introduction to a movie essay

How to Write a Film Analysis Essay: Examples, Outline, & Tips

A film analysis essay might be the most exciting assignment you have ever had! After all, who doesn’t love watching movies? You have your favorite movies, maybe something you watched years ago, perhaps a classic, or a documentary. Or your professor might assign a film for you to make a critical review. Regardless, you are totally up for watching a movie for a film analysis essay.

Our specialists will write a custom essay specially for you!

However, once you have watched the movie, facing the act of writing might knock the wind out of your sails because you might be wondering how to write a film analysis essay. In summary, writing movie analysis is not as difficult as it might seem, and Custom-writing.org experts will prove this. This guide will help you choose a topic for your movie analysis, make an outline, and write the text.️ Film analysis examples are added as a bonus! Just keep reading our advice on how to get started.

❓ What Is a Film Analysis Essay?

• 🚦 Film Analysis Types

📽️ Movie Analysis Format

✍️ how to write a film analysis, 🎦 film analysis template, 🎬 film analysis essay topics.

• 📄 Essay Examples

🔗 References

To put it simply, film analysis implies watching a movie and then considering its characteristics : genre, structure, contextual context, etc. Film analysis is usually considered to be a form of rhetorical analysis . The key to success here is to formulate a clear and logical argument, supporting it with examples.

🚦 Film Analysis Essay Types

Since a film analysis essay resembles literature analysis, it makes sense that there are several ways to do it. Its types are not limited to the ones described here. Moreover, you are free to combine the approaches in your essay as well. Since your writing reflects your own opinion, there is no universal way to do it.

• Semiotic analysis . If you’re using this approach, you are expected to interpret the film’s symbolism. You should look for any signs that may have a hidden meaning. Often, they reveal some character’s features. To make the task more manageable, you can try to find the objects or concepts that appear on the screen multiple times. What is the context they appear in? It might lead you to the hidden meaning of the symbols.
• Narrative structure analysis . This type is quite similar to a typical literature guide. It includes looking into the film’s themes, plot, and motives. The analysis aims to identify three main elements: setup, confrontation, and resolution. You should find out whether the film follows this structure and what effect it creates. It will make the narrative structure analysis essay if you write about the theme and characters’ motivations as well.
• Contextual analysis . Here, you would need to expand your perspective. Instead of focusing on inner elements, the contextual analysis looks at the time and place of the film’s creation. Therefore, you should work on studying the cultural context a lot. It can also be a good idea to mention the main socio-political issues of the time. You can even relate the film’s success to the director or producer and their career.
• Mise-en-scene analysis . This type of analysis works with the most distinctive feature of the movies, audiovisual elements. However, don’t forget that your task is not only to identify them but also to explain their importance. There are so many interconnected pieces of this puzzle: the light to create the mood, the props to show off characters’ personalities, messages hidden in the song lyrics.

To write an effective film analysis essay, it is important to follow specific format requirements that include the following:

• Standard essay structure. Just as with any essay, your analysis should consist of an introduction with a strong thesis statement, body paragraphs, and a conclusion. The main body usually includes a summary and an analysis of the movie’s elements.
• Present tense for events in the film. Use the present tense when describing everything that happens in the movie. This way, you can make smooth transitions between describing action and dialogue. It will also improve the overall narrative flow.
• Proper formatting of the film’s title. Don’t enclose the movie’s title in quotation marks; instead, italicize it. In addition, use the title case : that is, capitalize all major words.
• Proper use of the characters’ names. When you mention a film character for the first time, name the actor portraying them. After that, it is enough to write only the character’s name.
• In-text citations. Use in-text citations when describing certain scenes or shots from the movie. Format them according to your chosen citation style. If you use direct quotes, include the time-stamp range instead of page numbers. Here’s how it looks in the MLA format: (Smith 0:11:24–0:12:35).

Even though film analysis is similar to the literary one, you might still feel confused with where to begin. No need to worry; there are only a few additional steps you need to consider during the writing process.

Just in 1 hour! We will write you a plagiarism-free paper in hardly more than 1 hour

Need more information? It can be found in the video below.

Starting Your Film Analysis Essay

There are several things you need to do before you start writing your film analysis paper. First and foremost, you have to watch the movie. Even if you have seen it a hundred times, you need to watch it again to make a good film analysis essay.

Note that you might be given an essay topic or have to think of it by yourself. If you are free to choose a topic for your film analysis essay, reading some critical reviews before you watch the film might be a good idea. By doing this in advance, you will already know what to look for when watching the movie.

In the process of watching, keep the following tips in mind:

• Consider your impression of the movie
• Enumerate memorable details
• Try to interpret the movie message in your way
• Search for the proof of your ideas (quotes from the film)
• Make comments on the plot, settings, and characters
• Draw parallels between the movie you are reviewing and some other movies

Making a Film Analysis Essay Outline

Once you have watched and possibly re-watched your assigned or chosen movie from an analytical point of view, you will need to create a movie analysis essay outline . The task is pretty straightforward: the outline can look just as if you were working on a literary analysis or an article analysis.

Receive a plagiarism-free paper tailored to your instructions. Cut 15% off your first order!

• Introduction : This includes the basics of the movie, including the title, director, and the date of release. You should also present the central theme or ideas in the movie and your thesis statement .
• Summary : This is where you take the time to present an overview of the primary concepts in the movie, including the five Ws (who, what, when, where, and why)—don’t forget how!—as well as anything you wish to discuss that relates to the point of view, style, and structure.
• Analysis : This is the body of the essay and includes your critical analysis of the movie, why you did or did not like it, and any supporting material from the film to support your views. It would help if you also discussed whether the director and writer of the movie achieved the goal they set out to achieve.
• Conclusion: This is where you can state your thesis again and provide a summary of the primary concepts in a new and more convincing manner, making a case for your analysis. You can also include a call-to-action that will invite the reader to watch the movie or avoid it entirely.

You can find a great critical analysis template at Thompson Rivers University website. In case you need more guidance on how to write an analytical paper, check out our article .

Writing & Editing Your Film Analysis Essay

We have already mentioned that there are differences between literary analysis and film analysis. They become especially important when one starts writing their film analysis essay.

First of all, the evidence you include to support the arguments is not the same. Instead of quoting the text, you might need to describe the audiovisual elements.

However, the practice of describing the events is similar in both types. You should always introduce a particular sequence in the present tense. If you want to use a piece of a dialogue between more than two film characters, you can use block quotes. However, since there are different ways to do it, confirm with your supervisor.

For your convenience, you might as well use the format of the script, for which you don’t have to use quotation marks:

Get an originally-written paper according to your instructions!

ELSA: But she won’t remember I have powers?

KING: It’s for the best.

Finally, to show off your proficiency in the subject, look at the big picture. Instead of just presenting the main elements in your analysis, point out their significance. Describe the effect they make on the overall impression form the film. Moreover, you can dig deeper and suggest the reasons why such elements were used in a particular scene to show your expertise.

Stuck writing a film analysis essay? Worry not! Use our template to structure your movie analysis properly.

Introduction

• The title of the film is… [title]
• The director is… [director’s name] He/she is known for… [movies, style, etc.]
• The movie was released on… [release date]
• The themes of the movie are… [state the film’s central ideas]
• The film was made because… [state the reasons]
• The movie is… because… [your thesis statement].
• The main characters are… [characters’ names]
• The events take place in… [location]
• The movie is set in… [time period]
• The movie is about… [state what happens in the film and why]
• The movie left a… [bad, unforgettable, lasting, etc.] impression in me.
• The script has… [a logical sequence of events, interesting scenes, strong dialogues, character development, etc.]
• The actors portray their characters… [convincingly, with intensity, with varying degree of success, in a manner that feels unnatural, etc.]
• The soundtrack is [distracting, fitting, memorable, etc.]
• Visual elements such as… [costumes, special effects, etc.] make the film [impressive, more authentic, atmospheric, etc.]
• The film succeeds/doesn’t succeed in engaging the target audience because it… [tells a compelling story, features strong performances, is relevant, lacks focus, is unauthentic, etc.]
• Cultural and societal aspects make the film… [thought-provoking, relevant, insightful, problematic, polarizing, etc.]
• The director and writer achieved their goal because… [state the reasons]
• Overall, the film is… [state your opinion]
• I would/wouldn’t recommend watching the movie because… [state the reasons]
• Analysis of the film Inception by Christopher Nolan .
• Examine the rhetoric in the film The Red Balloon .
• Analyze the visual effects of Zhang Yimou’s movie Hero .
• Basic concepts of the film Interstellar by Christopher Nolan.
• The characteristic features of Federico Fellini’s movies.
• Analysis of the movie The Joker .
• The depiction of ethical issues in Damaged Care .
• Analyze the plot of the film Moneyball .
• Explore the persuasive techniques used in Henry V .  
• Analyze the movie Killing Kennedy .
• Discuss the themes of the film Secret Window .
• Describe the role of audio and video effects in conveying the message of the documentary Life in Renaissance .
• Compare and analyze the films Midnight Cowboy and McCabe and Mrs. Miller .
• Analysis of the movie Rear Window .
• The message behind the film Split .
• Analyze the techniques used by Tim Burton in his movie Sleepy Hollow .
• The topic of children’s abuse and importance of trust in Joseph Sargent’s Sybil .
• Examine the themes and motives of the film Return to Paradise by Joseph Ruben .
• The issues of gender and traditions in the drama The Whale Rider.
• Analysis of the film Not Easily Broken by Duke Bill.
• The symbolism in R. Scott’s movie Thelma and Louise .
• The meaning of audiovisual effects in Citizen Kane .
• Analyze the main characters of The Girl with the Dragon Tattoo .
• Discuss the historical accuracy of the documentary The Civil War .
• Analysis of the movie Through a Glass Darkly .
• Explore the core idea of the comedy Get Out .
• The problem of artificial intelligence and human nature in Ex Machina .
• Three principles of suspense used in the drama The Fugitive .
• Examine the ideas Michael Bay promotes in Armageddon .
• Analyze the visual techniques used in Tenet by Christopher Nolan.
• Analysis of the movie The Green Mile .
• Discrimination and exclusion in the film The Higher Learning .
• The hidden meaning of the scenes in Blade Runner .
• Compare the social messages of the films West Side Story and Romeo + Juliet .
• Highlighting the problem of children’s mental health in the documentary Kids in Crisis .  
• Discuss the ways Paul Haggis establishes the issue of racial biases in his movie Crash .
• Analyze the problem of moral choice in the film Gone Baby Gone .
• Analysis of the historical film Hacksaw Ridge .
• Explore the main themes of the film Mean Girls by Mark Walters .
• The importance of communication in the movie Juno .
• Describe the techniques the authors use to highlight the problems of society in Queen and Slim .
• Examine the significance of visual scenes in My Family/ Mi Familia .
• Analysis of the thriller Salt by Phillip Noyce.
• Analyze the message of Greg Berlanti’s film Love, Simon .
• Interpret the symbols of the film The Wizard of Oz (1939).
• Discuss the modern issues depicted in the film The Corporation .
• Moral lessons of Edward Zwick’s Blood Diamond .
• Analysis of the documentary Solitary Nation .
• Describe the audiovisual elements of the film Pride and Prejudice (2005) .
• The problem of toxic relationships in Malcolm and Marie .

📄 Film Analysis Examples

Below you’ll find two film analysis essay examples. Note that the full versions are downloadable for free!

Film Analysis Example #1: The Intouchables

Raising acute social problems in modern cinema is a common approach to draw the public’s attention to the specific issues and challenges of people facing crucial obstacles. As a film for review, The Intouchables by Oliver Nakache and Éric Toledano will be analyzed, and one of the themes raised in this movie is the daily struggle of the person with severe disabilities. This movie is a biographical drama with comedy elements. The Intouchables describes the routine life of a French millionaire who is confined to a wheelchair and forced to receive help from his servants. The acquaintance of the disabled person with a young and daring man from Parisian slums changes the lives of both radically. The film shows that for a person with disabilities, recognition as a full member of society is more important than sympathy and compassion, and this message expressed comically raises an essential problem of human loneliness.

Movie Analysis Example #2: Parasite

Parasite is a 2019 South Korean black comedy thriller movie directed by Bong Joon-ho and is the first film with a non-English script to win Best Picture at the Oscars in 2020. With its overwhelming plot and acting, this motion picture retains a long-lasting effect and some kind of shock. The class serves as a backbone and a primary objective of social commentary within the South Korean comedy/thriller (Kench, 2020). Every single element and detail in the movie, including the student’s stone, the contrasting architecture, family names, and characters’ behavior, contribute to the central topic of the universal problem of classism and wealth disparity. The 2020 Oscar-winning movie Parasite (2019) is a phenomenal cinematic portrayal and a critical message to modern society regarding the severe outcomes of the long-established inequalities within capitalism.

Want more examples? Check out this bonus list of 10 film analysis samples. They will help you gain even more inspiration.

• “Miss Representation” Documentary Film Analysis
• “The Patriot”: Historical Film Analysis
• “The Morning Guy” Film Analysis
• 2012′ by Roland Emmerich Film Analysis
• “The Crucible” (1996) Film Analysis
• The Aviator’ by Martin Scorsese Film Analysis
• The “Lions for Lambs” Film Analysis
• Bill Monroe – Father of Bluegrass Music Film Analysis 
• Lord of the Rings’ and ‘Harry Potter’ Film Analysis
• Red Tails by George Lucas Film Analysis

Film Analysis Essay FAQ

• Watch the movie or read a detailed plot summary.
• Read others’ film reviews paying attention to details like key characters, movie scenes, background facts.
• Compose a list of ideas about what you’ve learned.
• Organize the selected ideas to create a body of the essay.
• Write an appropriate introduction and conclusion.

The benefits of analyzing a movie are numerous . You get a deeper understanding of the plot and its subtle aspects. You can also get emotional and aesthetic satisfaction. Film analysis enables one to feel like a movie connoisseur.

Here is a possible step by step scenario:

• Think about the general idea that the author probably wanted to convey.
• Consider how the idea was put across: what characters, movie scenes, and details helped in it.
• Study the broader context: the author’s other works, genre essentials, etc.

The definition might be: the process of interpreting a movie’s aspects. The movie is reviewed in terms of details creating the artistic value. A film analysis essay is a paper presenting such a review in a logically structured way.

• Film Analysis – UNC Writing Center
• Film Writing: Sample Analysis // Purdue Writing Lab
• Yale Film Analysis – Yale University
• Film Terms And Topics For Film Analysis And Writing
• Questions for Film Analysis (Washington University)
• Resources on Film Analysis – Cinema Studies (University of Toronto)
• Does Film Analysis Take the Magic out of Movies?
• Film Analysis Research Papers – Academia.edu
• What’s In a Film Analysis Essay? Medium
• Analysis of Film – SAGE Research Methods
• Share to Facebook
• Share to Twitter
• Share to LinkedIn
• Share to email

A critique paper is an academic writing genre that summarizes and gives a critical evaluation of a concept or work. Or, to put it simply, it is no more than a summary and a critical analysis of a specific issue. This type of writing aims to evaluate the impact of...

What is a creative essay, if not the way to express yourself? Crafting such a paper is a task that allows you to communicate your opinion and tell a story. However, even using your imagination to a great extent doesn’t free you from following academic writing rules. Don’t even get...

A compare and contrast essay — what is it? In this type of paper, you compare two different things or ideas, highlighting what is similar between the two, and you also contrast them, highlighting what is different. The two things might be events, people, books, points of view, lifestyles, or...

What is an expository essay? This type of writing aims to inform the reader about the subject clearly, concisely, and objectively. The keyword here is “inform”. You are not trying to persuade your reader to think a certain way or let your own opinions and emotions cloud your work. Just stick to the...

Have you ever tried to write a story analysis but ended up being completely confused and lost? Well, the task might be challenging if you don’t know the essential rules for literary analysis creation. But don’t get frustrated! We know how to write a short story analysis, and we are...

Have you ever tried to get somebody round to your way of thinking? Then you should know how daunting the task is. Still, if your persuasion is successful, the result is emotionally rewarding. A persuasive essay is a type of writing that uses facts and logic to argument and substantiate...

One of the most critical skills that students gain during their college years is assignment writing. Composing impressive essays and research papers can be quite challenging, especially for ESL students. Nonetheless, before learning the art of academic writing, you may make numerous common essay mistakes. Such involuntary errors appear in:...

You’re probably thinking: I’m no Mahatma Gandhi or Steve Jobs—what could I possibly write in my memoir? I don’t even know how to start an autobiography, let alone write the whole thing. But don’t worry: essay writing can be easy, and this autobiography example for students is here to show...

Some people know which profession to choose from childhood, while others decide much later in life. However, and whenever you come to it, you may have to elaborate on it in your personal statement or cover letter. This is widely known as “Why I Want to Be a Teacher” essay.

Assigned with an essay about friendship? Congrats! It’s one of the best tasks you could get. Digging through your memories and finding strong arguments for this paper can be an enjoyable experience. I bet you will cope with this task effortlessly as we can help you with the assignment. Just...

When you are assigned an autobiography to write, tens, and even hundreds of questions start buzzing in your head. How to write autobiography essay parts? What to include? How to make your autobiography writing flow? Don’t worry about all this and use the following three simple principles and 15 creative...

A life experience essay combines the elements of narration, description, and self-reflection. Such a paper has to focus on a single event that had a significant impact on a person’s worldview and values. Writing an essay about life experience prompts students to do the following: You may struggle with such...

Have you ever read a review and asked yourself how the critic arrived at a different interpretation for the film? You are sure that you saw the same movie, but you interpreted it differently. Most moviegoers go to the cinema for pleasure and entertainment. There’s a reason why blockbuster movies attract moviegoers – cinema is a form of escape, a way to momentarily walk away from life’s troubles.

