Instructions
There are three assigned papers for this course – 2 Film Response Essays (due weeks 4 and 6) and One Research Project due in 3 stages throughout the semester. Paper topics and films are not allowed to overlap with each other nor with discussion posts. The goal is for you to watch and write about as many new movies as possible over the 8 weeks of this course.
RESPONSE PAPERS #1 and #2
General Instructions: For each of these two response papers, you will be responsible for watching a film and writing a 3 to 5 page essay (double spaced, Calibri 11 font, 1″ margins) in which you respond to prompts which will be provided for each paper (this means at least 3 full pages of written essay, plus the “My Criteria for Quality in Film” page). These assignments are reaction papers, not plot summaries or research papers. The key element here is that you will be telling the instructor what you have to say about the film, not what others have said.
In a 100-level course, you would perhaps be asked to write about what you saw on the screen. In a 200-level course, you would be asked to say what you think about what you saw. In this 300-level course, you are expected to explain why you think the way you do about the film, and to justify your explanation (using references to subjects found in the weekly content in the LEO classroom.
You will be responsible for turning in these assignments to the proper assignment folder in LEO.
Putting these assignments off until the last possible moment probably will not work very well. Each of them requires you to view an additional film besides the ones you will be watching for the week’s discussion, so you should be sure to leave yourself enough time to view the necessary film, think about it, write a first draft, and then edit and revise.
Part of your responsibility in this course is to make any and all arrangements necessary to allow you to view the films, think and write about them, and turn your assignments in by their respective due dates. Some of the films you watch may be available for streaming via Netflix or another online content provider; others may be available for checkout from your local public library, while others may need to be rented.
Be sure to spell the names of directors, actors, screenwriters, and other people correctly (this can cause “points” to be taken off of the final grade for that paper). Any name that is not listed in the credits that begin or end the film is a name you do not need to mention.
The papers will be graded based on such elements as evidence that you are reading and viewing the material the course content, references and comparisons to other films you have seen (in or out of class and throughout your lifetime as a movie watcher), and especially to films you have previously written about; use of the film vocabulary introduced in class; clear presentation of your opinions; reasonable explanations and justifications to support those opinions; and college-level writing skills (spelling, punctuation, and grammar). Other criteria will be presented to you as appropriate.
You are better off watching these films on the largest possible screen, and at the highest possible resolution.
Response Paper #2 Prompt – Draft Due Saturday April 22nd(Upload to week 6 discussion thread) Final Version due Tuesday April 25th(Upload under the Assignments Tab)
Part 1: View a feature film made between 1970 – 2000 you have not worked on for this course (nor will see later in this class) by a great director or featuring a great actor or actress.
Just as you did in the first paper, comment on the specific film you saw. Pay particular attention to the screenplay, camerawork (cinematography), the editing (montage), and the sound (this can include the music). You may also address special effects. Again, as you did in the first paper, talk about what you like, and what you dislike, about what you saw? Why do you like the things you like, and why do you dislike the things you dislike? Is the film a good film, or is it not?
Part 2: Now that you have commented on the specific film you viewed, see if you can draw some general conclusions about the work of the director and one of the main actors or actresses. Be sure to comment on the overall impression you had of the film, including how you see it as an example of the its genre and time period. Remember, this is not a research paper. I am interested in what you have to say, not in what you can learn by reading up on the film or the filmmaker.
Part 3: Go back to the “My Criteria for Quality in Film” page. Based on your viewing of this week’s film, add Five new general conclusions. These statements should be numbered (6) through (10). Be sure to also include all of your previous criteria statements (1-5) from Paper #1 on this page. This way you will be continuing to develop your criteria as a whole.
1
ETHEL MBANWI
UNIVERSITY OF MARYLAAND GLOBAL CAMPUS
ARTH 334 7386 UNDERSTANDING MOVIE
PROFFESSOR IVANA ROSENBLATT
04/11/2023
2
Part 1
Introduction
For this assignment, I decided to watch the 1960 film “La Dolce Vita,” directed by Federico
Fellini, one of the most prominent Italian directors of the 20th century. The film tells the story of a
journalist named Marcello Rubini (played by Marcello Mastroianni), who is caught between the
decadent lifestyle of the rich and famous in Rome and his desire to find meaning and purpose in his life.
