Closeness in Film Experience: At the Intersection of Cinematic and Human Skin

Question 2:
Watch Clip 2 from Gangs of New York (Martin Scorsese, 2002) or the clip from Hero (dir. Zhang Yimou, 2002) posted in part 2. How does THIS SCENE ‘put melos into drama’, as Elsaesser describes it. Give specific examples from the scene to support your argument.

Reference: Elsaesser, Thomas 1972. ‘Tales of Sound and Fury: Observations on the Family Melodrama’. Monogram no. 4, pp. 174-179: ‘Putting melos into drama’.
Note: the Readings and Resources version of this part of the article has different page numbers, but is the same.

Question 3:
Watch Clip 3 from The Great Gatsby (dir. Baz Luhrmann 2013). How does THIS SCENE use narrative as a ‘scaffold, matrix or web that allows for a wide range of aesthetic effects and experiences’, as Hansen writes (quoted in Rutherford). Give specific examples from the scene to support your argument.

Reference: Rutherford, Anne. 2011. What Makes a Film Tick? : Cinematic Affect, Materiality And Mimetic Innervation. Bern, Switzerland: Peter Lang, pp. 37-43: ‘A paradigm shift in film studies’.

Question 4:
Watch Clip 4 from Crouching Tiger Hidden Dragon (dir. Ang Lee 2000). How does THIS SCENE work to enhance the kind of embodied spectatorship that Hiltunen discusses. Give specific examples from the scene to support your argument.

Reference: Hiltunen, Kaisa. Closeness in Film Experience: At the Intersection of Cinematic and Human Skin.

Sample Solution