EXCELENT COVERAGE!

Hi Rebecca,

Glad you liked the post. Sure thing, feel free to share the link with your audience!

All the best.

Study Guide - Edward Scissorhands: How to write a Film Analysis Essay & Cinematic Techniques

• Characters, Plot, Synopsis &Themes
• Quotations & Bibilography
• Film Reviews
• How to write a Film Analysis Essay & Cinematic Techniques
• Film Genres & Film Lighting Terminology, Film QUIZ

How to write a film analysis essay

How to Write a Film Analysis Essay

By Timothy Sexton

Writing a film analysis essay is an assignment that is less likely to terrorize those who fear the idea of writing an essay, because it allows them to write about something most people enjoy. Film analysis is not the same thing as writing a movie review, which involves passively watching a movie. An analysis means you must engage on a level beyond that of storytelling.

Watch the movie. Then watch it again. Take notes during the first viewing and, if you are analyzing a movie that is available on DVD, be ready with your remote control to pause and rewind.

Critically engage the movie so that you can effectively produce a strong essay. Focus on a single thematic concept related to the film. Ideas for essays taking this route could include an analysis of how the film is photographed, how the movie relates a historical event in a dramatic way without compromising the facts or how a single sequence within the film relates to larger cinematic concepts, like overlapping dialogue or the utilization of dramatic irony.

Introduce the film and its major participants, such as the actors and director. Include the name of another technician on the film if your analysis will be focusing on that aspect. For instance, cite the name of the cinematographer if you are going to be writing about the importance of shadows to film noir, or include the name of the composer of the movie’s score if you are writing about the importance of background music to the emotional tone of the film.

Provide a brief overview of the story, but avoid the temptation to pad your word count by writing what amounts to a synopsis of the story rather than analysis. Reveal plots twists or the ending of the film only if they relate directly to your analysis.

Write your film analysis with the movie at hand if this is possible. Write next to a television and DVD player if applicable. Stay inside the theatre for the second or third showing with your notepad ready if this is possible. Writing an effective film analysis is best accomplished if you don’t have to rely on your memory of events, dialogue or cinematic techniques.

Familiarize yourself with technical jargon related to the art of filmmaking. Learn the difference between a cut and a dissolve. Write about subjective camera work if the analysis is dealing with a part of the movie shot from the point of view of one of the characters. Properly utilizing filmmaking terms will strengthen the authority of your essay.

Source:  http://classroom.synonym.com/write-film-analysis-essay-4125.html

Cinematic Techniques

Tim Burton's Edward Scissorhands Film Analysis

Help with writing a film essay - Linda Rubens

Film Techniques

Film techniques is the term used to describe the ways that meaning is created in film.

Camera Shots

A camera shot is the amount of space that is seen in one shot or frame. Camera shots are used to demonstrate different aspects of a film's setting, characters and themes. As a result, camera shots are very important in shaping meaning in a film. Reviewing the examples on the right hand side of this page should make the different camera shots clearer.

An extreme long shot ( animation on right ) contains a large amount of landscape. It is often used at the beginning of a scene or a film to establish general location (setting). This is also known as an establishing shot.

A long shot ( animation on right ) contains landscape but gives the viewer a more specific idea of setting. A long shot may show the viewers the building where the action will take place.

A full shot ( animation on right ) contains a complete view of the characters . From this shot, viewers can take in the costumes of characters and may also help to demonstrate the relationships between characters. For more information on costumes and acting refer to Chapter 4.

A mid shot ( animation on right ) contains the characters or a character from the waist up . From this shot, viewers can see the characters' faces more clearly as well as their interaction with other characters. This is also known as a social shot

A close-up ( animation on right ) contains just one character's face . This enables viewers to understand the actor's emotions and also allows them to feel empathy for the character. This is also known as a personal shot.

An extreme close-up ( animation on right ) contains one part of a character's face or other object. This technique is quite common in horror films, particularly the example above. This type of shot creates an intense mood and provides interaction between the audience and the viewer.

When analysing a film you should always think about the different camera shots and why they are being used. The next time that you are at the cinema or watching television see what camera shots are being used.

Important: These camera shots are used in all forms of visual texts including postcards, posters and print advertisements.

Camera angles

It is important that you do not confuse camera angles and camera shots. Camera shots are used to demonstrate different aspects of setting, themes and characters. Camera angles are used to position the viewer so that they can understand the relationships between the characters. These are very important for shaping meaning in film as well as in other visual texts.

The following examples will help you to understand the differences between the different camera angles

A bird's eye angle ( animation on right ) is an angle that looks directly down upon a scene . This angle is often used as an establishing angle, along with an extreme long shot, to establish setting.

A high angle ( animation on right ) is a camera angle that looks down upon a subject . A character shot with a high angle will look vulnerable or small. These angles are often used to demonstrate to the audience a perspective of a particular character. The example above demonstrates to us the perspective or point of view of a vampire. As a viewer we can understand that the vampire feels powerful.

An eye-level angle ( animation on right ) puts the audience on an equal footing with the character/s . This is the most commonly used angle in most films as it allows the viewers to feel comfortable with the characters.

A low angle ( animation on right ) is a camera angle that looks up at a character . This is the opposite of a high angle and makes a character look more powerful. This can make the audience feel vulnerable and small by looking up at the character. This can help the responder feel empathy if they are viewing the frame from another character's point of view.

As with camera shots, you will be able to see many examples of camera angles in any film or visual text that you view. The next time that you watch television or see a film, take note of the camera angles and think of how they affect your perception (idea) of different characters.

Another camera angle that you might come across is a Dutch angle.

A Dutch angle ( animation on right ) is used to demonstrate the confusion of a character. The example above should disorientate you.

Camera movement

Composers of films also use camera movement to shape meaning. The following are some examples of common camera movements and how they can be used to shape meaning in films.

A crane shot ( animation on right ) is often used by composers of films to signify the end of a film or scene. The effect is achieved by the camera being put on a crane that can move upwards

A tracking shot and a dolly shot ( animation on right ) have the same effect. A tracking shot moves on tracks and a dolly shot is mounted on a trolley to achieve the effect in the example above. This camera movement is used in a number of ways but is most commonly used to explore a room such as a restaurant. By using a tracking shot or a dolly shot the composer of a film gives the viewer a detailed tour of a situation. It can also be used to follow a character.

Panning ( animation on right ) is used to give the viewer a panoramic view of a set or setting. This can be used to establish a scene

An Evangelion shot ( animation on right ) is derived from the popular anime series 'Neon Genesis Evangelion'. This camera movement begins as an extreme close-up and zooms out abruptly, creating a blurring effect to emphasise the speed and size of the object

Lighting is a very important aspect for shaping meaning in films. What kind of atmosphere is created in a room lit by candles? Have you ever heard of mood lighting? A room that is brightly lit by neon lights might seem to be sterile or a shadowy room might be eerie or scary. The lighting technicians in a film crew have the task of creating lighting to suit the mood and atmosphere of each scene in a film.

Consider the animations Lighting example one, Lighting example two, Lighting example three and think about what type of atmosphere is created in each.

For each example, do you think the lighting suits the characters in the frames? For instance, in Example Three the two people are very happy and the scene is lit brightly. What would be the effect on the atmosphere if the lighting were dark and shadowy, similar to Example Two?

Remember that lighting is used in still image visual texts as well as in films.

Cinematography

Cinematography is the combination of the techniques described in this chapter. This includes camera shots, camera angles, camera movement and lighting. Use the term cinematography to group all of these together, for example, 'The cinematography in that film was exceptional.'

Mise en Scene

Mise en scene refers to all the objects and characters in a particular frame. More specifically, it refers to the composition of the frame. When you use the term mise en scene, you are discussing where the composer or director has placed all the elements of the scene within the frame.

Source : Information taken from educational website - www.skwirkcom

 NB: If you are a subscriber please use your log in for more information and resources

• << Previous: Film Reviews
• Next: Film Genres & Film Lighting Terminology, Film QUIZ >>
• Last Updated: Mar 17, 2023 12:25 PM
• URL: https://libguides.stalbanssc.vic.edu.au/edward-scissorhands

Film Analysis

What this handout is about.

This handout introduces film analysis and and offers strategies and resources for approaching film analysis assignments.

Writing the film analysis essay

Writing a film analysis requires you to consider the composition of the film—the individual parts and choices made that come together to create the finished piece. Film analysis goes beyond the analysis of the film as literature to include camera angles, lighting, set design, sound elements, costume choices, editing, etc. in making an argument. The first step to analyzing the film is to watch it with a plan.

Watching the film

First it’s important to watch the film carefully with a critical eye. Consider why you’ve been assigned to watch a film and write an analysis. How does this activity fit into the course? Why have you been assigned this particular film? What are you looking for in connection to the course content? Let’s practice with this clip from Alfred Hitchcock’s Vertigo (1958). Here are some tips on how to watch the clip critically, just as you would an entire film:

• Give the clip your undivided attention at least once. Pay close attention to details and make observations that might start leading to bigger questions.
• Watch the clip a second time. For this viewing, you will want to focus specifically on those elements of film analysis that your class has focused on, so review your course notes. For example, from whose perspective is this clip shot? What choices help convey that perspective? What is the overall tone, theme, or effect of this clip?
• Take notes while you watch for the second time. Notes will help you keep track of what you noticed and when, if you include timestamps in your notes. Timestamps are vital for citing scenes from a film!

For more information on watching a film, check out the Learning Center’s handout on watching film analytically . For more resources on researching film, including glossaries of film terms, see UNC Library’s research guide on film & cinema .

Brainstorming ideas

Once you’ve watched the film twice, it’s time to brainstorm some ideas based on your notes. Brainstorming is a major step that helps develop and explore ideas. As you brainstorm, you may want to cluster your ideas around central topics or themes that emerge as you review your notes. Did you ask several questions about color? Were you curious about repeated images? Perhaps these are directions you can pursue.

If you’re writing an argumentative essay, you can use the connections that you develop while brainstorming to draft a thesis statement . Consider the assignment and prompt when formulating a thesis, as well as what kind of evidence you will present to support your claims. Your evidence could be dialogue, sound edits, cinematography decisions, etc. Much of how you make these decisions will depend on the type of film analysis you are conducting, an important decision covered in the next section.

After brainstorming, you can draft an outline of your film analysis using the same strategies that you would for other writing assignments. Here are a few more tips to keep in mind as you prepare for this stage of the assignment:

• Make sure you understand the prompt and what you are being asked to do. Remember that this is ultimately an assignment, so your thesis should answer what the prompt asks. Check with your professor if you are unsure.
• In most cases, the director’s name is used to talk about the film as a whole, for instance, “Alfred Hitchcock’s Vertigo .” However, some writers may want to include the names of other persons who helped to create the film, including the actors, the cinematographer, and the sound editor, among others.
• When describing a sequence in a film, use the literary present. An example could be, “In Vertigo , Hitchcock employs techniques of observation to dramatize the act of detection.”
• Finding a screenplay/script of the movie may be helpful and save you time when compiling citations. But keep in mind that there may be differences between the screenplay and the actual product (and these differences might be a topic of discussion!).
• Go beyond describing basic film elements by articulating the significance of these elements in support of your particular position. For example, you may have an interpretation of the striking color green in Vertigo , but you would only mention this if it was relevant to your argument. For more help on using evidence effectively, see the section on “using evidence” in our evidence handout .

Also be sure to avoid confusing the terms shot, scene, and sequence. Remember, a shot ends every time the camera cuts; a scene can be composed of several related shots; and a sequence is a set of related scenes.

Different types of film analysis

As you consider your notes, outline, and general thesis about a film, the majority of your assignment will depend on what type of film analysis you are conducting. This section explores some of the different types of film analyses you may have been assigned to write.

Semiotic analysis

Semiotic analysis is the interpretation of signs and symbols, typically involving metaphors and analogies to both inanimate objects and characters within a film. Because symbols have several meanings, writers often need to determine what a particular symbol means in the film and in a broader cultural or historical context.

For instance, a writer could explore the symbolism of the flowers in Vertigo by connecting the images of them falling apart to the vulnerability of the heroine.

Here are a few other questions to consider for this type of analysis:

• What objects or images are repeated throughout the film?
• How does the director associate a character with small signs, such as certain colors, clothing, food, or language use?
• How does a symbol or object relate to other symbols and objects, that is, what is the relationship between the film’s signs?

Many films are rich with symbolism, and it can be easy to get lost in the details. Remember to bring a semiotic analysis back around to answering the question “So what?” in your thesis.

Narrative analysis

Narrative analysis is an examination of the story elements, including narrative structure, character, and plot. This type of analysis considers the entirety of the film and the story it seeks to tell.

For example, you could take the same object from the previous example—the flowers—which meant one thing in a semiotic analysis, and ask instead about their narrative role. That is, you might analyze how Hitchcock introduces the flowers at the beginning of the film in order to return to them later to draw out the completion of the heroine’s character arc.

To create this type of analysis, you could consider questions like:

• How does the film correspond to the Three-Act Structure: Act One: Setup; Act Two: Confrontation; and Act Three: Resolution?
• What is the plot of the film? How does this plot differ from the narrative, that is, how the story is told? For example, are events presented out of order and to what effect?
• Does the plot revolve around one character? Does the plot revolve around multiple characters? How do these characters develop across the film?

When writing a narrative analysis, take care not to spend too time on summarizing at the expense of your argument. See our handout on summarizing for more tips on making summary serve analysis.

Cultural/historical analysis

One of the most common types of analysis is the examination of a film’s relationship to its broader cultural, historical, or theoretical contexts. Whether films intentionally comment on their context or not, they are always a product of the culture or period in which they were created. By placing the film in a particular context, this type of analysis asks how the film models, challenges, or subverts different types of relations, whether historical, social, or even theoretical.

For example, the clip from Vertigo depicts a man observing a woman without her knowing it. You could examine how this aspect of the film addresses a midcentury social concern about observation, such as the sexual policing of women, or a political one, such as Cold War-era McCarthyism.

A few of the many questions you could ask in this vein include:

• How does the film comment on, reinforce, or even critique social and political issues at the time it was released, including questions of race, ethnicity, gender, and sexuality?
• How might a biographical understanding of the film’s creators and their historical moment affect the way you view the film?
• How might a specific film theory, such as Queer Theory, Structuralist Theory, or Marxist Film Theory, provide a language or set of terms for articulating the attributes of the film?

Take advantage of class resources to explore possible approaches to cultural/historical film analyses, and find out whether you will be expected to do additional research into the film’s context.

Mise-en-scène analysis

A mise-en-scène analysis attends to how the filmmakers have arranged compositional elements in a film and specifically within a scene or even a single shot. This type of analysis organizes the individual elements of a scene to explore how they come together to produce meaning. You may focus on anything that adds meaning to the formal effect produced by a given scene, including: blocking, lighting, design, color, costume, as well as how these attributes work in conjunction with decisions related to sound, cinematography, and editing. For example, in the clip from Vertigo , a mise-en-scène analysis might ask how numerous elements, from lighting to camera angles, work together to present the viewer with the perspective of Jimmy Stewart’s character.

To conduct this type of analysis, you could ask:

• What effects are created in a scene, and what is their purpose?
• How does this scene represent the theme of the movie?
• How does a scene work to express a broader point to the film’s plot?

This detailed approach to analyzing the formal elements of film can help you come up with concrete evidence for more general film analysis assignments.

Reviewing your draft

Once you have a draft, it’s helpful to get feedback on what you’ve written to see if your analysis holds together and you’ve conveyed your point. You may not necessarily need to find someone who has seen the film! Ask a writing coach, roommate, or family member to read over your draft and share key takeaways from what you have written so far.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Aumont, Jacques, and Michel Marie. 1988. L’analyse Des Films . Paris: Nathan.

Media & Design Center. n.d. “Film and Cinema Research.” UNC University Libraries. Last updated February 10, 2021. https://guides.lib.unc.edu/filmresearch .

Oxford Royale Academy. n.d. “7 Ways to Watch Film.” Oxford Royale Academy. Accessed April 2021. https://www.oxford-royale.com/articles/7-ways-watch-films-critically/ .

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

Make a Gift

How to Write a Movie Analysis Essay Correctly

By Film Threat Staff | November 15, 2022

If you are studying cinematography, you will have to write a movie analysis essay at some point. If you have never written such a paper before, it may seem rather challenging for you.  

However, if you do some research and use the proper structure, you will be able to write an excellent movie analysis essay quickly and easily. Before writing your film analysis essay, it is important to watch the movie several times. That should help you get a better understanding of the plot, characters, and atmosphere of the film.  

After that, it all comes down to a few simple steps. Let’s check them out!

1. Take notes

The first step is to take notes while watching the movie. It will help you remember important details that you can use in your essay. For example, you can write down the names of the main characters, the setting of the story, and the most important events.

It may seem frivolous, but you won’t make a good impression if you forget the name of the protagonist in your movie analysis essay. We asked the best dissertation writing service crew about this tip, and they told us it’s always better to be safe than sorry. Therefore, your job is to take some notes while watching the film.  

In addition, it is also a good idea to jot down your initial thoughts and impressions about the movie. It will come in handy when you start writing your essay later on.

2. Create an outline

The next step is to create an outline for your essay. This will help you organize your ideas and thoughts and structure your paper correctly. Your outline is supposed to include an introduction, body paragraphs, and a conclusion.

The introduction should briefly explain what the movie is about. It is also a good idea to include a thesis statement in your introduction. Your body paragraphs should focus on a different aspect of the movie, such as camera angles, acting, or plot. Finally, the conclusion will summarize your thoughts and impressions about the film.

3. Do your research

After you have watched the movie and created an outline, it is time to focus on the essence of your essay. However, before you start writing, it is important to do some research on the film. This will help you write a more informed and well-rounded movie analysis essay. Look for information about the director, screenwriter, and cast.  

