Category: Visual arts

in the formal analysis, you are expected to demonstrate your familiarity with and understanding of the terms
and concepts introduced in the textbook, and explained in the powerpoint “lectures”, and to use these
concepts to formally analyze a scene(s) from the assigned film.
Your analysis must include relevant
quotations from the reading(s) and details from the scene in question using the proper film vocabulary to
describe and analyze the film. (as examples of formal analyses, see the “film in focus” sections of your textbook,
especially the ones on mise-en-scène in do the right thing [pp.100-1], editing in bonnie and clyde [pp. 186-7], narration
in gone girl [pp. 262-263], and nonfiction and non-narrative in stories we tell [pp. 284-5].) 
The formal analyses are to be written in essay form, and should be 750-1,000 words (double-spaced, times new
roman, 12-point font). a specific scene will be indicated by time codes from the film that you are to analyze at the end
of the lecture slides. the analyses are due by 11:59 pm on the following friday (one week after the “lectures” are
uploaded), so make sure you get your questions that will help you analyze the film answered in class. it is important to
have seen the entire film, as you are expected to analyze the scene in relation to the larger thematic and formal context.
a specific question, or a thesis statement, to guide your analysis will be posted with the timestamps for each clip.
you must answer the question precisely in the introduction of your paper—this is your thesis. if the thesis
is already given, then you must focus on supporting that thesis with analysis. the rest of the paper will
provide evidence from the film and textbook to support your precise answer (at least three direct quotes). you will
see that in order to do the former, i.e., answer the question clearly, you must have already done the latter, i.e .,
analyzed the film with the use of the concepts from the textbook. always answer the central question of your
papers after you have conducted all of your research (i.e., film analysis an d finding quotes from the reading to unpack), and always provide that precise answer in your introduction so your reader knows immediately what you
intend to argue. (all university papers should observe this method no matter the discipline.) do not attempt to
answer the question by telling your reader that you will “explore” or “analyze” the topic. you must provide a
specific claim that will be defended by your analysis of the film and literature, for example (here, the textbook or my lecture
slides). 
The analysis is not a movie review; it is not simply an evaluation; but an informed critical description and a discussion
of the form and content of the scene. you will be graded on the quality of your answer to the question, the
specificity and relevance of your film description and analysis, the accuracy of your use of film vocabulary, and the
demonstrated comprehension of how the formal elements contribute to the larger themes/strategies of the film.
(see the rubric for this assignment in the “general course information” module.) references in analyses are to be limited to material from the course. do not cite other sources. include a
“works cited” page at the end. the textbook is cited correctly in the syllabus. 
Essential
assignment guidelines: 1. a clear answer to the question posed in the prompt stated in the intro (your thesis), or
the thesis given in the prompt set up and stated in the intro; 2. at least three properly integrated quotes (no
paraphrasing) from the textbook/lecture (introduced and explained to the reader); 3. more than 50% of the text
should provide details from the scene in question using proper filmic vocabulary from the textbook/lecture—
general claims about the film must be supported by detailed description and analysis—vague language or an
overreliance on generalities are unacceptable in a film analysis; and 4. proper citations. 
The formal analysis will be written on the film: Persepolis (marjane Satrap & vincent paronnaud, 2007.
Detailed instructions: you will provide a
detailed description of all of the cinematic techniques mimicked
by the animation of this scene from 27:40-30:09 in persepolis. In
addition to noting the relevant terms and concepts in the
“animation and experimental media” chapter, make use of the
textbook’s explanation of the relevant cinematic techniques in
the chapters on mise-en-scène, cinematography, editing, sound,
and narrative. your research questions for this formal analysis
are: what theme is developed in this sequence of persepolis that
is most relevant to the larger autobiographical documentary
narrative? and how do the cinematic techniques help to
advance that theme in this scene? 
• don’t just write a vague, generalized answer to this question
to serve as your thesis. (always) identify the specific techniques
that contribute to the development of the theme and include
them in your answer.
Sources: The Film Experience, 6th Edition 
Persepolis (marjane Satrap & vincent paronnaud, 2007. 

