concise and close analyses of film moments. First, students have to select an annotation category. There are ten categories in OTTO such as dialogue and screenplay, performance/acting, photographing, staging, etc., to help students limit their focus to a particular aspect of a shot or scene. Second, there is a description text box for students to provide a context or a simple overview of a particular filmic moment. Third, there is an analysis text box that enables students to reflect on how the moment they are tagging and annotating contributes to their understanding of film noir and connects to larger theoretical, cultural, or thematic issues.
Winter 2011: Shannon Clute and I co-authored The Maltese Touch of Evil: Film Noir and Potential Criticism (Dartmouth College Press). The book explored exemplary moments in film noir (which we dubbed ‘ noiremes ‘) through the lens of Oulipian constraint and recombinatorics . The final section of The Maltese Touch of Evil ( MTOE ) suggested the idea of developing a “participatory, procedural (and ultimately, perhaps, encyclopedic) database dedicated to film noir” (262). The MTOE project “would allow readers to add their own investigative notes, to tag or annotate the filmic material with further information and metadata, to author new noiremes , and to suggest or create constraints for resequencing existing noiremes (percent of a frame in shadow, number of times ‘Baby’ is uttered in one scene of a screenplay, etc.)…” (263). At the time the book was published, we weren’t sure how or evenif the MTOE project would develop, but we were hopeful that such a project was possible. In terms of its potential uses, the MTOE project could help students pursue close readings, share viewing notes online, and curate annotated entries in an ever-growing digital archive. Moreover, in keeping with the Oulipian roots of the project, such a tool would be able to generate surprising insights leading to new critical observations or new avenues of investigation through mathematical constraints and algorithmic processes.

References:

http://at.blogs.wm.edu/annotating-film-clips/
http://celluloid.hypotheses.org/224
http://sdfilmfest.com/how-to-analyze-a-movie-step-by-step-guide-to-reviewing-films-from-a-screeners-point-of-view/
http://mediacommons.org/fieldguide/question/what-does-use-digital-teaching-tools-look-classroom/response/annotate-and-analyze-online-vi
http://filmdaily.co/news/film-analysis/