It will surely give you a better understanding of the movie. You can also read reviews of the film to get other people’s opinions. But don’t forget that your essay should be based on your own opinion! In addition, it is also a good idea to watch interviews with the people who made the film. This will give you some insight into their creative process.

4. Start writing your essay

After you have done your research, it is finally time to start writing your new paper. You can be conservative and begin with something generic, but content writers at the cheap essay writing agency suggest being creative from the start. That means kicking off with something that will grab the attention of your reader.  

You can write an interesting fact about the movie, a quote from one of the characters, or a rhetorical question. Once you have written your introduction, it is time to move on to the body paragraphs. Remember to include evidence from the film in each paragraph to support your claims. For example, if you are writing about the cinematography, you can mention specific shots or scenes that you found particularly interesting.  

5. Analyze all aspects of the movie

When writing your movie essay, it is important to analyze all aspects of a given cinema work. This includes the plot, cinematography, acting, and so on. However, you can put an emphasis on the elements that you found most interesting. And if you don’t know how to do it, you can get help with writing an assignment on the Internet in just a few clicks.  

But don’t forget that your analysis should be more than just a description of the film. You need to critically examine each element and discuss how it contributes to the overall effect of the movie. One option is to discuss how the colors in a particular scene create a certain mood – but that’s just one of many possibilities.  

6. No spoilers

Finally, don’t forget that your essay should not contain any spoilers . That means you need to be careful about how much information you reveal about the plot. You don’t want to ruin the ending for your reader! You can avoid spoilers by being vague about certain details or by simply not mentioning them at all. Just make sure that your reader will still be able to follow your analysis.

The Bottom Line

Writing a movie analysis essay is great because you get to watch cool movies and write about them. In this post, we shared some tips that will help you write a great movie analysis essay. Just remember to do your research, start with an interesting introduction, and analyze all aspects of the film – not just the plot!  

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

5 Best Bitcoin Documentaries To Watch

Cryptocurrencies have taken the world by storm generating billions of dollars and changing the path of many industries. In the past couple of years,...

Best Movies and TV Shows For Gamers To Watch

The majority of gamers believe that video games have better stories and are just better than movies in general. They enjoy spending time playing video...

The Ultimate Guide to Tech and Crypto-Related Movies

The blockchain and cryptocurrency concept has been in play for over a decade. Not only have these concepts become popular, but profitable too. Digital...

Do Closed Captions in Movie Theaters Exist?

A long time ago, cinemas offered the viewers a chance to watch silent movies, which provided a chance for the deaf to watch movies in the cinema. However,...

What Are the Greatest Horror Series of All Time?

People entertain themselves in different ways, some of them prefer thrilling horror themes. Read the article to know about the top 7 best horror series...

Best Asian Gambling Movies That Will Surprise You

If you got stuck in the never-ending search for an ideal movie on Netflix, it is time to stop scrolling. You actually never really find something and you...

Join our Film Threat Newsletter

The Writing Place

Resources – writing about film: the critical essay, introduction to the topic.

Like it or not, studying film may very well be a part of the well-rounded education you receive here at Northwestern University. But how to go about writing such an essay? While film reviews and theoretical essays are part of Film Studies, the most common paper that students will face is: “the critical essay”

Fear not. Though its title combines a serious undertone that implies it is both a large chuck of your grade and also really hard and vague, this post will guide you on your way.

First, what is the critical essay? It may surprise you to note that it is much more than 35% of your grade. In actuality, the most common form of the cinematic critical essay is one in which the writer explores one or more aspects of a film and analyzes how they enhance the film’s meaning and/or artistry. This is very similar to English analysis papers. For example,  The Scarlet Letter  can be analyzed in terms of its motif of civilization versus the wilderness. In the novel, the town is representative of human civilization and authority while the forest represents natural authority (Sparknotes Editors, 2003).  Likewise, the same motif illustrates Terrence Malick’s  Tree of Life.  The wilderness represents the way of nature while the family (or civilization) represents the way of grace. The crossing over of these settings enables the viewer to visualize the internal struggles of Malick’s characters as they seek higher meaning from God.

“Hmmm…” I can hear you wondering. “I already know how to do that! It’s all we did in high school English classes!” But here is where the cinematic essay diverges from the literary essay— the elements that we analyze. Films can be analyzed from traditional literary aspects such as themes, narrative, characters, and points of view but there are also uniquely cinematic aspects: mise-en-scene, the shot, aesthetic history and edited images.

Parts of a Critical Essay

Aspect 1: mise-en-scene.

Mise-en-scene refers to everything in a scene independent of the camera’s position, movement, and editing (Corrigan, 1998). This includes lighting, costumes, sets, the quality of the acting, etc. It is important to remember that every aspect of a scene was consciously chosen by the director and his or her team. Because movies often present themselves as instances of real life, this fact is easily forgotten and the artistic choices that the film crew made are overlooked.

In the following still from   Wes Anderson’s  Moonrise Kingdom  (2012), one can analyze it in terms of mise-en-scene. One could note the arrangement of the props. In real life, it would be unlikely that rocks, sticks, and supplies would arrange themselves in an almost perfect circular fashion around the map. However, Anderson’s decision to arrange the props focus viewer’s attention on the map and highlight the adventure that the two children are about to go on in  Moonrise Kingdom.

Click  here for an example of an essay dealing with mise-en-scene.

Aspect 2: The Shot

The shot refers to the single image before the camera cuts to the next scene (Corrigan, 1998). These shots can include a lot of variety and movement. We can analyze the effect that shots have in terms of their photographic qualities such as tone, speed, and perspectives created, to name a few examples (Corrigan, 1998). A single shot is composed of multiple frames, or stills of the same scene. We can analyze the shot in terms of framing, i.e. what was actually decided to be included within the image and the location of stuff within the frame.

Watch the following shot (beginning at the 30 second mark) for an example: Click Here to Navigate to YouTube

In this shot from Dayton and Faris’  Little Miss Sunshine  (2006), Dwayne has just found out he cannot join the air force. He had maintained a vow of silence to help him focus on getting admitted to the air force and breaks it from utter frustration. The shot’s stationary position as Dwayne runs screaming from his family helps highlight how the physical distance Dwayne puts between himself and his family reflects the emotional distance and frustration he feels at the moment.

Aspect 3: Edited Images

When one or more shots are joined together, they become edited (Corrigan, 1998). These usually have two main purposes. One is the logical development of the story. A shot in the morning connected with a shot in the afternoon connotes to the viewer that time has passed. Other times the editing of shots has artistic intent. For example, in a Chipotle commercial the first shot is of an industrial slaughterhouse. The next shot features animals grazing in a pasture. This is an artistic statement on the part of the advertising team to convey to Chipotle’s customers about the higher standard of care and ethics that they ensure their meat sources follow.

Edited images can also be analyzed from other aspects. For example, one could explain how meaning is created by the specific arrangement in shots, their collisions with each other, and the presence of visual motifs “echoing” through subsequent shots.

For instance, in the edited shots from Patar and Aubier’s movie  A Town Called Panic  (2009) the editing of the kitchen shot and the snow shot serves two purposes. One purpose is to further the logical chronological development of the story. The other purpose is to add humor. Because being asleep for an entire summer is impossibly long, it adds absurd humor.

Hopefully, the brief foray into the various cinematic aspects that one could examine was helpful. The world of film analysis is vast and wide, offering a fecund source for analytical and cinematic exploration and creation.

-Developed by Kyla Donato  

Click here to return to the “writing place resources” main page..

How to Write a Film Analysis Essay – Step by Step

So, your assignment is to watch a movie and analyze it in an essay. Great!

I’m Tutor Phil, and in this tutorial I’ll show you how to write a film analysis. 

In short, to write a film analysis means to:

• Identify the elements of the film
• Identify the relationships among those elements
• Form an argument about your findings
• Support your argument using evidence

If this task seems daunting, don’t worry – it is actually fun once you know exactly what to do. 

So, let’s dive right in. Here are…

7 Steps to Writing a Film Analysis Essay

Step 1. Watch the movie while taking notes

If you already saw the film you need to analyze, you’ll probably need to watch it again, this time taking some notes. 

Why is note taking important? Well, to analyze really means to break something into parts and to discuss relationships among them. 

And to identify parts (or elements) of a movie, you need to watch it while paying attention to details and writing down your observations. 

Taking notes will allow you to do several things:

• Identify some of the elements of the film so you have something to discuss
• Uncover details you would otherwise miss
• Make connections between ideas
• Get some raw content you can readily use in your essay

How to take notes

Here’s a tip on how to do it most efficiently. Play the movie on one device while taking notes on another. 

For example, play the movie on your TV or iPad, and take notes on your laptop. This way, you can pause the movie and make a note without switching apps on your laptop. 

What to look for 

When watching the movie, you are looking for elements that it is made up of. You can simply start a bulleted list with a timeline and some of the things you observe. 

Importantly, you usually don’t want to simply describe every event of the film. You need some kind of a theme or motif to focus on because otherwise you’ll simply write a synopsis if the movie. 

But you want some useful notes. Here’s how to choose what to focus on. 

First, your assignment should determine your focus. For example, if your instructor wants you to write about a particular character, then pay special attention to that character.

If your assignment includes more details, that’s even better. Maybe you have to pick a character and write about her love life or her relationship with her mother. 

Great – that will help you narrow down your focus. 

Second, you can choose your own theme to focus on. If your assignment is very general, don’t worry – just pick your own character, theme, or something in the movie you want to write about.

In this case, if you’ve already seen the film, just think back and choose something to focus your analysis on. 

Third, you can simply analyze the entire film. In this case, your task is to identify the overall message of the film and how its elements help deliver this message. 

Each of these ways to approach writing a film analysis essay works great. And the steps you learn here will help you whatever approach you choose. 

Example of note-taking

Let me give you an example. Recently, I had to write about one particular character in a movie. I also had to discuss the mental health of the character. So, I paid special attention to anything that had to do with mental health. 

I chose the movie The Hours based on Michael Cunningham’s book of the same title. And by the way, let’s use this film from now on as an example to illustrate our seven steps to writing a film analysis. 

This movie follows three women at different periods of the twentieth century. One of them is Virginia Woolf, based on the real-life writer of the same name. 

Since my task was to write about her, I took notes primarily related to her. But I also noted relevant elements in other parts of the film. 

Note that I time-stamped the events that happen on the screen. This would help me orient myself in the story when I later read my notes. 

This can also help you use quotations from the film because in some citation styles you are required to provide exact time stamps for the dialogue lines. 

Here is a sample of the notes that I took while watching the movie:

00:00 – 3:30 Very compulsive behavior. Frantically dressing up. 

“I feel that I’m going mad again.”

08:35 – ~11:00 “How was your sleep?” “Uneventful. No headache. I believe I may have the first sentence.”

“Always giving parties to cover the silence.” – Ed Harris. ~22:00

27:44 – 31:50 “Her fate becomes clear to her.” 

Makes demands on her cook. Being kind of rude. 

43:20 Doesn’t comply with doctors. Depressed all the time. Lies down by the dead bird, as if wanting to join it.

01:05:45 Talking to herself, mumbling, in the presence of others – sister, nephews, niece. 

-What were you thinking about? 

-I was going to kill my heroine but I changed my mind. 

01:08:05 “I’m afraid I might have to kill someone else instead.”

Your notes don’t have to consist of perfect sentences. You can jot down sentence fragments, phrases, or even just words. 

But complete sentences, or at least sentence fragments, will help you understand what you were thinking when taking the note. A sentence will tell you more than a word or a phrase. 

Write down some important dialogue verbatim. You can later use these quotations in your essay. 

Elements to look for

Let’s explore what kinds of elements you can look for while watching the movie. Cinema is an amazing medium that combines a multitude of things to talk about.

A film can contain everything a novel can. And in addition, it has visuals and sound. So, it’s very rich. Let’s divide the elements into two categories – literary and cinematic.

Literary elements

• Story (the beginning, middle, and end)
• Plot (how events are arranged in time and space)
• Setting (where and when the action takes place)
• Characterization (characters and their unique qualities)
• Themes (recurring elements that link things together by topic)
• Message (the point, the argument, if you will, of the movie)
• Dialogue (what characters say)
• Symbols (concrete visual or auditory bits that stand for abstract ideas)
• Contrast (highlighting differences)

Cinematic elements

• Sound (music, noises, or the use of silence)
• Lighting (how light is used to convey or emphasize ideas)
• Camera angles (positioning of the camera when shooting a scene)
• Editing (putting different shots together in a sequence)
• Mise-en-scene (everything you see on the screen)
• Casting (the choice of actors)
• Acting (the art of playing a character)

If you’re a film or literature student, many of these elements will sound familiar to you. But even if you’re not, you don’t have to know much about all or even most of these to write a great film analysis. 

All you need is a few good elements that will serve as ideas to organize and develop your paper. And you are probably already familiar with some of them, such as story and characters, for example.

As you watch the movie and take notes, keep these elements somewhere in your document so you could check in with the list at any time. 

Step 2. Make some connections among the elements

If you really want to do well on this paper, you might want to watch the movie one more time after you’ve taken your initial notes. This time, you’ll be making connections using these elements.

You can do this step from memory and your initial set of notes, but if you do it while watching the film one more time, your paper will be a lot stronger. And the writing part will be easier.

As you watch the film, especially for the second and maybe even a third time, you’ll notice patterns. 

You’ll begin to see how different elements are connected by themes and other unifying elements.

Here are examples of how different and seemingly distant elements can be connected in a movie:

Thematic connection

Two or more characters have the same pattern of behavior. They may not know each other or may even live on different continents or in different time periods. But they both feel stuck in their marriages, for example.

Connection through dialogue

Two or more characters who, again, seem completely unrelated say the same things. Or, one character says something, and another picks it up or answers it in the next scene or shot. 

Connection through mise-en-scene

Mise-en-scene is all the visual elements on the screen. A recurring visual can link different elements, such as characters, together.

For example, a character can have a red rose in her hand. Another character, in a different time and space, can also have a red rose in her hand. This is a director’s way of saying: “Pay attention and look for connections between these characters.”

Musical connection

The same music can play in different scenes. Or, the same tune can be played in a major, happy key in one scene but in a minor, sad key in another. Or, a short motive can be repeated at pertinent moments in the film. 

Movie writers and directors make all kinds of other connections in their films. If you watch the movie more than once while being consciously aware of the possibilities, you’ll notice things. 

You can choose any types of connections you want. If your instructor wants you to be specific and use cinematography and dialogue, for example, then use these two categories. 

But if you identify some nice connections in other categories, put them in your notes, too. You’ll use them as supporting ideas in your essay. 

Example of making connections 

Let me give you an example of how I used elements of film to make some connections for that film analysis I worked on. 

Note that I’m using only four categories of these elements because to discuss more of them would only make the essay get out of hand. It’s better to focus on a few. Make sure it’s no fewer than two, and preferably three or four. 

The first one or two can be the main ones, and the rest can be used as supporting ideas (more on this later). 

To make better sense of the example below, keep in mind that the movie The Hours follows three women in different times and places. 

I used letters V, L, and C as acronyms of their first names, because it’s faster and easier that way. 

Here is a sample of connections (as brief notes)  

• Homosexuality and bisexuality. 
• Around 42:00 – L kisses her neighbor Kitty. Later, V kisses her sister Vanessa. Both women are not only stuck in their situations – they are also stuck in the closet. 
• C is also stuck, according to her own words. 
• V tries to write a novel. L tries to bake a cake. C tries to throw a party. Each one is frustrated. 
• But there is a progression from V-L-C. V never succeeds. L fails at first attempt but succeeds with the second one. C makes everything ready, but the party never happens through no fault of her own.
• Also, trying to run away. V fails. L succeeds. So does Louis in modern times. 
• C says at one point, “From then on I’ve been stuck.” It seems she’s stuck in bisexuality. 
• When L drops off her son, it’s with Mrs. Latch (note the name). A latch is a fastening or binding device. 
• Louis Waters says, “The day I left him, I got on a train and made my way across Europe. I felt free for the first time in years.”
• V succeeds on the third attempt. L contemplates it but changes her mind. C never attempts. But Richard succeeds. 
• 13:54 – (1951) L’s son asks to help with the cake. L: “Of course you can, sweet pea. I’m not gonna do anything without you.” Cuts to 2001 New York: C: “No, of course!” 
• It’s as if the director is being sarcastic: “Yeah, sure. Of course I’m not gonna do anything without you.” 
• L eventually abandons her family, including her son. So, this juxtaposition seems sarcastic and acts as foreshadowing. 

Mise-en-scene (visual elements)

• Each of two women, V and L, is alone in a bed; one is in bed with a partner. 
• L is particularly emphasized as alone with an empty half bed – happens again later in the film.
• The light is pouring in from outside, but the room is dark. She is isolated by the window frame. Isolated from everything in the home, including her son. 
• Later, around 17:30, her son will be alone in a very dark apartment: “I needed to let in some light.” Maybe light is associated with freedom.
• V depressed, even disturbed
• L wondering what the day will bring
• C excited about the upcoming day.
• There seems to be a progression from worse to better in V-L-C. 

When you actively look for connections, you’ll make many of them. In this step, you’re not thinking deeply about them. You’re just noticing things and jotting them down.

The main thinking is done in the next step. 

Step 3. Formulate your main argument

Now that you have your elements and you’ve perceived some relationships among them, it’s time to formulate your thesis. 

A thesis is the main point of your essay. This step is the most important because this is where you take a stand. 

This is also a creative step. You’re essentially making a decision about what to say about this movie or an aspect of the movie. 

Here’s a short video I created, explaining what a thesis is:

Read back through your notes

Read through the initial notes you took and the connections that you’ve made. 