Dont choose blade runner, get out, or black panther. Follow the instructions provided in attachments. 

First portion: should include an image of the artwork and then the formal analysis of the artwork listed. You should discuss the design elements to describe the work. Don’t forget to mention the style, subject matter, and the meaning behind the title. 
Second portion: should include your personal thoughts on the artist/artwork and tell whether or not you like his/her artwork and why. 
You must cover any and all items applicable from the “Art Analysis Essay Checklist” provided earlier in the semester. It is up to you to research your piece and to use relevant terms. Mention any works that were influenced by your chosen piece or that influenced the creation of your piece.This must be in your own words. Do not copy + paste from the internet.
Feel free to post any website links, videos, or articles that are relevant to y

I need a two minute(animated) video discussing the neurotransmitter dopamine and it’s affect on the brain   similar to these 

Hitchcock and German Expressionism
Thesis statement:
Alfred Hitchcock, known as the “Master of Suspense”, is a very influential filmmaker whose influence on cinema is still evident today. His films continue to inspire and be studied by filmmakers and scholars. However, what were the factors that shaped his unique style? This paper examines how Alfred Hitchcock was influenced by German Expressionism in his filmmaking. To explore this topic, this essay explores Hitchcock’s apprenticeship at the UFA and the early years of his career. This essay analyzes his two films, Shadow of a Doubt 1943 and Notorious 1946, and argues how German Expressionism elements such as lighting techniques, deep focus, and close-ups that Hitchcock adapted to develop his distinctive style of psychological suspense.
Preliminary bibliography of sources in MLA format (Could be added additional references)
Cook, David A. A History of Narrative Film. W.W. Norton et Company, 2016.
Driscoll, Paige. “‘The Hitchcock Touch’: Visual techniques in the work of Alfred Hitchcock.” International ResearchScape Journal, vol. 1, Feb. 2014, https://doi.org/10.25035/irj.01.01.04.
Orr, John. Hitchcock and Twentieth-Century Cinema. Wallflower, 2005. 
Preliminary paper outline to follow
How German Expressionism Shaped Hitchcock’s Work
Introduction
Alfred Hitchcock short introduction
Thesis statement
Hitchcock’s Apprenticeship at UFA and Early Career
Hitchcock’s time at the UFA film studio in Germany
Films he worked on during this period of time and how they exposed him to Expressionistic techniques
Analyzing Shadow of a Doubt (1943)
Examining the film’s narrative structure and how it utilizes Expressionistic elements to create suspense.
Analyzing specific scenes in detail, focusing on elements of German Expressionism
Analyzing Notorious (1946)
Analyzing the film’s noir aesthetic and how it connects to German Expressionism
Examining the film’s use of lighting, deep focus, and close-ups to create a sense of entrapment and psychological manipulation
Conclusion