“La Dolce Vita” is often considered a world cinema masterpiece and a landmark film in the Italian
neorealist movement.
One of the most striking aspects of “La Dolce Vita” is its cinematography, masterfully executed
by cinematographer Otello Martelli. The film is shot in black and white, which adds to the sense of
timelessness and universality throughout the story. The camera work is often unconventional, with
many long tracking shots and shots from unusual angles creating disorientation and uncertainty. For
example, the film’s opening shot is a long, uninterrupted shot of a statue of Christ being airlifted over
Rome, setting the tone for the film’s themes of decadence and spiritual emptiness. The editing in “La
Dolce Vita” is also impressive, with many sequences that use a montage to create a sense of rhythm and
pacing. One notable sequence is the scene in which Marcello visits a nightclub with a group of wealthy
socialites. The scene is intercut with shots of young girls who have escaped a mental institution and are
dancing in the streets. The contrast between the two groups highlights the film’s theme of the
hollowness of the rich and famous lifestyle, and the scene is a testament to Fellini’s skill as a filmmaker.
Moreover, I particularly liked the film’s exploration of the tension between tradition and
modernity. Throughout the film, Marcello is caught between his desire to uphold traditional values and
his attraction to the new and exciting world of the rich and famous. This tension is reflected in the film’s
3
use of contrast and juxtaposition, such as the scenes of Marcello visiting his father in the countryside
and his partying with the socialites in Rome. These contrasting worlds highlight the film’s theme of the
changing values and mores of post-war Italy. Another aspect of the film that I found impressive was its
use of symbolism and metaphor. For example, the recurring image of water throughout the film
represents Marcello’s desire for spiritual cleansing and rebirth. In contrast, the image of the fisherman’s
net represents his desire to capture the meaning and purpose that eludes him. These symbols and
metaphors give the film a sense of depth and richness that rewards repeated viewings.
However, there were also aspects of the film that I found less satisfying. One of the film’s main
criticisms is its portrayal of women, often sexist and objectifying. Many of the female characters in the
film are little more than sexual objects or plot devices, and their agency and autonomy are often
ignored. While this may be reflective of the attitudes of the time in which the film was made, it is
nonetheless a problematic element of the film that detracts from its overall impact. Another issue that
some viewers may have with the film is its pacing and structure. The film is notoriously long, clocking in
at over three hours, and its episodic structure may feel disjointed or meandering to some viewers.
However, I would argue that these elements are integral to the film’s themes and message and that the
film rewards patient and attentive viewing.
The sound design in “La Dolce Vita” is also noteworthy, particularly the use of music to create
atmosphere and emotion. The film’s main theme, composed by Nino Rota, is a haunting melody that
captures the film’s melancholy and nostalgia. The music is used sparingly throughout the film, which
makes its appearances all the more powerful when they do occur. Generally, I found “La Dolce Vita” to
be a fascinating and thought-provoking film that raises many interesting questions about the nature of
happiness, meaning, and the human condition. The film’s portrayal of the decadence and shallowness of
4
the rich and famous is both satirical and sympathetic, and the character of Marcello is a complex and
nuanced portrayal of a man struggling to find his place in the world.
As a representative of its genre, “La Dolce Vita” is a masterpiece of Italian neorealism. This
movement sought to capture the realities of post-war Italy in all its complexity and contradiction. The
film’s use of location shooting, naturalistic acting, and unconventional storytelling techniques make it a
seminal work of the neorealist movement, and it continues to influence filmmakers today. As a film, “La
Dolce Vita” is undoubtedly a great work of art, but it may not be to everyone’s taste. The film’s
meandering narrative and ambiguous ending may frustrate some viewers, and some may see women as
objects of desire as problematic. However, these elements are integral to the film’s themes and
message, and it is ultimately a film that rewards careful viewing and reflection.