What stands out to you as the most important, the most general and overarching idea that is probably the main one?

Make your thesis about this idea. And the rest of the elements or ideas will act as supporting points (we’ll add them in the next step). 

Choose the subject

Let’s choose what to write about – our subject – in our sample film analysis. We have four categories of elements in which we’ve made notes and connections:

• Mise-en-scene

Just by looking at this list and reading through the connections made, it is easy to notice:

One or more of the themes are dominant, and the rest is supportive. Therefore, our main point should probably be about a theme . 

Again, if your instructor has given you a specific subject to focus on, then that’s what your thesis will be about. 

In this example, let’s assume that we must simply write a film analysis, and we’re free to choose what to write about.

So, we’ll pick one of the themes, take a stand on it, and formulate our thesis based on it. Let’s look at the themes we’ve picked out again:

• Repressed sexuality
• Frustration
• Being stuck
• Seeking freedom  

Which of these is the dominant one? Which one is all-encompassing? Which one includes some of the others?

These are some of the questions we might ask to pick the main subject for our essay. Let’s arrange these themes in the order of more general to more specific:

Why is being stuck the most general and all-encompassing theme? That’s because it seems that the rest of the themes are either the signs or the effects of it. 

Repressed sexuality and frustration in trying to accomplish things and failing are signs, examples, or manifestations of being stuck. 

It is only possible to seek freedom if you feel stuck. And suicide, at least in this film, is a result of being stuck and seeing no way out. 

This tells us that being stuck as a theme is the best candidate for our thesis. In other words, this essay will be about the theme of being stuck in the film The Hours .  

Formulate the thesis

At this point, we have everything we need to formulate our thesis, our main point that we’ll be supporting in the essay. Let’s do it:

“In the film The Hours, the feeling of being stuck in terms of their sexualities and life situations plagues the main characters. And the earlier in the century the action takes place, the more disastrous the consequences of them feeling stuck.” 

What’s going on in this thesis? 

First, we have two sentences because this film analysis is kind of complex. It is possible to write out the main point in only one sentence, but then it would be too long and complicated. 

Second, note that we have all the main elements either explicitly or implicitly present in this statement. In other words, this thesis summarizes our entire essay perfectly. 

It contains the themes of:

• Being stuck (which is our main subject)
• Sexuality (one supporting idea)
• Seeking freedom (from an unwanted life situation)
• Sucide (a disastrous consequence)

In other words, it’s all there in the thesis. And we’ll unpack these concepts more in the next two steps. 

Step 4. Write the introductory paragraph

The introductory paragraph consists of three parts:

• An introductory sentence
• The thesis (main point)
• The supporting points

Here is a diagram of how it is organized:

We already have one of these parts, which is the thesis (part 2). Now, all we need is  the introductory sentence and the supporting points. 

Let’s put together our supporting points – the crucial part of a thesis statement. A full thesis statement always includes the main point and the supporting ideas. And then we’ll write out the complete introductory paragraph.

Keep in mind that each of our supporting points will correspond to a section of our essay. And I always recommend using the Power of Three to organize a paper. 

Three is a great number to divide one idea into many. Note that writing an essay on any topic is very much a matter of dividing big topics into subtopics. 

What three supporting points or sections can we have in this essay? Well, luckly, it just so happens that the film The Hours centers around three main characters set in different time periods and places. 

This makes a perfect division into three parts. Now, your movie may not have such a clear division, and in that case you’ll need to come up with three supporting ideas creatively. 

For example, you could discuss the feeling or predicament if being stuck in terms of these concepts:

And your essay would have three main sections. Each section would be devoted to being stuck in a particular sense. 

In our essay, the three women are:

• Virginia Woolf (1923)
• Laura Brown (1951)
• Clarissa Vaughan (2001)

From our thesis, we know two things:

• They all share the feeling of being stuck, in similar ways
• There is a progression from past to present in how it affects them

So, now, let’s write out the complete thesis statement. Note that we’re also including the introductory sentence, whose function is to pull the reader into the subject matter of the essay.

Our film analysis thesis statement example

“Through the power of narrative and visual elements, cinema allows the viewer a glimpse into worlds she otherwise could not know, revealing difficulties people have faced throughout history. In the film The Hours, the feeling of being stuck in terms of their sexualities and life situations plagues the main characters. And the earlier in the century the action takes place, the more disastrous the consequences of them feeling stuck. Virginia Woolf, set in 1923, is in the worst situation because while she suffers from repressed homosexuality and hates living in the country, it is next to impossible for her to find a viable way out. Laura Brown, set in 1951, is also a closet lesbian and lives a small-town family life she despises. But she eventually finds a way to liberate herself. Finally, Clarissa Vaughn, set in 2001, is stuck in her bisexuality. But her life situation, while challenging, is otherwise better than those of the other two characters.”

Step 5. Outline the essay 

The thesis statement that we just put together also acts as our big-picture outline. Let’s see how our essay will be organized, in terms of the main sections:

Notice that this big-picture outline is dictated completely by our thesis statement. This is why a great, detailed thesis statement is so important. 

Fulfilling the word count requirement

Your film analysis essay assignment may have a specific word or page count requirement. Let me give you an example of this film analysis outline with a breakdown of words per section and subsection.

Let’s say you need to write a 2,000-word paper. Well, right now our introductory paragraph contains about 150 words. Here is how we could distribute words to meet that word count requirement.

Outline with word count distribution

• Introductory paragraph (150 words)
• Sexuality ( 300 words )
• Life situation ( 300 words )
• Conclusion (100 words)

If you add up all the sections and subsections, you’ll get 2,050, which is about our desired word count. 

If you need to write 5,000 words, then distribute your words accordingly. You’ll have about 250 words per introduction and conclusion, which will leave you with 4,500 words for the body of the essay.

That will be 1,500 words per main section. Divide each main section into three subsections using the Power of Three, and you have 500 words per subsection. 

It’s very helpful to know how to distribute your words because that allows you to map out how much you’re writing in each section and paragraph. 

Step 6. Write the body of the essay

The body of a film analysis essay consists of sections, and each section consists of one or more paragraphs. 

So, your main building block in the body of the essay is the body paragraph. Here is how a body paragraph is structured:

The first sentence is the so-called lead sentence. It must summarize the contents of the paragraph succinctly and perfectly. 

An explanation is where you have a chance to provide any reasoning or describe a process.

And examples are the most specific parts of any paragraph or essay. They are the most fun to write and to read. 

Let’s write a body paragraph to illustrate exactly how such a building block works in a movie analysis. 

Our example is about Virginia Woolf. It belongs in Section 1, subsection 1 – about being stuck with repressed homosexuality. 

Note that this subsection can have more than one paragraph. This will be one of the paragraphs in this section. 

Film analysis body paragraph example

“Virginia feels stuck in her personal life as if in a prison because of her repressed sexuality. She appears to be a closet homosexual, which is a difficult predicament to endure in the early 20th century England. Homosexuality was looked down upon, and a woman had to be married to a man, regardless of her innate sexual preferences. She lives with her husband who takes care of her and clearly loves her. However, when her sister Vanessa comes to visit, at the end of the visit, Virginia gives her a long, passionate kiss on the lips that is apparently reciprocated. The kiss is so intense that it indicates a repressed desire. Vanessa accepts it, but it is not clear whether she does so out of mutual attraction or compassion for her sister’s suffering.”

This paragraph follows the structure illustrated in the diagram. 

It opens with a lead sentence which summarizes and introduces the entire contents of the paragraph perfectly. It is also the most general statement of the essay.

Next comes the explanation. We explain why we think that Virginia has a problem. The time period she lives in makes it difficult to be a sexual minority. 

Finally, we provide an example – the most specific kind of evidence in an essay. It is an example of a kiss, with a description and implications. 

To complete the body of the essay, we would need to build it out by writing one paragraph after another, following the outline and maintaining this body paragraph structure. 

Note that you can also use outside sources to support your points. But first write out what you can without resorting to research. And only then go and find sources that would confirm your thinking and ideas. 

Step 7. Write the conclusion

This is the final step and the easiest one. I usually advocate for concluding with a simple restatement. 

All you need to do is write out the thesis statement using different words so it doesn’t come across as a mere copy. 

Your conclusion can be shorter than the introductory paragraph. After all, you’ve already said it all. And now, just restate in fewer and different words. You can also add a more general statement at the very end, as a finishing touch. 

And let’s do it.

“The Hours is a fascinating study of how repressed sexuality and confining life situations have affected people’s lives throughout the twentieth century. The three characters live in different times, and the earlier the period the more difficult the situation and the harder it is to endure. Virginia commits suicide because she can’t find a way out of her situation. Laura almost commits suicide but then chooses to abandon her situation, which is physically a little easier in the 1950’s. And Clarissa lives with her girlfriend. Her situation is better although she is still stuck as a bisexual. Life in 2001 is significantly better, though not devoid of challenges.”

And there you have it. Now you know exactly how to write a film analysis paper. 

I hope this was helpful!

Tutor Phil is an e-learning professional who helps adult learners finish their degrees by teaching them academic writing skills.

Recent Posts

How to Write an Essay about Why You Want to Become a Nurse

If you're eager to write an essay about why you want to become a nurse, then you've arrived at the right tutorial! An essay about why you want to enter the nursing profession can help to...

How to Write an Essay about Why You Deserve a Job

If you're preparing for a job application or interview, knowing how to express why you deserve a role is essential. This tutorial will guide you in crafting an effective essay to convey this...

Quick Guide on How to Write a Movie Review Essay

What Is a Movie Review

The internet has revolutionized the realm of film criticism. No matter a movie's level of quality, it is always worth analyzing. Despite the growing number of individuals attempting to write about movies, few are successful. Most people do not provide insightful analysis, instead simply state how much they liked or disliked the film.

A movie criticism, usually composed by a professional in film studies, takes a comprehensive look at the film from a historical, social, political, or theoretical standpoint. This is unlike the opinion or suggestion given in a movie review, which is shorter and more concise.

A remarkable aspect of a good film review is that it doesn't just rate the movie but provides explicit views that form the critique's basis. This form of writing, like crafting essays, research papers, and term papers, should be insightful and draw the reader in quickly. It's important to discuss the reputation of the lead actors and directors and to write about what you expected and if they were met. The reviewer must explain a story's development without recalling major plot points and endings. The review must be concise, engaging, and should involve metaphors, specific words, analogies, etc.

Movie Review Purpose

Most film reviews are intended to guide readers in deciding whether to view, rent, or purchase the film. They should provide the necessary information to aid readers in deciding without divulging any fundamental details, such as the storyline or any surprises. This paper is common in schools because the lecturer wants to evaluate the student's ability to think critically and report the event easily for others to understand.

Movie reviews typically present a brief summary of the film's storyline. They provide readers with an overview of the characters, relationships, and scenarios but do not convey the complete narrative. Perusing the review should be different from seeing the movie. Nonetheless, feel free to highlight the essential moments or pivotal points that make the film worthwhile viewing.

Our college essay writing service has put together some advice on composing a movie review essay like a real critic, so let's explore the article further!

How to Write a Movie Review: Movie Review Outline

The structure is key when it comes to the quality of your paper. Don't neglect the power of a good outline, no matter what paper you're writing. Outlines help you stay on track and make sure your paper flows well.

Taking the time to arrange your ideas before starting to write is an effective way to save time further down the line. With a well-structured plan already in place, you won't have to worry about other elements. This will also make the writing process less stressful. Here is a guide on how to organize your movie review outline:

How Do You Start a Movie Review Essay: Introduction

The introductory paragraph is the first obvious step in crafting a movie review essay outline. Here, you want to quickly captivate the reader. Deliver your viewpoint instantly and make it unambiguous. Don't leave the audience wondering whether you enjoyed the film. Tell them right off the bat so you have time to justify your assessment throughout the remainder of the process.

In the introduction movie review should also describe your thesis. Develop the main concept for your essay that you can support using your perceptions of the movie's various aspects. The reader should be able to tell from this statement if you thought the film was fantastic, awful, or simply alright. By including a thesis statement, you may move your analysis beyond the plot synopsis phase into the movie critique category, which is considered a separate creative process.

Crafting Your Essay Movie Review Analysis

According to our research paper service , film analysis is similar to building a case. You're attempting to influence the reader to follow your recommendation to watch or disregard the film. So, you must ensure your essay movie review will be convincing. Giving instances that demonstrate the validity of your personal opinion is the only method to do this. If you find any dialogue in the movie that you think best exemplifies whether the work is strong or not, utilize quotes. This also applies to all of the movie's artistic decisions. But, just because a movie's narrative isn't strong or engaging doesn't indicate the rest of the film is worthless. Carefully highlight how some factors might undermine the movie in your explanation.

The movie's plot is only one component and shouldn't dominate the overall piece. The following are the important aspects to include in your movie review structure:

Cinematography - Cinematography covers much more than simply camera angles. It includes how the picture is lit, how it moves, appears, and what lenses are used. Here you can try the following analysis: 'Warm, gentle colors are used throughout the film, combined with soothing whites and grays, to simultaneously create and gradually tear away the characters' romantic sentiments for one another. There is a painting-like quality to each image.'

Editing - The editing is arguably the absolute star of what creates a good movie review example. It affects both the duration and the flow of a movie. Without effective editing, there would be uncomfortable gaps between pictures and many errors.

Costuming - The clothing the characters wear is called a costume, but there are a number of things to consider while evaluating movie costumes. You should be able to decide if the outfits suit the characters and the movie's atmosphere.

Casting and Acting - Finding the ideal performers to bring characters to life is the goal of casting. This sometimes entails seeing performers portray both familiar personas and figures who are entirely at odds with who they are. Casting, therefore, involves more than just finding talented performers. You can assess the acting in the following way: 'Even though he excels while on the go, his stoic behaviorism causes him to fall short of his co-star during calm scenes where he keeps a blank look on his face.'

Once you have finished analyzing the acting, directing, cinematography, setting, etc., wrap up with concise, stimulating wording to sustain readers' attention. Don't forget to provide a few examples to support your statements about the film.

Concluding Your Essay Movie Review

Finalize your review by coming full circle. Close the review by returning to your introductory fact or thesis. Give your readers a refresher on the movie's most intriguing aspects. It's important to remember that before choosing a movie, viewers check reviews. Finish with a statement indicating whether it is worthwhile for them to view. Be specific about who this movie will be more fascinating to and why in your suggestions. Remember that your ending is your last shot at influencing your audience, so use it wisely.

No matter the kind of movie review you have to complete, our professional specialists are willing to help you. Directly forward your needs to our research paper service and get it done quickly.

Need Help With MOVIE REVIEW WRITING?

No matter what type of movie review you want, our qualified specialists are ready to assist you.

Short Movie Review Form

If you are currently working on a new or old movie review, reading our suggestions should be sufficient to help you earn an A. So what if you'll be writing many reviews in the future? In this situation, we advise you to develop a uniform movie review template, which will enable you to save time and complete your upcoming projects successfully.

So, how to write a movie review template, you may ask? Well, our essay helper prepared a simple yet great movie review template you may use as a foundation for your own writing if you need some help getting started:

Example Papers

Once you know how to review a movie and learn the most valuable tips to handle this assignment, it is time to look at some movie review examples to get you on the right track.

Check out the following pieces to see which of these movie review essay examples you might want to keep at hand when working on your own assignment:

Helpful Tips on Writing Movie Reviews

Here are some extra helpful tips to keep in mind when unsure how to write a movie review essay:

• Add Your Own Personal Feel to Your Movie Critique - You might not have much spare time for your pastime of reviewing. You won't be able to write a movie review, though, if you just wing it without reading what others have said. Make a note of the things that intrigued you, alarmed you, made you uncomfortable, or caused you to pause and consider something, and then use that list as the basis for your research.
• Develop a Distinctive Writing Style - Have an idol—it's good for you. You must be careful not to just paraphrase and duplicate what they say without adding your own original viewpoint. Instead, in order to stand out from the throng, you must discover your own voice. When writing movie reviews, you should also have a distinct writing style.
• Include Extensive Information -Mention the film's photographer, special effects designer, and director. Your review might be significantly impacted by this. Then you may list all the memorable movie moments that also stuck with you.
• Voice Your Views and Back Up Your Criticism - Give your own assessment of the film. Make sure you have evidence to support your criticisms. Use the movie's details that most shocked or humiliated you. Review genuine information rather than merely expressing your opinions without supporting details.

Final Thoughts

Composing a good movie review essay sample is easy if you follow this article's main steps and techniques. Furthermore, we strongly believe that this guide will assist you in achieving remarkable outcomes and ease your writing process. The staff at EssayPro is always available to provide a helping hand if you need a little additional push with movie review examples or even if it's simply coming up with a catchy essay title .

Order an essay and await excellent results! Contact our expert writers and ask them to ' write my essay for me ' – and they will ensure your academic success!

Do You Require a Skilled Professional Writer?

Our writers take extra measures to make sure that your essay is created precisely in accordance with your specifications.

FAQs on Writing an Essay Movie Review

Here are the most frequently asked questions on how to write a movie review. We provided extra details on movie analysis to simplify writing film reviews.

What are the 6 Important Things to Include in a Film Review?

How long should a movie review be, what are the 5 c's in film, related articles.

Essays About Movies: 7 Examples and 5 Writing Prompts

Check out our guide with essays about movies for budding videographers and artistic students. Learn from our helpful list of examples and prompts.

Watching movies is a part of almost everyone’s life. They entertain us, teach us lessons, and even help us socialize by giving us topics to talk about with others. As long as movies have been produced, everyone has patronized them.  Essays about movies  are a great way to learn all about the meaning behind the picture.

