These questions are broad and cover the whole semester. Your answers should consider both the formal aspects of the films we have watched as well as their historical contexts. Remember to use the vocabulary we learned in the first half of course when appropriate. There are no right answers to these questions. Your essay will be evaluated on the strength of your argument (5 points), your use of evidence from the films to support your points (5 points), and the appropriate use of film vocabulary and concepts in your answers (5 points).
- Hollywood has a long history of representing Indigenous peoples in stereotyped ways. The Western genre, in particular, frequently represented Indigenous peoples as a “vanishing race” that would inevitably disappear as a result of European settler colonialism. In this course, however, we have watched a number of films by Indigenous filmmakers that present very different images of Indigenous peoples on screen. Using specific examples from at least 2 films weve watched this semester* discuss the use of film by Indigenous filmmakers. How do these films reflect the experiences of Indigenous peoples and/or represent continuing resistance to settler colonialism?
- In her essay Towards a Positive Definition of World Cinema, Lucia Nagib argues for an approach to the study of world cinema that de-centres Hollywood. Proposing a method in which Hollywood and the West would cease to be the centre of film history, and this would be seen as a process with no single beginning. The advantage of such an approach is that, once the idea of a single centre is eliminated, nothing needs to be excluded from the world cinema map, not even Hollywood, which, instead of a threat, becomes an element or a cinema among others. In this course we have watched films from around the world, but, even when doing so, we have often used Hollywood films as a reference point. Using specific examples from at least 2 films weve watched this semester* discuss the importance of studying cinema in a global context. Is it possible (or even desirable) to completely de-centre Hollywood from the study of film? What do we gain (or lose) when we do so?
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