questions to ask for essay film

questions to ask for essay film

Why does Jim Hudson buy Chris at the auction?
How does Jordan Peele use humor in the film?

Questions to ask for essay film
I’m not the hugest fan of The Last Jedi, nor is it a perfect screenplay, but it does provide three distinct storylines (Rey, Finn, and Poe) that can demonstrate how being able to answer these seven questions can reveal your story’s strengths, and how not being able to can reveal where your story could be lacking.
Conflict is what turns boring events into intriguing drama, and in this video essay, Sage Hyden of Just Write uses Star Wars: The Last Jedi to explain how to develop conflict within your narrative by seeing if your story can answer seven basic questions.

Note: In some of the questions we have used the term “major characters.” Before asking the questions, have the class identify the major characters. In addition, these questions can also be limited to one or more characters.
9. Although incidents in the story usually return to the main conflict, they often reveal a pattern related to the ideas in the story. This pattern causes the viewers to focus sharply on the story itself. What pattern can be seen in the story?

Questions to ask for essay film
Tony is the Network Co-ordinator for the Lausanne Media Engagement Network. He helps Christian leaders in relating media and the Bible (especially the prophets) through his work as a speaker and writer. Tony works partly in association with Damaris Norway, but lives in the UK. See all Tony’s articles on
Focus: The Art and Soul of Cinema

Questions to ask for essay film
Film studies, it seems to me, is an effort to understand films and the processes through which they’re made and consumed. Film scholars mount explanations for why films are the way they are, why they were made the way they were, why they are consumed the way they are. Most ordinary talk about movies, and most film journalism, doesn’t ask “Why…?” questions, or pursue them very far.
Explaining anything involves analyzing it, at least to some degree. Analysis is a matter of breaking up whole phenomena into relevant parts and showing how they work together. Thus a film historian interested in how a particular studio worked in 1930 will distinguish among the studio’s operations (studio departments, say, or phases of the moviemaking process). An academic film critic will divide a film into parts (scenes, sequences, “acts”) to see how the overall architecture works. Explaining something also involves describing it. A film historian trying to explain how a studio functioned in 1930 will describe the work routines; that’s a necessary part of the explanation. An academic film critic will describe a scene in detail, for that’s necessary to understanding why it carries a particular meaning or achieves a particular effect. Analysis and description are rare in ordinary conversation and in film reviewing because of limits of time and space, but also because the film scholar is interested in something that isn’t so pressing for other parties: explanations.


Leave a Reply

Your email address will not be published. Required fields are marked *