Cinema is an art form in itself. The lighting, camera work, and acting in the most widely acclaimed movies are worthy of praise. Furthermore, a movie can be used to send a message, often discussing issues in contemporary society. Movies are entertaining, but more importantly, they are works of art. If you’re interested in this topic, check out our round-up of screenwriters on Instagram .

5 Helpful Essay Examples 

1. the positive effects of movies on human behaviour by ajay rathod, 2. horror movies by emanuel briggs, 3. casablanca – the greatest hollywood movie ever (author unknown).

• 4.  Dune Review: An Old Story Reshaped For The New 2021 Audience by Oren Cohen

5. Blockbuster movies create booms for tourism — and headaches for locals by Shubhangi Goel

• 6. Moonage Daydream: “Who Is He? What Is He?” by Jonathan Romney
• 7. La Bamba: American Dreaming, Chicano Style by Yolanda Machado

1. My Favorite Movie

2. movies genres, 3. special effects in movies, 4. what do you look for in a movie, 5. the evolution of movies.

“​​Films encourage us to take action. Our favourite characters, superheroes, teach us life lessons. They give us ideas and inspiration to do everything for the better instead of just sitting around, waiting for things to go their way. Films about famous personalities are the perfect way to affect social behaviour positively. Films are a source of knowledge. They can help learn what’s in the trend, find out more about ancient times, or fill out some knowledge gaps.”

In this movie essay, Rathod gives readers three ways watching movies can positively affect us. Movie writers, producers, and directors use their platform to teach viewers life skills, the importance of education, and the contrast between good and evil. Watching movies can also help us improve critical thinking, according to Briggs. Not only do movies entertain us, but they also have many educational benefits. You might also be interested in these  essays about consumerism .

“Many people involving children and adults can effect with their sleeping disturbance and anxiety. Myths, non-realistic, fairy tales could respond differently with being in the real world. Horror movies bring a lot of excitement and entertainment among you and your family. Horror movies can cause physical behavior changes in a person by watching the films. The results of watching horror movies shows that is has really effect people whether you’re an adult, teens, and most likely happens during your childhood.”

In his essay, Briggs acknowledges why people enjoy horror movies so much but warns of their adverse effects on viewers. Most commonly, they cause viewers nightmares, which may cause anxiety and sleep disorders. He focuses on the films’ effects on children, whose more sensitive, less developed brains may respond with worse symptoms, including major trauma. The films can affect all people negatively, but children are the most affected.

“This was the message of Casablanca in late 1942. It was the ideal opportunity for America to utilize its muscles and enter the battle. America was to end up the hesitant gatekeeper of the entire world. The characters of Casablanca, similar to the youthful Americans of the 1960s who stick headed the challenge development, are ‘genuine Americans’ lost in a hostile region, battling to open up another reality.”

In this essay, the author discusses the 1942 film  Casablanca , which is said to be the greatest movie ever made, and explains why it has gotten this reputation. To an extent, the film’s storyline, acting, and even relatability (it was set during World War II) allowed it to shine from its release until the present. It invokes feelings of bravery, passion, and nostalgia, which is why many love the movie. You can also check out these  books about adaption . 

4.   Dune Review: An Old Story Reshaped For The New 2021 Audience by Oren Cohen

“Lady Jessica is a powerful woman in the original book, yet her interactions with Paul diminish her as he thinks of her as slow of thought. Something we don’t like to see in 2021 — and for a good reason. Every book is a product of its time, and every great storyteller knows how to adapt an old story to a new audience. I believe Villeneuve received a lot of hate from diehard Dune fans for making these changes, but I fully support him.”

Like the previous essay, Cohen reviews a film, in this case, Denis Villeneuve’s  Dune , released in 2021. He praises the film, writing about its accurate portrayal of the epic’s vast, dramatic scale, music, and, interestingly, its ability to portray the characters in a way more palatable to contemporary audiences while staying somewhat faithful to the author’s original vision. Cohen enjoyed the movie thoroughly, saying that the movie did the book justice. 

“Those travelers added around 630 million New Zealand dollars ($437 million) to the country’s economy in 2019 alone, the tourism authority told CNBC. A survey by the tourism board, however, showed that almost one in five Kiwis are worried that the country attracts too many tourists. Overcrowding at tourist spots, lack of infrastructure, road congestion and environmental damage are creating tension between locals and visitors, according to a 2019 report by Tourism New Zealand.”

The locations where successful movies are filmed often become tourist destinations for fans of those movies. Goel writes about how “film tourism” affects the residents of popular filming locations. The environment is sometimes damaged, and the locals are caught off guard. Though this is not always the case, film tourism is detrimental to the residents and ecosystem of these locations. You can also check out these  essays about The Great Gatsby .

6. Moonage Daydream:  “Who Is He? What Is He?” by Jonathan Romney

“Right from the start, Brett Morgen’s  Moonage Daydream  (2022) catches us off guard. It begins with an epigraph musing on Friedrich Nietzsche’s proclamation that “God is dead,” then takes us into deep space and onto the surface of the moon. It then unleashes an image storm of rockets, robots, and star-gazers, and rapid-fire fragments of early silent cinema, 1920s science fiction, fifties cartoons, and sixties and seventies newsreel footage, before lingering on a close-up of glittery varnish on fingernails.” 

Moonage Daydream  is a feature film containing never-before-seen footage of David Bowie. In this essay, Romney delves into the process behind creating the movie and how the footage was captured. It also looks at the director’s approach to creating a structured and cohesive film, which took over two years to plan. This essay looks at how Bowie’s essence was captured and preserved in this movie while displaying the intricacies of his mind.

7. La Bamba:  American Dreaming, Chicano Style by Yolanda Machado

“A traumatic memory, awash in hazy neutral tones, arising as a nightmare. Santo & Johnny’s mournful “Sleep Walk” playing. A sudden death, foreshadowing the passing of a star far too young. The opening sequence of Luis Valdez’s  La Bamba  (1987) feels like it could be from another film—what follows is largely a celebration of life and music.”

La Bamba  is a well-known movie about a teenage Mexican migrant who became a rock ‘n’ roll star. His rise to fame is filled with difficult social dynamics, and the star tragically dies in a plane crash at a young age. In this essay, Machado looks at how the tragic death of the star is presented to the viewer, foreshadowing the passing of the young star before flashing back to the beginning of the star’s career. Machado analyses the storyline and directing style, commenting on the detailed depiction of the young star’s life. It’s an in-depth essay that covers everything from plot to writing style to direction.

Getting writing help is so easy with us

Choose the type, level, urgency, and length to start off

Guide for Writing a Movie Analysis Essay

Having typical writing, formatting, and structure requirements, the movie analysisan essay is one of the most common college writing tasks students face. It may seem to be an easy task at first glance, but as soon as you get down to the actual writing, you bump into complications. However, that's not a problem anymore!

Movie Analysis Essay - How to Write a Good Film Review?

Our writing service, which specializes in providing help to people facing difficulties with academic assignments , hires experienced professionals who know all the pitfalls of academic writing . They have extensive experience dealing with all kinds of papers. They decided to share their precious knowledge with you and came up with a list of tips that may stand you in good stead if you plan to write a good movie analysis essay .

With the help of our essay writing guide for school and college students, you can take your writing skills to a whole new level and achieve the perfection you didn't even dream of having! So without further ado, let's get to it!

What Is a Movie Analysis Essay?

You cannot write a good paper unless you fully understand what you are expected to write, so we recommend asking your teacher for clarification if there's something about the task that bothers you. Let's start by finding out what that practically means.

An analysis is the critical assessment of something, showing it from a different and sometimes unusual perspective. Analyzing also helps broaden the reader's understanding of whatever it is you're studying (books, poems, songs, or movies), as well as shows the writer's attitude towards a subject. The important thing to remember here is that the writer should watch the movie they want to dissect no less than a couple of times before applying the analysis technique mentioned above. It's also notable that unlike most such things, the movie analysis essay requires the writer to focus on movie-specific questions, such as the actors, plot, quality of filming, audience, distribution-related issues, the special effects, etc.

Composition of a Movie Analysis

Just like any other academic paper, such a paper has a basic narrative structure that comprises the elements of film analysis. Those are an introduction, body parts, and a conclusion. In this section of our article, we'll be discussing all of them in detail. But, before we do, let's have a brief look at some important things concerning movie essay writing .

Before you embark on the writing itself, you should watch the movie several times, taking notes of every single worthy detail in the process.

Your film analysis should be more than just your reflection on the movie. It should challenge the reader by bringing up discussion-worthy questions that can help them see the movie from an entirely unexpected angle. To do that, read the reviews of film critics and other reviews prior to watching and analyzing a film yourself. When it comes to analysis essay writing , one of the most helpful things to do is create an outline. Many students underestimate the importance of this seemingly minor detail, but in fact, it is one of the integral essay writing tools.

A good outline for the movie analysis essay is a summary of your future paper, which lists its main parts, the headings of the body paragraphs with their short description, and your ideas. The outline helps the author feel confident during the writing process, be organized, and have a sense of direction. Imagine watching a movie and trying to put all your ideas into words directly after watching it. We bet that you won't be able to do it properly and end up having a bunch of haphazardly thrown-together information, which is not exactly the best way of writing an essay. Instead, you can come up with an outline, organize your essay effectively, and enjoy the process of writing.

How to Write an Introduction Paragraph

The introduction is one of the most critical parts of a film analysis essay because it provides the reader with the first impression of your work. A good introduction should be both short and informative, mentioning the actors, producer, and the book or real story the movie is based on (if any). The ultimate goal of the introduction is to grab the reader's attention without revealing all the details and make them want to read the essay all the way through. Here, you need to make it clear for the reader what you are going to write about.

Let's take a look at what an introduction for the movie review essay may look like.

Wondering how to write a thesis statement for a movie analysis? First, let's establish what the thesis statement is and where it should be placed in your essay . The thesis either supports and recommends the film, or convinces the reader that is it not worth watching. The thesis statement also gives you a sense of direction and introduces your main idea, which will be supported in the remaining parts of your essay .

Time can make us forget many things, but there is one of them that can never be erased completely - love. In Garth Davis's movie "Lion," the main character is trying to reunite with his family after being separated from them 25 years ago. And even though he finds a new life far from home, the love he has inside him won't let him forget who he is and where he comes from, making him battle the distance and time to find his loved ones. Using powerful dialogues, music, and filming techniques, the authors of the movie let the audience share the main character's feelings, fears, and joyful moments.

Writing the Body of a Movie Analysis

The central part of a movie review essay is the body paragraphs that focus on the elements mentioned in the introduction and thesis. You should organize the body paragraphs in the best manner possible by logically connecting all the information included therein. Make sure your body paragraphs contain solid facts andan examples which can support ideas mentioned in the thesis statement. There are no strict limitations as to what you can discuss in the body paragraphs, so you can bring up any movie-related questions and analyze them in detail. Be creative with your argument, and don't be afraid to discuss any hot topics related to the movie. Do your best to open the script up to the reader!

If you need a roadmap of what to write about, this is a set of questions to help you with writing an analysis essay .

• What was the movie's goal? Was it accomplished?
• What was the film's target audience? Did the movie really reach them or speak to them effectively?
• What are the main conflicts in the motion picture? How do they contribute to the film's goal?
• Does the film raise any religious or theological issues? If yes, what are they?
• Did the film stimulate you to think about something? If yes, what was it?

At the same time, bear in mind that you needn't summarize the whole plot or events that take place in the movie. You should do it only in places where it's necessary to make youran examples clear as the reader may have seen the film and won't be eager to read about its plot one more time. Given the limited word count (about 600 words), you need to devote your essay exactly to the analysis.

Do not cover these aspects in a separate paragraph. Instead, integrate them into your general discussion. Also, be careful not to lose thread of every paragraph. They should start with an opening - or topic - sentence and end with a concluding one.

• mise-en-scene;
• audiovisual elements;
• lighting or color;
• acting or casting;
• sets or costumes.

Along with this, do not fail to cite specific examples to support the main thesis of your paper. Make sure they are not spending too much time summarizing the film and rather briefly describe scenes to facilitate your analytical essay.

What about the Movie Analysis Conclusion?

Once you are done with the introduction and body paragraphs, it's time to move on to the conclusion. In it, you should sum up all your arguments and attempt to convince the reader that your opinion about the movie is correct. To achieve that, be sure to include the five "W" in your conclusion, such as who, what, why, where, and when .

An essay conclusion is a high point of your whole analysis, so do your best to make it sound strong, logical, and convincing. Let's see an example (but be careful of the spoiler).

"In conclusion, the main characters in the Truman Show are a group of people that show a high level of amorality throughout the film. In particular, Christof and Meryl represent and influence the cruelness and immorality of the demand of entertainment in society today, which in a term, negatively effects and emotionally scars Truman as a result to the point of violence and inhumanity. This can show the reader that this can and will leave a major impact on human beings' lives forever."

Movie Analysis Topics Choice

If your professor wants you to analyze a specific movie, you will have no other choice but to follow their requirements. However, if you get to choose your film, make sure it is a good one and think of the best topic for it. Keep in mind that your success depends significantly on the themes of your choosing, so make sure it's something exciting and thought-provoking.

If you choose one of the movie analysis topics below, you will do the right thing!

• The interpretation of the meaning of seven sins in the "Seven" movie.
• What are the historical values and messages of the "Amistad Film Project"?
• A strong message of Christopher Nolan's "Inception."
• The problem of missing children in India in the "Lion" movie.
• Faith even in the direst environments as depicted in Frank Darabont's "The Green Mile."
• The Utopian world in "The Truman Show" movie.

Tips on Writing a Good Analysis Essay

Now that you've got an idea of how to craft a film analysis essay , you need to know some useful tips that would help make it in a top-notch quality.

• While watching the movie you are going to make the review for, take the notes at the most interesting moments of the film. If you watch a film on the web, be ready to pause the film at certain moments, and rewind it.
• When watching a film for the second time, try to watch it critically. Concentrate on a distinct theme or concept related to the plot. What can be analyzed is how the movie is photographed or how a film relates to a historical event without distorting the facts.
• Introduce the major film participants, such as actors and the director. If your analysis focuses on the aspect of the cinematographic aspect, mention the names of other technicians in the movie. For instance, if it is the importance of shadows to movie noir that you are to analyze, write about the cinematographer. If you are going to dissect background music and how it relates to the emotional tone of the movie, you will need to talk about the composer.
• Be careful with over-reviewing the film to not make it just a synopsis of the story. It needs to be an analysis. Reveal spoilers about the plot only if your analysis directly deals with them.
• Use some technical jargon from the world of filmmaking, which will help strengthen the authority of your paper. It means you need to know the difference between cut and dissolve. Or, you may speculate on subjective camera work if your essay is dealing with a particular character's POV.
• Check the overall paper organization. It includes the clarity of thoughts, effectiveness of transitions between body parts, and inclusion of only one example in each of the paragraphs. Also, be sure you've used the proper formatting. Are all the citations formatted in a required style? Along with that, you need to ensure there are no spelling and punctuation errors and that the whole text is written in formal academic English.
• Don't neglect tags like "according to" or "as explained in the film." These phrases will remind the reader you are talking about the view presented, not your own.
• Try to stay objective. Report the central ideas without including your own reactions and responses.
• Discuss the parallels between the film you are reviewing and some other movies. They may have the same genre or describe the same event but from different perspectives.
• Once again, you are to craft a movie analysis essay , not the critical film review. The main difference between them lies in the names of these papers. The first type of paper is supposed to make an objective dissection of a film that evaluates it, follows a certain structure, and summarizes the ideas. A critical review relies more on subjective ideas and suggests how to improve a motion picture and has a specific outline.

The movie analysis paper is an excellent way of showing off your critical skills, analyzing information, and supporting your opinion. We hope our guidelines will help you achieve that! We provided you with some theory and examples so that you could use our samples but remember about plagiarism when using reviews of other authors!

If you lack the time or desire to handle the task on your own, you can always use analytical essay help. We offer you an easy and quick way to get the exact paper you want. Your text will be written by academic experts with years of experience in the field of academic writing . Only minimal efforts will be needed on your part.

If it's your first order, you can check the quality before paying money by asking us to send you a free essay sample on the given topic. Choose the part of the paper and leave your email below so that we could send the example. If it looks just the way you wanted, order the full version of the film analysis essay and get a top-notch work in a couple of days or even hours! We can always do it for you!

Subscribe to get free samples

Christopher

More than 176 testimonials from clients make up a 9.6 / 10 rate of success , making our organization one of the best in the industry.

"Another excellent paper from you, thanks! Had to use the revision option but you did everything on time."

"I am so stressed out with all the tasks. I can sit doing my homework for days. And I don’t exaggerate at all, some assignments waste 2 or 3 days of my free time. Thanks God I found this service to get a life. "

"Biology for me is really difficult. For real, I just cannot get even a half of the info our professor gives, all those assignments got my GPA real low. Thanks to this service for writing essays for me, it helps a lot."

"Thank you so much!!! I was breaking my head over this math problem for days, and your people cracked it in under a day! I've never been more grateful to anybody. Will definitely come to you again."

"The writer was very patient with all my requests and used the right sources. Even though I had to correct several mistakes, the research he made was very good with strong points and arguments. Thank you for this paper!"

"Quality was ok. I really expected something more but still paper received a positive grade and I am satisfied with it."

Moving Pictures: An Introduction to Cinema

(11 reviews)

Russell Leigh Sharman, Fayetteville, Arkansas

Copyright Year: 2020

Publisher: University of Arkansas

Language: English

Formats Available

Conditions of use.

Learn more about reviews.