Is your paper written in Times New Roman, 12 pt font, double-spaced? 
5. Have you cited any external sources used? Are those sources scholarly and reputable?
6. Is the paper written entirely in your own words (three short, cited quotations are accepted)? Plagiarism and the use of AI/ChatGPT will not be tolerated. 
Many websites are excellent (Web Gallery of Art, Met Museum of Art), while many are questionable (Wikipedia, blogs, or journals/articles without sources). Use of questionable or unscholarly source material will result in partial credit. If there is any doubt, please consult me. Students are strongly encouraged to use art historical terms and convey their understanding of art historical concepts and analytical approaches. Additionally, students are only permitted to use three short quotations in this project (which must be cited) – all other research must be paraphrased in the student’s own words. Any citations must be compiled on a separate Bibliography page at the end of the paper – MLA, APA, and Chicago Manual of Style citation formats accepted. Finally, It is the student’s responsibility to ensure that they have submitted the correct file, that their submitted files are uncorrupted, and that the file is in the correct format (Word or PDF). Failure to meet these responsibilities will result in a failure of the assignment.
Themes
Theme 1 – Power & Leadership:
Figures of authority tend to be represented within certain visual conventions. Consider all of the depictions of leaders and elite figures we have seen in this course. What do their representations have in common? What is different? How do these images convey authority? What symbols, if any, do they use to allude to their power? How are different leadership roles visualized? That is, how the conventions of portraying a religious leader differ from those used to depict a king or political ruler? How do materials and artistic techniques affect the understanding of the work?
Theme 2 – Religion & Ritual
How are religious beliefs and practices embodied in art? Is religious imagery representational, non-representational, and/or abstracted? How is art used in ritual contexts? What influence, if any, do power structures have on the use and/or placement of religious art? Is the religious theme, figure, or artistic style indigenous to this culture, or has it been adopted from elsewhere?
Theme 3 – Architectural Innovations:
What do the types of structures people build tell us about them and their society? What role, if any, does religion have on the design or construction of the structures? What significance do materials and technological advancements have in a work’s construction? What, if any, architectural features are shared among different cultures?   
Conducting a Visual Analysis
A visual analysis is an explanation of the composition or visual structure of an artwork. It is a discussion of how and why the artist made certain design choices (including the visual elements and principles of design) and how those choices impact our interpretation of the artwork’s tone, meaning, or purpose. Please note: many of you did not thoroughly explore your selected artworks’ visual components in your Unit 1 Essays – please consider using the increased word count to expand upon these points, as this will earn a higher grade!
Please review the “ART 1040 Conducting a Visual Analysis Guide” for a full explanation of the factors you should consider in your analysis. However, some examples of questions to ask yourself when writing your visual analysis include: 
• Technique: How was the artwork made? Was it drawn, painted, sculpted, built, etc.? 
• Composition: Is there a focal point? Is the composition crowded, open, varied, or repetitious? Is the composition symmetrical or asymmetrical?
• Space: Does the image depict a deep, or flattened space? How does the primary subject relate to the space around it?  
• Focus: What areas appear clearest or sharpest? What is fuzzy, or shown in less detail? How does the artist create emphasis?
• Color: Is the image in color, or black and white? Are the hues natural or artificial? How intense is the color? What color scheme is used? 
• Scale: What is larger or smaller in the image? Are these naturally occurring relationships, or do they seem intentional?
• Line: Are the lines straight, curvy, thin, thick? Do the lines create direction in the image? Do they outline? Do the lines indicate movement or energy?
• Repetition: are there any objects, shapes or lines that repeat or create a pattern?
• Size: Is it large or small on the page? In relation to article text?
• Style: What style is this artwork created in? What are the style’s defining characteristics? Are there any attributes of this artwork that are unusual for this style?
• Impact: What is the visual, emotional, and cultural impact of the artist’s design choices? 

5-pg analysis of these 7 terms related to organizational diversity.
1. affirmative action
2. intersectionality
3. inclusion
4. equity
5. unconscious bias
6. employee resource group (ERG)
7. cultural competence
include, an examination of each element, why each item is significant and identification of the strengths, weaknesses, threats and opportunities of each item with their effect on an organization.
# I will be turning the 7 terms into an info graph and placing it within th paper.

Discuss so-called Orientalist art as a form of Romantic escapism. Analyse three Orientalist paintings in
support of your answer. Would you consider them to be ‘realist’? Please refer to (and quote) the ideas of
Edward Said as you develop your argument. Are the artworks designed to simply provoke emotion for its
own sake or does the aesthetic serve some political agenda or allegorical purpose? Explain.

For this assignment I have to write a 5 page paper reflecting on my experience as the art director for for a student production that was filmed back in January of this year. I chose to be the art director because of my creative eye and my passion for bringing written things to life through visual aspects. However I didn’t have the best experience as the art director because of the team that I worked with. Oftentimes the production designer on my team was extremely unprepared and didn’t put their best foot forward to help with the art of the set. This made my experience difficult. The aspect of production in general was very different from what I expected. I used to believe production was just lights, camera, action. But during this intense week I learned what is actually took to make a show come about. I learn all of the roles and I know for the future what my interest are. Despite my struggles I feel that I did my best and put my best foot forward as the art director for the student production. I am grateful for this experience and everything that I learned about what behind the scenes actually entails.