Conclusion
In conclusion, “La Dolce Vita” is a landmark work of world cinema that continues influencing
filmmakers today. Its cinematography, editing, and sound design are masterfully executed, and its
exploration of the tension between tradition and modernity is timely and timeless. While the film’s
portrayal of women may be problematic, and its pacing may be slow for some viewers, it remains a
must-see for anyone interested in the history of cinema or the Italian neorealist movement. While it
may not be a film for everyone, it is a must-see for anyone interested in cinema history or the Italian
neorealism movement.
5
Reference
https://www.imdb.com/video/vi609599257/?playlistId=tt0053779&ref_=tt_pr_ov_vi
6
Part 2
La Dolce Vita is a 1960 Italian film directed by Federico Fellini and starring Marcello Mastroianni
and Anita Ekberg. It is a classic of Italian cinema and one of Fellini’s most influential films. In this film,
Fellini portrays the hedonistic lifestyle of a group of Roman socialites and the journalist, Marcello Rubini,
who covers their exploits in search of a meaningful existence.
Fellini was a master filmmaker known for his vivid and imaginative portrayals of human
experience. He was known for his stylistic elements of magical realism and surrealism, which he expertly
wove into his films. La Dolce Vita was no exception. The film was shot in black and white, which lent
itself well to the gritty, realistic portrayal of life in Rome. Fellini’s use of the camera was innovative. He
experimented with different camera angles and movements, giving the film a sense of fluidity that was
not commonly seen in films of that era. Fellini’s unique approach to filmmaking was characterized by his
innovative use of camera work, visual imagery, and sound. In La Dolce Vita, Fellini used the camera to
create a sense of voyeurism, as if the audience were peering into the characters’ lives. He used a variety
of camera angles, including close-ups and long shots, to emphasize the emotions and experiences of the
characters. The film’s use of sound was also innovative, as Fellini incorporated a range of sounds and
music to create an immersive experience for the audience.
Fellini’s visual style was also a defining element of his films, with La Dolce Vita being no
exception. His surreal and dreamlike imagery added a layer of complexity to the film, with scenes of the
characters’ fantasies and nightmares interspersed with their real-life experiences. The film’s black-andwhite cinematography was also a deliberate stylistic choice, which added to the gritty and realistic
portrayal of life in Rome. Fellini’s ability to seamlessly weave together different stylistic elements
created a unique cinematic experience that set him apart from his contemporaries.
7
One of the standout elements of La Dolce Vita was the performance of Marcello Mastroianni,
who played the lead character of Marcello Rubini. Mastroianni frequently collaborates with Fellini and
appears in several of his films. In La Dolce Vita, he delivers a nuanced performance as a journalist
struggling with his existence and identity. Mastroianni was known for his ability to convey complex
emotions subtly, and his portrayal of Marcello Rubini was no exception. He expertly captured the
character’s inner turmoil, desire for a meaningful existence, and despair at the shallowness of the world
he inhabits.
Another standout performance in the film was that of Anita Ekberg, who played the character of
Sylvia. Ekberg was an American actress famous for her beauty and sensuality. In La Dolce Vita, she plays
a Swedish actress who Marcello Rubini becomes infatuated with. Ekberg’s performance was magnetic
and captivating, bringing a larger-than-life quality to her character. Her portrayal of Sylvia was a perfect
match for Fellini’s larger-than-life vision of the world, and her performance added an element of
surrealism to the film. Anita Ekberg’s character of Sylvia symbolized feminine allure and glamour, a
central element of Fellini’s films. Ekberg’s performance in the iconic scene of the Trevi Fountain, where
she wades through the water in a black dress, became one of the most memorable moments in film
history. Her character’s unabashed sensuality and larger-than-life presence in the film reflected the
cultural shift towards a more liberated attitude towards sexuality and pleasure in Italy during the 1960s.
Ekberg’s performance added surrealism to the film, as Fellini’s stylized camera work and visual imagery
exaggerated her character’s larger-than-life qualities.
As a film, La Dolce Vita reflected the times it was made. The 1960s was a period of great change
and social upheaval in Italy, and the film captured the spirit of the times. The hedonistic lifestyle of the
characters portrayed in the film reflected the changing social norms in Italy, as people began to embrace
a more liberal attitude towards sex and pleasure. The film also touched on themes of existentialism and
8
the search for meaning in life, which were prevalent in the intellectual circles of the time. La Dolce Vita
was a cultural phenomenon that captured the zeitgeist of the time. It was a bold and daring film that
challenged Italian society’s traditional values and norms, which the Catholic Church and traditional
gender roles had long dominated. The film’s exploration of themes such as existentialism, the search for
meaning, and the emptiness of modern life reflected the intellectual debates and discussions that were
taking place at the time.