Reviewed by Dennis Lo, Associate Professor, James Madison University on 7/31/23

1. Somewhat concerning how only two groups (women and African Americans) are examined in the “representation in cinema” section. Why only these two groups and not others? 2. The “brief history of cinema” is by and large a brief history of American... read more

Comprehensiveness rating: 3 see less

1. Somewhat concerning how only two groups (women and African Americans) are examined in the “representation in cinema” section. Why only these two groups and not others? 2. The “brief history of cinema” is by and large a brief history of American cinema. Left out are most other histories of world cinema. 3. Most intro to film textbooks don’t contain sections on Screenplays because these are more production oriented materials. Having this included is a helpful resource for students who are taking the class because they are aspiring filmmakers and not just future film critics/theorists.

Content Accuracy rating: 4

1. It is accurate in its summary of Hollywood film history, but to make it appear that Hollywood’s history can stand in for histories of film industries all over the world is inaccurate. 2. “How to Watch a Movie” is an excellent introduction and overview of what it’s like to engage in textual analysis of films. Can make for an excellent reading in an early week of Intro to Film.

Relevance/Longevity rating: 4

1. The inclusion of video essays in demonstrating concepts in film terminology is most welcome. 2. In general, it’s very effective to include video essays and examples of scenes directly in the chapters themselves.

Clarity rating: 3

1. It is written in a conversational style that is accessible to students who find jargon either unwelcoming or monotonous. However, the writing does suffer from a lack of rigor, and thus may only be suitable for freshmen and sophomore. Juniors and seniors would benefit from a text that draws from scholarship more rigorously.

Consistency rating: 4

The text is mostly consistent in terms of terminology and framework.

Modularity rating: 5

The text is highly modular and I can see myself assigning individual chapters from the book rather than the entire textbook. These individual chapters can also be assigned for different classes.

Organization/Structure/Flow rating: 3

1. Acting is technically under mise-en-scene, so I'm not sure why it’s in a separate chapter. 2. Narrative should precede mise-en-scene since it constitutes its own textual system. To include narrative after mise-en-scene is a confusing choice since all other chapters delve into stylistic systems.

Interface rating: 5

1. The interface is clean and well-designed, easy to navigate.

Grammatical Errors rating: 3

1. The style is sometimes so colloquial and casual that it becomes inappropriate (e.g. “It is racist AF”). 2. While grammatically proper, its style is not representative of academic writing and thus might give students the wrong impression of the types of writing assignments they’re expected to complete as film studies minors and majors.

Cultural Relevance rating: 2

1. Most of the examples are from Hollywood films or Western national cinemas. Very few examples come from African, Latin American, Asian, and transnational cinemas. This severely misrepresents the diversity of films.

The text is appropriate for an Introduction to Film class at a high school and Freshmen level for its readability, accessibility, and modularity. Its inclusion of video essays, clips, and other digital resources are especially helpful for visual learners. It is also written in a style that would be appealing to those being exposed to film studies for the first time. However, due to its lack of coverage of cinemas outside the US and the West, its Eurocentric focus (which makes its cultural relevance suffer as a result), and an emphasis on readability over rigor, I cannot recommend it for an Intro to Film class that has upper classmen enrolled, who would require a more broad-based introduction to a history of all major national/transnational cinemas globally, as well as exposure to a more academic writing style which they could model their own prose after. For these reasons, I can foresee assigning each of the chapters as reviews or study guides to supplement my own teaching (they could be especially useful for exam review), but they would not replace the primary text I’m currently using (Bordwell and Thompson’s Film Art).

Reviewed by Ed Cameron, Professor, University of Texas Rio Grande Valley on 12/16/22

Russell Sharman’s Moving Pictures: An Introduction to Cinema provides an enjoyable introduction to the study of film and covers much of what is expected from an introductory text. Its level of comprehensiveness is a bit double sided. On one side,... read more

Comprehensiveness rating: 4 see less

Russell Sharman’s Moving Pictures: An Introduction to Cinema provides an enjoyable introduction to the study of film and covers much of what is expected from an introductory text. Its level of comprehensiveness is a bit double sided. On one side, the text provides a considerable background of both the aesthetic and social importance of film. In addition, almost half of the text is dedicated to extra-textual issues: historical background and production practices. On the other side, the hermeneutics of understanding film and its meaning-making language is somewhat sacrificed. There is the occasional nod (low-angle shot presents a character as larger than life), but introducing the skills concerned with interpreting a cinematic text is not developed systematically. It is one thing for a student to recognize the difference between a close-up and a long shot, but it is another to understand how and what each of these stylistic elements signify in certain contexts. The heavy attention to the historical background and practices of production might stem from the author’s experience as both a cultural anthropologist and a filmmaker, not sure. I will add that the text does provide a great introduction to the history of cinema and the intricacies of the production process, if that is what you are looking for. If your andragogical approach to film studies stems more from a literary or philosophical perspective, then you may need to supplement the text with an introduction to cinematic interpretive frameworks and the general semiotics of cinema.

Content Accuracy rating: 5

Sharman’s text provides a good amount of formal terminology for the introductory student along with an evolution of many of the concepts behind the terms. The terminology is also all defined accurately. The text’s many forays into film history and the production process are also described accurately. The last section of the course, which deals with the social content of and representation in film, is ideologically heavy, but I would not call it inaccurate.

The text is very relevant and up to date (for the time of this review). It documents numerous contemporary films and transitional periods of film history. Since the text does focus on many current issues affecting cinema, then I suppose there will be some required updating in the future as new issues emerge. But for the current time, I think the text is up to date for an introductory book. Other than the investigations into these contemporary and current issues, the text should maintain its longevity as it devotes most of its attention to structural, historical, and technological features of cinema. It evens makes several references to the latest technological innovations (digitization, etc.) in film production. The author also includes the new mode of closed-form streaming narratives into many discussions. To reiterate, however, the text lacks some relevancy for an introductory course that needs a focus on cinema interpretation.

Clarity rating: 5

The text is easy to read and to follow. The writing is both informative and entertaining. It introduces much technical terminology and many concepts but never at an inaccessible level. The writing maintains an inviting and approachable tone throughout, making it easy for the introductory student to follow without lapsing into the tediousness into which textbooks often devolve.

Consistency rating: 5

As mentioned above, the text maintains a consistent entertaining and informative tone throughout. I think the author’s inviting and entertaining mood makes for a welcoming read. Every time the text is re-opened, the student will instantly recognize this convivial voice. Also, the author clearly displays his deep interest in the study of film, an interest that beneficially should prove contagious. The text is littered with comedic parenthetic asides, as indirect attempts to personalize the author’s voice. At first, these might be more inviting than they later become. Overall, the text could probably benefit some readers with a reduction in the quantity, but not duration, of these asides.

Modularity rating: 4

Because the text is organized in a well-thought-through manner, where some chapters necessarily must precede others, it may not rank the highest in modularity. However, modularity, in my mind, is a bit overrated. In the end, the text does form a unified whole, but teaching out of sequence would require some creativity.

Organization/Structure/Flow rating: 5

The text is organized into two main parts: “An Introduction to Cinema” and “Representation in Cinema.” The former covers the formal elements of film (mise en scène, cinematography, editing, acting, etc.) while the latter covers the social importance of film (cinematic representations of and by women and African Americans). The first part takes up the lion’s share of the text and even begins with an introductory chapter that presents many of the concepts that will be developed in more detail and with examples in separate chapters. The second part of the text also begins with a brief explanation of the importance of representation in cinema. The first two chapters of the text provide a brief history of cinema and a chapter explaining what we do when we watch film. Overall, the text flows well and its purposive design works logically and developmentally. It makes sense that the text provides a formal explanation of cinema before delving into its social significance. One could, however, treat them separately, as the text presents them. So, I guess, modularity slips into the back door after all.

Interface rating: 4

The text is relatively easy to navigate from chapter to chapter. It also includes a table of contents with a drop-down menu that allows the reader to jump to any designated chapter. There are numerous relevant embedded videos scattered through each chapter, and all are bibliographed at the conclusion of the chapters. A handful of the embedded videos were, however, unavailable at the time I read the text. Only a small minority, however. The embedded videos highlight certain matters of formal, historical, and production importance. Alongside the attention to history and production, I would like to see some video clips that highlight how film signifies, how certain formal or stylistic elements indicate a specific significance or meaning. But this is not really a major purpose of this particular text.

Grammatical Errors rating: 5

I only noticed a few typos in the text, none, however, that interrupted the flow to a significant extent.

Cultural Relevance rating: 5

As mentioned above, Sharman’s attention to representation in cinema makes the text culturally relevant. One chapter deals with the representation in cinema of and by women and the other deals with the representation in cinema of and by African Americans. Both chapters provide a critique the cultural hegemony by white men that has historically dominated the cinema industry. Eventually tying the first chapter to the recent MeToo movement and the latter to the also recent OscarsSoWhite campaign provides a culturally relevant examination of important cultural changes taking place in the entertainment industry. While Sharman only focuses on the representation and woman and African Americans, he recommends delving into the issue of representation of other historically underrepresented groups in the cinema for any users of his text.

Except for the lack of concentrated attention to the semiotics of cinema, it is hard to fault Moving Pictures. I think this text is an ideal text for use in academic programs that cross the divide between film production and film studies. For programs whose concentration slants more toward studying film as a finished product (studying Shakespeare’s sonnets without recurse to creative writing, for instance), this lack would require supplemental material.

Reviewed by Kevin Smith, Instructor, Chemeketa Community College on 11/15/22

This textbook by Russell Sharman is an excellent intro to film textbook that covers all of the standard stylistic and formal aspects of cinema study, while also managing to pack in a great deal of interesting history and industry commentary. None... read more

Comprehensiveness rating: 5 see less

This textbook by Russell Sharman is an excellent intro to film textbook that covers all of the standard stylistic and formal aspects of cinema study, while also managing to pack in a great deal of interesting history and industry commentary. None of it comes across like it would be boring to students. The text also thoroughly deals with the social context of cinema (throughout, but especially in the second, shorter section of the book). One minor issue this reviewer had is that it felt a little light in its discussion of genre, but this is where the consistently excellent video examples come into play: there’s plenty of multimedia content included as parts of the body of the text (and linked out to if viewers and readers want it). This reviewer personally appreciated the downplaying of the auteur theory in favor of an ongoing discussion of film as a collaborative art form given its industrial underpinnings. The author also puts his own interesting spin on some film terms, such as “character” being a broader umbrella concept that is part of mise-en-scene.

Finally, after decades of almost all other film textbooks (there are a handful of notable exceptions) discussing cinematography as if the focal length of lenses is all that determines the look of a shot, someone finally has included additional, accurate technological information that isn’t dry or too technical and adds to an understanding of what goes into both making and watching a film. This has been a huge oversight in this academic subgenre for far too long, and it’s refreshing to see it corrected here without the need for students to shell out $150 to get it. This is just one example of the thoroughness that the author has brought to the subject, likely because he’s a filmmaker instead of just a film theorist.

Relevance/Longevity rating: 5

The social context of film (always changing, but this is great for being over two years old, and the author notes that the online version is constantly being updated) is covered in both sections, but the second has two chapters devoted to a direct focus on representations of women and black people in film, as well as their participation in, and tragic exclusion from, the film industry. This reviewer has admittedly sometimes awkwardly introduced Lois Weber and Oscar Micheaux into their courses, but here the author does so effortlessly and without missing a beat on the fantastic discussion of film aesthetics. Recent developments in digital cinema are also covered.

The author uses accessible, direct language, and all relevant theoretical concepts are explained. The section on how to watch films is clearer and more practical than in almost every other similar selections this reviewer has previously encountered. How the author manages to (1) discuss feminism and the male gaze almost without mentioning psychoanalysis and the usual accompanying pseudo-scientific techno-jargon associated with it and (2) explain how cinema is like a language without mentioning structuralism and the usual accompanying pseudo-scientific techno-jargon is beyond the ken of this reviewer. The more general concepts underlying sometimes impenetrable critical theory are socially and formally relevant to any study of cinema, and this textbook does an excellent job of explaining why to readers.

The book does a fabulous job of introducing terms and concepts, explaining them, and providing video examples of them throughout, again with full attribution at the end of each chapter. No one concept, whether it be aesthetic, historical, or technological, is given unfair weight when the complete discussion here is taken into consideration. This reviewer did find it a little jarring that D.W. Griffith is discussed repeatedly, and in some detail, early on when the author later states he doesn’t want to talk about him, but that particular director has always deserved both recognition of his work and criticism of the representations he put into his films. It’s a terrible, lingering aspect of film history that shouldn’t be swept under the carpet, so this bifurcation can’t be criticized much.

If one didn’t want to discuss in detail some of the tragic aspects of the social context of film history, industry, and representation, one could easily not assign the final two chapters. However, any imaginable reason one would present to justify doing so would be incomprehensible to this reviewer and — oh hey look, the author already started including that content from the beginning, so students get it whether they think they need/want it or not. Because of this, the second section feels more like a welcome elaboration on earlier points rather than just something he tacked on at the end. In that spirit, this reviewer will finish their thought in the next section.

The technology, the vision, the money, the racism, the art, the hard work, the pushing women offscreen, the “innovators” who took credit for someone else’s work, and everything else that has happened in the film industry in the last 130 or so years is all at least touched on here. It never feels like the author felt obligated to toss something in just because other film textbooks do, and this commitment to discussing (almost) everything, warts and all, makes this the David Attenborough-narrated nature documentary of film textbooks. The author moves from discussions of watching and thinking about movies to their history through their technical aspects and then back to their social contexts in an informal (but highly informed) manner that engages readers with an open, welcoming tone that eschews didacticism while still imparting the crucial information one should have while thinking about film. The videos never seem dropped in randomly: they’re always serving as an example of a point the author is making. There are many, and their tone ranges widely from scholarly to popular. The “Every Single Word Spoken by a Person of Color in [Movie Z]” videos are excellent examples that should resonate with the current generation of college students and drive the point home. The one thing all of the multimedia content has in common is its direct relevance to the text and the concepts being discussed.

Like some other OERs, this is better read online (the author even states so in the preface) than in the PDF version. This reviewer could see situations (no internet connection) where having that latter file on one’s devices might come in handy, but the plethora of illustrative multimedia content shouldn’t be skipped over in those instances. This reviewer has three minor issues with the online version of the text. First, it’s difficult to find specific search terms. The search bar will only direct one to a section where that term appears. Second (and maybe this is just this reviewer), the table of contents might work better on the right-hand side rather than the left-hand side. This reviewer also didn’t understand why all the chapters didn’t appear immediately when the toc is opened. For that matter, why split the book into two sections? As stated earlier, all of the content is blended pretty seamlessly, so perhaps just present all 10 chapters as part of one discussion without bracketing off the last two. Finally, there doesn’t seem to be a way to link to the following chapter when one finishes the current one; one has to return to the toc. “Next Chapter” links at the end of each chapter would be welcome. This reviewer did not engage in a line-by-line comparison of both versions, but is guessing that having access to both versions might be a good idea.

Nothing that interferes with the content was noticed. Some may possibly be turned off by the informal tone and occasional grammar “mistakes” embodied in sentence fragments. But like that’s how people talk. So, okay. There is also the section where the author writes that The Birth of a Nation is “racist AF” and says about Griffith, “f%@k that guy.” This reviewer is not going to pick on those statements because they are relevant and students might possibly find the blunt commentary open and honest.

Enough has probably been said about this, but just in case not, this book has at least presents a solid opening into larger discussions of racism and sexism in film. #MeToo and #OscarsSoWhite are discussed, and while perhaps less attention is paid to, for example, Asian representation and participation in cinema, it is mentioned in the discussion of Way Down East. The author puts it best himself when he writes, “But I encourage you not to stop here. Use this as an opportunity to explore issues of representation for Native Americans, Asian Americans and the Latinx community. How does cinema influence our understanding of masculinity? Immigration? Mental health? The list is as long as our collective experience.” Film history and industries outside of Hollywood are covered, and some non-American films are used as examples. The continual emphasis on cinema as a social, political, and economic phenomenon in addition to an art form is solid. It seems like we’re in good hands here.

This reviewer thinks that the only thing left to say, and the highest praise that can be given to this textbook, is that they have found their new foundational film studies text. It only happens once a decade, so yeah: read this book and seriously consider adopting it for your courses. The author could easily have taken this to a commercial publisher, but he did not. Our students are fortunate.

Reviewed by Christina Allaback, Assistant Professor of Theatre, Director of Theatre, Umpqua Community College on 7/13/21

This is an extremely comprehensive book for an introductory to film class. It covers all major areas that I was already teaching and really expands on the basics that I cover in lecture. The first half of the book is entitled "An Introduction to... read more

This is an extremely comprehensive book for an introductory to film class. It covers all major areas that I was already teaching and really expands on the basics that I cover in lecture. The first half of the book is entitled "An Introduction to Cinema," and it covers a short history and also discusses how one should watch a film, but also has chapters on Mise-en-scene, narrative, cinematography, editing, sound, and acting. The second half of the book covers representation of African Americans and women in film, each having its own chapter. I am giving it a four because it does not have a glossary or index. However, each term is in bold in the chapter and since you can read it online, you can easily search the document.

I am my institution's theatre teacher who gets to teach the film class. While I have taken film classes before, it is not my area of expertise. But this book appears to be as accurate as the other two, expensive film textbooks I have read. It actually has helped me reorganize my class in a way that makes more sense. He has included, what I believe, are the formative films in our history, as well as the important film theorists and terms. Is it as detailed as the other film texts I have read? No. But it is perfect for a beginning class. The very long and expensive text I was using before was fantastic, for a film major. It had so much information that I didn't know what to do with it all and in a ten week class, the students barely put a dent in it.

I think this is a very relevant book. The foundations are there, but new films are incorporated. I imagine that this would be a fairly easy book to update. One thing I absolutely love about this book and the format is the fact there are film clips IN THE BOOK! You can read about the concept, then click a link and watch the film clip that demonstrates that concept, then he continues to analyze the film clip. Just fantastic. There are also little videos form YouTube that explain concepts in a little more depth, that might help students who are more aural learners. He also included historical moments and speeches, etc... Just nice little extras to help push the ideas forward. I think it would be very easy to change out those clips if you needed to update the book with newer films.

