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Paper, Order, or Assignment Requirements
question: ‘All films are political, but films are not all political in the same way’ (Wayne 2001: 1). Do you think filmmaking can be an effective form of political activism? Discuss with reference to at least two films from the course and one from outside. (two films from the course are Lilya 4ever(2002), Turtles Can Fl(2004) and one from outside is (film name:choose one relate to the question.)
please write the essay though the abstract below:
Films are designed to embody our feelings and attitudes towards issues in our community. On a similar note, politics serves to create a rational understanding for relationships. From this perspective, films depict the social circles and struggles that form our political realm. However, does politics only cover our relationship to government? Not entirely. Politics comes at various level depending on the individual. At the most basic level, it could involve the individual and his relationship with family and friends. For the purposes of understanding these levels of political engagement in our society, this treatise will seek to examine the various levels of political identity in our society with a view of comparing the impact that external actors have in ones self-awareness. To achieve this, the paper will make a comparative study of how elements shape political identity in the films Lilya 4ever(2002), one film from outside ( year), and Turtles can fly(2004). Each of the three films presents three different levels of political identity. The main characters in the films are all self-aware. Nevertheless, the external elements are seeking to challenge their political identity by presenting ethical dilemma. External actors question their moral values and ethics in their lines or professions. Suffice to say that in the end, those who held out their principles emerged victorious. In some cases, victory comes at a cost, including ones life.
Kakoudaki, Despina (2011) “Representing Politics in Disaster
Films”, International Journal of Media and Cultural Politics, Volume 7 Number 3, pp. 349-356.
Hamid, R. (2006) “Panning Out for a Wider View: Iranian Cinema Beyond its Borders”, Cineaste, Summer 2006, pp. 48-50.
Hamid, R. (2005) “The Cinema of a Stateless Nation: An Interview with
Bahman Ghobadi”, Cineaste, Summer 2005, pp. 42-45.
Ezra, E. & Rowden, T. (2006) Transnational Cinema, The Film Reader, Oxon & New York: Routledge, pp. 1-12.
Warren, K (2010) “Persepolis: Animation, Representation and the Power of the Personal Story,” Screen Education, Winter 2010, Issue 58, pp. 117-23.
Quigley, M (2008) “Drawing on Experience: Animation as History in Persepolis,” Screen Education, Spring 2008, Issue 51.
Nacify, H. (2012) “Under Cover On Sreen: Women’s Representation and Women’s Cinema” in his A Social History of Iranian Cinema, Volume 4:
The Globalising Era 1984-2010, p. 93-96, 106-114, 494-500
Naficy, H. (1999) “Veiled Vision/Powerful presences: women in post-revolutionary Iranian Cinema” in Issa, R. & Whitaker, S. Life and Art: the New Iranian Cinema, London: BFI, pp. 44—65.
Wilson, E. (2005) “Children, Emotion and Viewing in Contemporary
European Film”, Screen, 2005 46(3), pp. 329-340.
Noh, David, (2004) “Hardcore Spiritualism” Film Journal International, May 2003, 19-20.
Naficy, Hamid (2001) An Accented Cinema: Exilic and Diasporic Filmmaking, Princeton & Oxford: Oxford University Press.
Robbins, Kevin and Aksoy, Asu (2000) “Deep nation: the national question and Turkish cinema culture”, Hjort, Mette & Mackenzie, Scott (eds) (2000) Cinema and Nation, London & New York: Routledge, pp. 203— 221.
Wayne, Mike (2001) Political Film: the Dialectics of Third Cinema, London and Sterling, Virginia: Pluto Press.
For the major assignment you will be required to formulate a response (maximum length: 2000 words for the academic essay to a question that you have previously outlined in your abstract. Choose a topic according to your interests which demonstrates an understanding of one or more of the central concepts from the course, as well as demonstrates your
guided questions released well before the assignment is due. Please submit your esssay (including your final abstract) to TURNITIN. The Abstract plus the Final Essay is worth 40% of your overall mark.
Assessment criteria:
Evidence of research and reading (critical engagement with our specific curriculum: films, lectures,
tutorials readings).
Demonstrate further research beyond the course (minimum of 5 further articles/monographs)
Demonstrate critical engagement with some of the central concepts and theory of the course and be able to apply these to your film examples.
Present a clearly structured essay and well-supported argument. Adequate referencing.
This Assessment Task relates to the following Learning Outcomes:
• Understand the main debates relevant to specific sub-regions of Film Studies
• Develop an expanded historical knowledge of (mainly) post 1950s film and film theory
• Interpret and analyse a wide range of recent film-cultural theories and practices of filmmaking
• Produce and communicate work in a manner consistent with accepted academic standards in 
written and spoken forms
• Develop skills in film-critical research and film-textual analysis
• Evaluate and appreciate different stylistic modes of writing about films
please use some readings below:
Wilson, E. (2005) “Children, Emotion and Viewing in Contemporary European Film”, Screen, 2005 46(3), pp. 329-340.
Noh, David, (2004) “Hardcore Spiritualism” Film Journal International, May 2003, 19-20.
Kristensen, L. (2007) “Divergent Accounts of Equivalent Narratives: Russian-Swedish Interdevochka meets Swedish-Russian Lilya 4_Ever”, Journal of Multidisciplinary International Studies, Volume 4, Number 2, July 2007.
Jones, K. M. (2003) “Lilya 4-ever: Lukas Moodysson, Sweden, 2002,” Film Comment, volume 39, number
2, March/April 2003, 73-74.
Graffy, J. (2003) “Trading Places”, Sight and Sound, volume 13, number 4, pp. 20-22.
“Abolishing Prostitution: The Swedish Solution (An Interview with Gunilla Ekberg by the Rain and Thunder Collective)” (2008) Rain and Thunder: A Radical Feminist Journal of Discussion and Activism, Issue 41, Winter Solstice 2008. http://www.catwinternational.org/Content/Images/Article/169/ attachment.pdf
Hamid, R. (2006) “Panning Out for a Wider View: Iranian Cinema Beyond its Borders”, Cineaste, Summer 2006, pp. 48-50.
Hamid, R. (2005) “The Cinema of a Stateless Nation: An Interview with Bahman Ghobadi”, Cineaste, Summer 2005, pp. 42-45.
Ezra, E. & Rowden, T. (2006) Transnational Cinema, The Film Reader, Oxon & New York: Routledge, pp. 1-12.
Ortega, V (2011) ‘Digital technology, aesthetic imperfection and political film-making: Illegal bodies in motion’, Transnational Cinemas, Volume 2 Number 1, pp. 3-19
Hjort, M and MacKenzie, S (eds.) (2000) Cinema and Nation, London and New York: Routlege, pp. 1—16 Schlesinger, P. (2000) “Sociological Scope of National Cinema” in Cinema and Nation, London and New
York: Routlege, pp. 19—31.
Dissanyake, W. (1998) “Issues in World Cinema” in Hill, J. & Church Gibson, P. (eds) The Oxford Guide to
Film Studies, Oxford: Oxford University Press, pp. 527—534.

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