The film’s portrayal of the hedonistic lifestyle of the characters was not only a reflection of the
changing social norms but also a commentary on the emptiness and shallowness of modern life. Fellini’s
portrayal of the characters and their world was satirical and critical, reflecting their disillusionment with
modernity. The film’s legacy and impact on Italian cinema cannot be overstated. It paved the way for a
new generation of filmmakers to explore complex themes and push the boundaries of traditional
filmmaking conventions.
In conclusion, I can ascertain that La Dolce Vita is a masterpiece of Italian cinema and a
testament to Fellini’s genius as a filmmaker. The film was groundbreaking in its use of style and form and
explored themes not commonly addressed in films of that era. Marcello Mastroianni and Anita Ekberg
delivered unforgettable performances that brought the characters to life and added to the film’s largerthan-life quality. La Dolce Vita remains a classic of Italian cinema, and its influence can still be felt in
today’s films.
9
Reference
https://www.imdb.com/video/vi609599257/?playlistId=tt0053779&ref_=tt_pr_ov_vi
10
Part 3
My criteria for quality in film
Introduction
As I watched Federico Fellini’s La Dolce Vita (1960), I appreciated the film’s nuanced character
development, skillful cinematography, and thought-provoking themes. These elements, along with the
filmmaker’s personal touch, led me to reflect on what makes a movie excellent, and I propose the
following criteria for quality in the film:
1. Excellent movies have complex and relatable characters. In La Dolce Vita, the protagonist
Marcello Mastroianni’s character is multi-dimensional, with flaws and virtues that make him
both captivating and relatable. Fellini takes the time to flesh out Marcello’s backstory,
relationships, and motivations, which creates an immersive experience for the audience. A
characteristic of high-quality cinema is that characters are more than plot devices or archetypes;
they are human beings with emotional depth.
2. A movie is more likely to be good if it has a clear and impactful message. La Dolce Vita grapples
with existential questions about the meaning of life, fame, and morality. Fellini’s exploration of
these themes is thought-provoking and stays with the viewer long after the credits roll. A
characteristic of effective cinema is that it communicates something meaningful and
memorable.
3. Excellent movies use visual storytelling to enhance the narrative. Fellini’s use of black and white
cinematography in La Dolce Vita creates a stark contrast between the opulence of Rome’s high
society and the bleakness of Marcello’s inner world. The film’s iconic imagery, such as the
11
helicopter flying over the city, adds metaphorical depth to the story. A characteristic of highquality cinema is that the visuals serve a purpose beyond just looking pretty.
4. A movie is more likely to be good if it takes creative risks. La Dolce Vita’s non-linear structure
and unconventional narrative approach were daring for their time, but they have become
hallmarks of Fellini’s style. Fellini created a work of art that stands the test of time by pushing
the boundaries of what was considered acceptable in filmmaking. A characteristic of effective
cinema is that it challenges the status quo and pushes the medium forward.
5. Excellent movies are made by filmmakers with distinct voices and visions. Fellini’s unique
perspective and personal experiences are evident in every frame of La Dolce Vita. The film’s
idiosyncrasies, such as the dreamlike sequences and exaggerated characters, are unmistakably
his. A characteristic of high-quality cinema is that it reflects the filmmaker’s individuality and
artistic vision.
Conclusion
In conclusion, watching La Dolce Vita has inspired me to think more deeply about what makes a
movie excellent. I believe these five criteria for quality in the film – complex characters, impactful
messaging, visual storytelling, creative risks, and personal vision – are just a few elements that
contribute to cinematic greatness. As I continue to explore the world of cinema, I look forward to
discovering new films that embody these characteristics and challenge my expectations of what a movie
can be.
12
Order an Essay Now & Get These Features For Free:
Turnitin Report
Formatting
Title Page
Citation
Outline