So most of the book is great. Written in accessible prose, professional sounding, however I am torn. At times he takes a very informal tone and sometimes even slang that I would think inappropriate for a textbook. For example, at one point he uses the term “AF” and he actually swears at one point, but censors it with ** . I understand he may be trying to use slang to be able to be able to bring in younger readers by using their language and slang or even to give a textbook a bit of humor. I understand this. It totally makes sense, especially if we are trying to make things more accessible. However, if I wrote a textbook, I don’t think I would use this language.

Very consistent. Concepts are described and illustrated in each chapter. They all have the same format. It is very easy to read and get into

This book has three formats available, which is great. It is easy to navigate. There are two halves of the book: Part one is an introduction to cinema and has eight chapters, each covering an aspect of film. The second half is about representation and it covers Women and African Americans in cinema. Chapter divisions make sense and there are headings to help keep things organized.

This is a very well organized book and it flows very nicely when read. Topics are definitely presented in a logical and clear fashion. Each chapter is set up in sort of the same way, so it helps reading comprehension. Also, the first chapters help inform the chapters after it.

Excellent and easy to use. You can click on a chapter and you are taken immediately to that chapter. There is a search function. All images and clean and clear, no typos. Note that only the online version has clickable links to film clips. And make sure you tell the students which one you prefer they read. The online version doesn’t have page numbers either.

Great. No errors that I noticed. Very well done.

Even though there are only two chapters on representation, I think this text does a great job with it. I might want a little bit more on representations, but I think this is adequate for a beginning film class that only lasts ten week. I am wondering if I would want more if I were teaching a semester long class. And he does a good job of explaining that the film industry is very male and white.

Reviewed by Caroline Smith, Associate Professor, The George Washington University on 2/25/21

Moving Pictures by Russell Sharman provides readers with a comprehensive introduction to the world of cinema. The book contains a nice balance of history, the discussion of film terminology, and an examination of the way in which cinema can... read more

Moving Pictures by Russell Sharman provides readers with a comprehensive introduction to the world of cinema. The book contains a nice balance of history, the discussion of film terminology, and an examination of the way in which cinema can influence audience’s perceptions, particularly in regard to identity politics. At one point, Sharman writes, “Just as the text you are reading right now defies easy categorization – is it a book, an online resource, an open source text – modern cinema exists across multiple platforms – is it a movie, a video, theatrical, streaming – but the fundamentals of communication, the syntax, grammar and rules of language, written or cinematic, remain relatively constant.” I found this characterization to be extremely accurate. The book with its combination of text and image is more dynamic than the average textbook. It approaches the complexity of cinema by addressing the way in which modern technology as well as social movements have affected the industry.

I found this book to be accurate. It provides readers with comprehensive definitions of film terms and, most importantly, pairs those definitions with video clips that demonstrate the various film techniques discussed.

The book is excellent in terms of introducing students to the world of cinema, but even more importantly, unlike other film texts, this book addresses the role that cinema plays in our current historical moment. The author references movements such as the #MeToo movement and #OscarsSoWhite movement as a way of tying real life events to his subject matter. He does an excellent job of discussing the ways in which the film industry has been complicit in extolling the work of white men. I teach a writing course which focuses on women in film, and I found the second part of the text, “Representation in Cinema,” to be extremely relevant to our class discussions. It would provide my students with a good historical basis for understanding Hollywood’s discriminatory politics. It will be easy to update or add to this last section of the book so that it will be culturally relevant in the future.

Sharman’s book contains accessible and entertaining language. I found his prose easy to navigate, and his periodic inclusion of questions will engage the reader. Furthermore, his tendency to tell stories at the start of each chapter was a terrific way to draw the reader in. Certain moments in the text actually made me laugh. (At one point, he describes D. W. Griffith’s Birth of a Nation “racist as AF.”)

His inclusion of videos to illustrate technical terms and demonstrate various points he is making is invaluable. Being able to talk about match cuts and depth of field shots with students and actually have an accessible example on hand – embedded in their (free!) textbook – is incredibly helpful. I also found the bolding of important terminology to be an effective strategy to draw students’ attention to film concepts. Again, his sense of humor is revealed in these clip picks. His video selection for the section on costuming begins with a clip from the Incredibles in which a character is critiquing the superhero suit of the protagonist. The clips included in the “Representation in Cinema” section included clips titled “Every Single Word Offered by a Person of Color” for popular films such as Jaws and E.T. Needless to say, these moments were pretty much non-existent. Having students watch the silence will drive home the point that Sharman is trying to make.

One of the things that I most appreciated about this book was that it practiced what it preached. In the introduction, the author indicated that it was important to him to discuss the issue of representation in film. He addressed this issue in Part I of his book, which dealt with the more “technical” aspects of film by including video clips from films with directors of various subject positions. The work of women and filmmakers of color were integrated into his textbook alongside those white, male directors who are often included in film texts, which reinforced Sharman’s commitment to social justice.

Not only would it be easy to assign individual chapters to classes, but Sharman’s book is appropriate for a number of different courses. In addition to being a good fit for an introduction to film course, this book would be an excellent choice for anyone teaching a writing course about film. I teach two first-year writing seminars on film – one about romantic comedies and one about women filmmakers. The technical introduction to film would be excellent for both courses, and the “Representation in Cinema” section would enrich my current course about women filmmakers. As a writing instructor, I liked the way in which Sharman made connections between form and content – something I do continually in my writing class. I also liked that the text approached film from a number of disciplinary angles.

The organization of this text worked well for me. I thought that the two-part approach – “An Introduction to Cinema” and “Representation in Cinema” – was extremely effective.

The embedding of images within the text is an incredibly valuable aspect of this text – in fact, it is one of the main reasons I am considering assigning this text to my classes in the future. Being able to see an example of a technique alongside an explanation of a technique is extremely useful.

I did not notice any issues with grammar. The author adopts a fun, conversational tone.

This book is culturally relevant. Right now, with so many social justice movements taking place in the United States, it seems incredibly important to include mention of some of these movements as they relate to the film industry. The sections on women and film and black filmmakers are timely.

I appreciated that the author recommended outside sources to supplement his arguments in the section “Representations in Cinema.” Specifically, his reference to Harry Bernshoff and Sean Griffin’s America on Film: Representing Race, Class, Gender, and Sexuality at the Movies was useful. I also liked his section on how to watch a movie, as it is something that my students find difficult to do, having consumed film primarily for entertainment. His discussion of analysis versus taste would also be useful to undergraduate classes to get students to move beyond “I like it/I don’t like it” into the area of critical film analysis.

Reviewed by Sarah O'Brien, Assistant Professor, University of Virginia on 11/16/20

This is an "intro" text that does not attempt to comprehensively cover everything that a several hundred page film studies 101 textbook would. But it does provide a fulsome frame and set up the key concepts/language for students brand new to film... read more

This is an "intro" text that does not attempt to comprehensively cover everything that a several hundred page film studies 101 textbook would. But it does provide a fulsome frame and set up the key concepts/language for students brand new to film studies.

The text does a lovely job of defining film terms with precision.

The text uses some current examples from pop culture that will appeal to students, but it is not dependent on them and students several years from now will not be lost without them.

Teaches specialized film language effectively.

Tone and style are consistent throughout.

I can see assigning all of the text across 1-2 units for some classes, and using just a couple sections for other courses where I just want to introduce or refresh a concept.

This follows the organizational structure of most intro film texts.

Easy to use interface and three different options for format.

I noticed no grammatical errors.

The chapters on issues of representation (women and African Americans) are one of the text's greatest assets. In establishing them as among the key intro topics, they compellingly frame these issues as fundamental parts of the study of cinema.

I was delighted to find this text in the Open Textbook Library. I teach first-year writing courses that focus on film and television, and I've long needed a resource like this that presents the building blocks of cinema in an accessible and engaging manner. I really cannot ask my students to buy an expensive film studies textbook, as that is not really the focus on my courses, yet I do spend a lot of time teaching them film language and equipping them with the tools needed for close film analysis. My strategy up to now has been to cobble together a bunch of bits and pieces that I've gleaned from books and online resources over many years--inevitably this means updating links and replacing outdated stuff with new finds every semester. This text does all of that work for me, and then some! Sharman strikes a tone that I suspect my students will love, and he presents everything in a conversational yet compelling tone. The inclusion of excellent audiovisual essays within the text (readers do not have to link to them) is especially strong. I'm excited to try this text in courses I'm designing for next semester.

Reviewed by Paul Bempechat, Visiting Lecturer, Massachusetts College of Art and Design on 6/29/20

This book is a fully appreciable, understandable and comprehensive introduction to the origin of film via photography and its evolution. The prose is narrative, personable, and readily understood by undergraduates and graduate students alike. read more

This book is a fully appreciable, understandable and comprehensive introduction to the origin of film via photography and its evolution. The prose is narrative, personable, and readily understood by undergraduates and graduate students alike.

Aside from typographical errors in French, there is literally no room for inaccuracies, as the author substantiates his findings and analyses with graphic and cinematographic illustrations, buttressed by end-of-chapter bibliographies highly pertinent to the materials just explicated.

The author has presented the material chronologically and systematically, along with an analysis of film technologies and procedures as they evolved until the present. All that may be required are updates on evolving technologies as they emerge and become relevant to this study.

The author's prose is perfectly lucid and invitingly informal, making it ideal for students; his enthusiasm is palpable. All technical terms relevant to the creative process, the actual filming and editing processes, choices of stage personnel and behind-the-scenes personnel, from administrators to set/sound/costume/scenery/editing designers are meticulously explained. The histories of the evolutionary processes of the genres and technologies bring cohesion to an ever-developing, complex art form.

The author's enthusiasm runs through the entire book, and his level of explication is entirely consistent from chapter to chapter, as is his linguistic tone.

The book is very well divided by chapter and therein, subdivided very carefully, creating "resting spots" at appropriate spots.

The divisional and subdivisional flows are systematic and highly comprehensible, never overdone, and enhanced with appropriate illustrations and pointings to online videos. Color illustrations would, of course, further enhance the book.

The author provides links to online sites such as Youtube for audio-visual examples, which can be confusing.

Very few errors exist in English. As the author's style is so subjectively narrative, punctuation is obviously idiosyncratic; as stated, there are several errors in the French words, especially with accents missing and occasional upper/lower case misappropriations.

The narrative is inclusive and welcoming to all peoples, and as such, is exemplary.

I find this book an ideal tool for undergraduate film teaching. I would have liked additional emphasis and illustration on the history and incorporation of sound and music, including brief biographies of the major composers of film scores to buttress the historical and technical arguments made. This is entirely subjective, of course.

I recommend this book whole-heartedly and congratulate the author on his excellent achievement and contribution

Reviewed by Stephen Slaner, Instructor in Behavioral Science, Bunker Hill Community College on 6/23/20

It's hard to rate this category. The book is quite comprehensive except for one element, but this is arguably essential: the director. The author might have taken a leaf from Andrew Sarris' THE AMERICAN CINEMA, which analyzes and ranks motion... read more

Comprehensiveness rating: 2 see less

It's hard to rate this category. The book is quite comprehensive except for one element, but this is arguably essential: the director. The author might have taken a leaf from Andrew Sarris' THE AMERICAN CINEMA, which analyzes and ranks motion picture directors from Griffith to Hitchcock and beyond. An adequate discussion of the role of the director, with specific examples, should have been included. There are some passages, as in the section on mise-en-scene, that speak to this, but they are few and far between.

Content Accuracy rating: 3

As far as I can tell, the book is accurate, but leaving out an essential element (see above) makes it somewhat misleading as an overview of the cinema. The sections it does have -- including cinematic language, mise-en-scene, and a historical context -- are interesting and helpful, but leaving out the director is a real problem. As to whether a book like this is or should be "unbiased," that is a can of worms. Naturally it has a point of view, but I think it doesn't interfere with the presentation of the material.

The book seems up to date in terms of technical innovations in cinema, and its discussion of cinematic language gives the reader an opportunity to evaluate for herself how future film-makers accomplish their objectives. I'd say it's relevant.

This is a real strength. The book is clear and well written. It should be accessible to an undergraduate audience approaching the subject for the first time.

I saw no obvious inconsistencies, so I would give the book a top rating in this category.

Whether the topic is how to "read" a film or how to situate a film in its historical context, the different chapters lend themselves to whatever organization the teacher might consider, including changing the sequence of material.

The book has a nice flow, making it accessible to students who might have problems with a more self-consciously academic treatment.

Pictures are used effectively to break up the text. I liked the overall appearance of the book.

More important than grammar (which is fine) is that the style is engaging and no more academic than it needs to be.

Cultural Relevance rating: 4

I appreciated the sections on women and African-Americans, but would have liked to see a chapter on working-class themes in film (e.g., John Sayles' MATEWAN, Robert Altman's THIEVES LIKE US, Jean Vigo's L'ATALANTE, Jean Renoir's LA VIE EST A NOUS, Karel Reisz's MORGAN, Raoul Walsh's THE BOWERY, Frank Borzage's MAN'S CASTLE, to name a few). In other words, the book is fine with race and gender, but less so with class.

The word for my reaction to the book is "ambivalent." It's mostly a well-crafted and engaging treatment of the subject, but leaving out an essential element is like writing a book about cars without talking about their engines. As a committed auteurist, I believe that the director is primarily what keeps the film going. A film by Welles, Hitchcock, or Lubitsch is instantly recognizable (think, for example, of "the Lubitsch touch"), which gives you some idea of how important the director is to the whole process. Perhaps a revised edition of the book could include a section on this aspect of the cinema.

Reviewed by Christina Hodel, Assistant Professor, Bridgewater State University on 6/4/20

"Moving Pictures: An Introduction to Cinema," provides a rigorous overview of all of the basic concepts any new film studies student or enthusiast should be aware of. Beginning with a clear definition of what the word 'cinema' means followed by a... read more

"Moving Pictures: An Introduction to Cinema," provides a rigorous overview of all of the basic concepts any new film studies student or enthusiast should be aware of. Beginning with a clear definition of what the word 'cinema' means followed by a concise--yet worthwhile-- history, sets readers up with a solid foundation for forthcoming concepts. Typical subject matter of introductory film courses at the undergraduate collegiate level— such as chapters on mise-en-scene, editing, cinematography, and sound—are well-covered and detailed. Extra content not ordinarily found in comparable texts, including chapters on women in cinema and African Americans in cinema, indicates the author's acknowledgment of covering contemporary issues and an inclination towards inclusivity.

Items not overtly present that would be of value to readers comprehending cinema at the introductory level is material about genre, film theory, film technology, and an overview of the production process. Although these topics are mentioned, they are given little attention, leaving readers with a lacuna in their education and appreciation of movies. Nonetheless, what is covered is a viable compilation of content covering a vast scope sure to retain readers' attention.

"Moving Pictures: An Introduction to Cinema," is not a romanticized version of film history and criticism, nor does it harbor any language acknowledging a 'great man' theory. Unbiased in its approach, the facts set forth are well-researched and up to date. In assessing the accuracy of this book, the following four criteria were considered: 1) Correctness. Information was double-checked against a trustworthy source, and no misleading information was found. 2) Authority. The source is written by a reliable ad unbiased author with the proper credentials on the subject matter. 3) Currency. Up-to-date sources are utilized throughout the book's entirety. 4) Coverage. Claims made provide sufficient information and data indicating work is accurate.

While the text is relevant and content is up to date, references to films will be obsolete in the mind of many of today's young readers. For example, sound in the 2018 film 'A Quiet Place' is discussed, but already the film's sequel is complete in the year 2020. 2018 is hardly “old news” to most, but may be off-putting to those who demand instant news of the moment. While the example still meets learning objectives, some readers may already be more familiar with the sequel rather than the original film, and thus be less engaged in the book's content. The author appears to remedy this by discussing many classic films, which some may argue stands the test of time, while others see it as merely more historical content. This tendency to become obsolete is not unique to "Moving Pictures" as many other fields, especially those in media and technology, also grapple with such issues as swiftly changing trends. The book’s strength is that the films used for case studies or examples are so popular that even if they are a few years old, readers would likely be familiar with them anyways. Overall, the book's value trumps these minor observations.

There are links to many YouTube videos illustrating the text’s content-- a significant strength of the manuscript. YouTube itself is a popular and timely site. However, links to films may no longer be working in a few years. This issue can easily be managed, however, with constant updating.

Again, despite these criticisms, the manuscript is still very timely and uses language to illustrate this by discussing such trending (as of 2020) applications as TikTok, for example.

The books is well-written, and the tone and wordage are accessible to most. Hard to grasp ideas are communicated effectively with an intended undergraduate audience in mind. For example, the book uses the word ‘leitmotif’ before providing a definition and then two concise examples that bring the word to life. Similes pepper the book, such as one explaining how actors are like athletes. These comparisons are nice touches that are relatable to both the earnest film student or generalist. While a few assumptions are made (i.e., the author says, “We most often associate classical acting with Shakespeare” and that is a generalization), the book does not fail to deliver content in a manner that is both academic yet perfectly simplistic. Well-constructed sentences and excellent word choice indicate the manner in which the manuscript is written: deliberately not carelessly.

Writing is consistent throughout the book. For example, active verbs instead of noun-based phrases are used from the first chapter to the last. There is no jargon scattered about, rather words familiar with the reader fill the pages. One writing style is used throughout, thus not distracting readers. Overall, the book consists of wonder harmonization of elements. There is no hesitation that slows reading, comprehension is not impeded, and there is little risk of interpretation error.

The book consists of 10 chapters. The first eight chapters are “Part I: An Introduction To Cinema” while “Part II: Representations in Cinema” follows. Logically organized, early chapters define cinema, provide a historical context, and teaches readers to be critical of their viewing habits before formal elements are introduced in subsequent chapters.

The chapters on representation in Part II are useful examples of how readers can take what they’ve learned and apply it to an analysis of gender and then race representations.

Each chapter consists of approximately five subsections allowing for a sort of "chunking." The subsections of each chapter group together similar concepts and ideas, making for excellent organization by topic and ease of synthesizing major concepts.

Even within these subsections videos, appearing approximately every 5-7 minutes of reading, allow for illustrative purposes and reflective moments.

Many chapters begin with a question or anecdote and fascinating facts to reel in readers. While the ends of some chapters conclude abruptly without a final takeaway or transition to the next topic, overall, each section and subsection flow nicely. Due to these sections and subsections being based on interrelated ideas, they “fit” the other parts in which they are reinforced. For example, the chapter on lighting alludes to a previous chapter about how light aids in storytelling.

The interface is straight forward and user friendly. The scroll-from-top-to-bottom nature of the book allows for those viewing it on their smartphones an easy visual read. An intuitive table of contents on the E-version of the book (there is a PDF version, etc.) allows readers to effortlessly jump from one section to another or find important chapters and subsections with ease. There are no navigation issues and or anything else that would confuse the reader. While there are the aforementioned YouTube videos scattered about, they are neatly tucked between appropriate paragraphs.

There are no grammatical errors. The manuscript is well edited.

The book is culturally sensitive, although there are two chapters at the end that focus on women's issues and African American issues. The problem with these chapters is that they could be more inclusive. Other marginalized groups such as Native Americans, Asians, the disabled, religious groups, etc. are not discussed. Perhaps the two chapters could be broader and turned into three: race, gender, and other marginalized groups. While many chapters about history reference, for example, international cinematic influencers such as the Lumière brothers, the majority of the book about contemporary cinema is centered on mainstream American cinema. Many video clips feature white actors, and white directors make the films, but there are still some international perspectives such as discussion of work by Akira Kurosawa. Additional chapters about arthouse cinema and international cinema are warranted. As I said earlier in this review, the book in generally inclusive and culturally sensitive, making it a solid read for even the most diverse audiences.

“Moving Pictures: An Introduction To Film” is a wonderful open access textbook that is sure to meet any professor’s course objectives and outcomes. Expertly written, entertaining, factual, and comprehensive, Moving Pictures is comparable with many other popular books such as “Looking At Movies” (Dave Monahan) or “Understanding Movies” (Louis Gianetti). “Moving Pictures” is a valuable resource about how films communicate and convey meaning to viewers. Readers will finish the book with increased appreciation and understanding of why we respond to films the way we do and how movies function in society.

Reviewed by Stephen Rust, Part-time instructor, Linn-Benton Community College on 5/27/20

Based on my 15 years teaching Intro to Film at the college-level, I give Moving Pictures a 4 out of 5 for comprehensiveness. I am strongly considering adopting the book for my Intro to Film course at a community college; I appreciate why the... read more

Based on my 15 years teaching Intro to Film at the college-level, I give Moving Pictures a 4 out of 5 for comprehensiveness. I am strongly considering adopting the book for my Intro to Film course at a community college; I appreciate why the author included two chapters on representation but chapters instead on film theory and film production (or film’s relationship to radio and television) would provide a more comprehensive 10 chapter textbook. I say this in part because the author does a great job already of weaving issues of representation into the chapters and selecting women and African Americans (why not gender and race/ethnicity) limit comprehensiveness. In perhaps the unit on Representation were extended to 6 or 8 chapters to parallel the book’s first unit on Form and content then the book would feel more comprehensive. I appreciate the effort to include representation but it feel someone undeveloped and limiting in how it’s organized. I would also love to see the author include review questions like most film studies textbooks and/or a chapter with a sample assignment or two like the textbook Film Studies: An Introduction.

Individual chapters are well developed and the extensive use of well-chosen Youtube videos (which I assume the author will update regularly as links change) to supplement the writing provides a level of comprehensiveness at the undergraduate level eclipsed only by expensive textbooks like Looking at Movies.

Very accurate and precise writing. Any reader will correctly learn the basic vocabulary and language of cinema studies and all the key information any cinema studies student should know to do exceptional work in beginning production courses and upper-division analysis and history courses.

Written recently and based on extensive teaching experience, Moving Pictures: An Introduction to Cinema is a timely and welcome addition to the list of first-year college film course textbooks and is arguable the most relevant, accurate, and comprehensive OER film studies textbook currently available. Examples are drawn from the history of film through the end of the 2010s and all video links are up to day and perfectly selected to compliment the chapter content. The author writes from an American perspective to American students and some figures of speak fairly consistent focus on Hollywood examples make it a little less relevant than some of the more globally focused

From start to finish, the author’s friendly (though opinionated) writing style drew me in as a reader and maintained my interest and engagement with really interesting anecdotes from film history and interdisciplinary references to literature, theater, and other arts.

The blend of video and text throughout the book is consistent and the quality of writing and choice of supplemental videos is strong throughout the book.

Perfectly suited to use in Canvas, Moodle, Blackboard, Google Classroom and any other learning platform a teacher might be using for instruction. 10 Chapters works perfectly for a 10-11 Week academic term. Does not include chapter learning objectives, a glossary, or review questions and sample assignments.

Organization/Structure/Flow rating: 4

The book is very well organized for Part 1 of the textbook, Chapters 1-8; however, while some reviewers may feel otherwise, I am not a huge fan of how the author organized Part 2 of the book with just two chapters on Women in Cinema and African Americans in Cinema. I can already see the hands going up in class when/if I assign the book to students – “What about Native peoples? What about Latinx representation? What about class? What about men?. Perhaps if the current chapters where organized around Race/Ethnicity and Gender/Sexuality it would work better i think.

Individual chapters are expertly organized to guide student through key concepts and vocabulary that every cinema studies student needs in their scholarly toolkit! I wouldn’t mind seeing a list of learning objectives at the start or end of each chapter.

Like all Pressbooks, the look is clean and sharp though navigating to chapters can be clunky. The extra bonus of this book is the extensive use of embedded Youtube videos in each chapter to enhance the author’s written content. Very user-friendly overall.

No noticeable typos. Accurate use of all cinema studies vocabulary. Does need a glossary for all terms that defined in the chapters.

The writing is inclusive and attuned to cultural difference and equity. The author’s friendly, inviting voice and use of unique examples that are always clearly connected to the content of the chapter will allow readers from a wide range of cultural background to feel welcomed into the conversation. The author is also attentive to issues of gender, race, and ethnicity throughout the book. Youtube videos selected for supplemental learning are also well-chosen with attention to cultural sensitivity. Including Alice Guy’s Cabbage Fairy right with the Lumieres and Edison as part of early film is a small example of the consistent attention inclusivity throughout the book. The two chapters on Women in Cinema and African Americans in cinema are excellent. However, as the only two chapters in this unit they do stand out as seeming to be a start or nod toward greater attention to representation without having the kind of fully developed content of a textbook like American on Film. I understand the effort but would much rather see chapters on Race/Ethnicity and Gender to allow for a broader sense of representation. Culturally, the author presents content from and American point of view and a little more attention to global cinema might be a nice update to a second edition.

Reviewed by Elaine Craghead, Professor of Humanities, Massachusetts Maritime Academy on 5/27/20, updated 7/14/20

The text is divided into Part I and PartII. The first section is very comprehensive (though the genre explanation/definition should either be expanded, or separated out into its own section). It's a wonderful way to introduce students to the... read more

The text is divided into Part I and PartII. The first section is very comprehensive (though the genre explanation/definition should either be expanded, or separated out into its own section). It's a wonderful way to introduce students to the elements and language of film and film techniques. The imbedded clips are fantastic, and run the course of film history, from Intolerance and The Cabinet of Dr. Caligari to recent films like Thor: Ragnarock and Snowpiercer. This is the way that students should learn about film: reading and seeing examples at the same time. It makes a textbook for this type of course seem totally obsolete. In Part II, all Sharman covers is Women in Film and African Americans in film. He does fine with them on an introductory level, but adding a section on Asians in American film (Charlie Chan to Nancy Kwan to Crazy Rich Asians, and much more) and a section on Native Americans in film (enduring stereotypical cowboy/Indian motifs; whites playing Native Americans, attempts to "humanize" Native Americans in westerns; Tantoo Cardinal's film career, and much more). In addition, a section on sexuality in film would be an excellent addition to Part II--and here the film censors' control of film production for a time could be introduced. Instructors probably couldn't get through all of the sections in an expanded Part II a semester, but then they could choose from more topics and/or assign groups for in-depth research and presentations.

Very accurate.

Very much up-to-date and yet tethered in the history of film. Each definition/description has multiple examples in the form of clips--from various periods of film.

So clear, comprehensible and approachable for students who have seen quite a bit of film, but who know little about what goes into making a film.

Each section follows a similar approach of describing, defining/illustrating the concepts in words and following up with film clips as illustrations. This process repeats several time within one section, so by the time that a student finishes the section, s/he will have a solid grasp of the term.

One of the best texts I've seen in OER for modularity--the film terms section, and even Part II, on Women in Film and African Americans in film, can be lifted out to be assigned in a different order or to accompany other materials.

Organization works well, but as stated above, its modularity makes for easy reorganization.

Very easy to navigate. No special skills needed.

Well-written, on the whole, and in a tone/approach that students will likely appreciate.

This book addresses the visual world that students know in many ways, that is part of their social and cultural lives. But it addresses the many layers of filmmaking that most students do not know, the many stages of writing, artistry, and critical thinking that go into making a film. In Part II, the diversity of film begins to be addressed, but again, in only providing sections for women and African Americans, the book falls short of what it could accomplish.

The multiple film clips are the biggest plus of this text--the fact that Russell Sharman was able to get permissions for all of them is so impressive--and will simultaneously introduce students to a history of classic film and demonstrate how those techniques live on today in films with which they are familiar.

Table of Contents

I. An Introduction to Cinema

• 1. A Brief History of Cinema
• 2. How to Watch a Movie
• 3. Mise-en-Scène
• 4. Narrative
• 5. Cinematography

II. Representation in Cinema

• 9. Women in Cinema
• 10. African Americans in Cinema

Ancillary Material

About the book.

Textbook for 1000- level Communication course: Introduction to Films Studies

About the Contributors

Russell Leigh Sharman is a writer, filmmaker and anthropologist. He has worked as a writer for several studios and production companies, including Warner Bros., Fox, Disney, MRC, DeLine Pictures, 21 Laps, Participant Media, Montecito Pictures, Original Media, Dark Horse Entertainment, Strange Weather and Real FX. He is the writer/director of APARTMENT 4E, a feature adaptation of his stage play, as well as a number of award-winning short films and documentaries. He also has a Ph.D. in cultural anthropology from Oxford University and is the author of two books, THE TENANTS OF EAST HARLEM and NIGHTSHIFT NYC. He is currently an Assistant Professor of Practice in the Department of Communication at the University of Arkansas in Fayetteville where he teaches filmmaking and film studies.

Contribute to this Page

17 Essential Movies For An Introduction To Essay Films

Put most concisely by Timothy Corrigan in his book on the film: ‘from its literary origins to its cinematic revisions, the istic describes the many-layered activities of a personal point of view as a public experience’.

Perhaps a close cousin to documentary, the film is at its core a personal mode of filmmaking. Structured in a breadth of forms, a partial definition could be said to be part fact, part fiction with an intense intimacy (but none of these are necessarily paramount).

Stemming from the literary as a form of personal expression borne from in-depth explorations of its chosen topic, the film can be agitprop, exploratory, or diaristic and generally rejects narrative progression and concretised conclusions in favour of a thematic ambivalence. Due to its nature as inherently personal, the term itself is as vague and expansive as the broad collective of films it purports to represent.

To borrow Aldous Huxley’s definition, the is a device for saying almost everything about almost anything. In built then is an inherent expansiveness that informs a great ambition in the form itself, but as Huxley acknowledges it can only say almost anything; whether extolling the need for a socialist state (Man with a Movie Camera), deconstructing the power and status of the image itself (Histoire(s) du Cinema, Images of the World and the Inscription of War, Los Angeles Plays Itself) or providing a means to consider ones of past (Walden, News from home, Blue), the film is only the form of expression, which unlike any other taxonomic term suggests almost nothing about the film itself other than its desire to explore.

Below is an 17 film introduction to the film that cannot be pinned down and continue to remake and remodel itself as freely as it sheds connections between any of the films within its own canon.

1. Man with a Movie Camera (1929) dir. Dziga Vertov

An exercise in technical experimentation, Man with a Movie Camera is the pioneering, not to mention most lauded, of Vertov’s filmic polemics: espousing not only a new, necessary way of life, but a means of living that is created through cinema.

Shot by Maurice Kaufman, brother of Vertov, the film is a portrait of a city across 24 hours via bold experimentation based on Vertov’s staunchly Marxist ideologies. Its propagandist structure does not however belie its beauty.

Through masterful technique it became the defining film of 1920’s Soviet Union (perhaps on a par with Eisenstein’s Battleship Potemkin). Its propagation of film as the means through which life is realised, that the camera is now an unequivocal feature of modernity and too a powerful political tool, creates a filmic love letter to industrialisation and the humanist elements of physical labour.

In opposition to Eisenstein, Vertov is a master of his own brand of idiosyncratic montage which, with its sublime manipulative technique combined with realist images, rejects the opiate affects of traditional narrative cinema, attempting to create instead a cinematic language in which the camera becomes the pen of the 20th century.

2. A Propos de Nice (1930) dir. Jean Vigo

Shot by Boris Kaufman, brother of Dziga Vertov (Man with a Movie Camera), A Propos de Nice is a satirical portrait of life in 1920’s Nice. The leisurely upper classes of French society are the subjects of a portrayal the blind escapism and ignorance created by modernity.

Vigo thus contrasts the bourgeois culture of relaxation with the daily grind of the poor in society. The parodic form of the travelogue as anthropological study is employed as a means of document increasing social and economic disparities which Vigo sought to present as necessitating a revolutionary stance (the likes of which cinematographer Kaufman glean from his brother’s agit-prop, propagandist Kino-Pravda series).

Engrained in the very structure of modern society is, for Vigo, deep social inequality; life in this case masks its own inequalities through ignorance and selfishness. Images of women energetically dancing are reduced to slow modern and thus arises from them the absurdity of inherent inequalities.

Like a Jay Gatsby party, the excitement and laughter only serves to mask a profound emptiness whose own ridiculousness is an unacknowledged form of societal freakshow, which only those on the outside can perceive.

3. 2 or 3 Things I Know About Her (1967) dir. Jean-Luc Godard

In a year of 3 Godard diatribes against neo-capitalism, 2 or 3 Thing I Know About Her is the most contemplative; if La Chinoise a document of the soon to be riotous students, 2 or 3 is the suburban families watching the events unfold on their television screens.

Fraught with concern for the disintegration of lexical meaning, Godard’s collage of modern life follows the existentially empty Julitte Jeanson, a bourgeise housewife-come-prostitute, as she contemplates her preconceived societal role and the deadened collective consciousness of everyone whom Godard’s camera encounters.

If language is the house one lives in, as Juliette informs her son, then the house is subject to the blind whims of suited right wing repo men.

The portrait of Juliette is a composite sketch of the modern citizen, replaceable, replicable to the extent that Godard introduces Juliette first as Marina Vlady, the actress who plays her, before acknowledging her as a fictional creation; a less subtle evocation of the resignation to role playing in post-war France, watching death in Vietnam while decided whether or not to go and wash the car.

4. Walden; Diaries, Notes, and Sketches (1969) dir. Jonas Mekas

Walden is the film in its most diaristic form. Essentially a suitably handsome extended home video, Mekas’s film, shot from 1964-1969, features a series of chronologically edited video diaries that span from eating Chinese food with John Lennon, footage from the Velvet Underground’s first performance, or just the filmmaker eating a croissant in Marseille.

Given the length, the film could be criticised as an epic exercise in self-gratification (the filmic equivalent of continuous name dropping), or simultaneously as an invitation into the expansive but hermetic world of the New York art scene in the late 60’s, of which Mekas’ himself was a central fixture.

As with Akerman’s News From Home, it is the film’s internal focus, an exposure of the personal, wherein its interest lies. Mekas’ ability to construct a montage that appears at ease with itself in all its fragmentation, relying on meticulous in-camera precision, creates a sea images which with each wave comes harmony and contrast. Walden emerges then as an unpretentious acknowledgment of the inextricability of experience and image, finding within it celebrations of life’s variety and extended harmonies.

5. F for Fake (1973) dir. Orson Welles

Welles’s final film is an explosive and intelligent scrutinisation of the filmmaking process and the concept of authenticity in art. Centrally presenting Elmyr de Hory’s career as an art forger, F for Fake transcends basic narrative or documentary expositions to instead philosophise on the ontology of authorship.

Increasingly Welles rejects infallibility in favour of a profound ambivalence that is read across the careers of various forgers to eventually become, as is naturally the case for such a sublime example of the film, a personal contemplation of his own career and his self-definition as a perpetual sceptic.

Through rhythmic montage editing and questioning of the structure and the power of the image itself, F for Fake eulogizes the image as a consistently fallible, or deconstructible form, and in true Wellesian style, given it is the form that its director made his career,cannot help but find humour within.

6. Le Fond de l’air est rouge/A Grin Without a Cat (1977) dir. Chris Marker

Widely acknowledged as the master of the film, Le fond de l’air est rouge is a personal rumination of discontent on the progression and dissolution of left-wing politics from Vietnam up until the films release in 1977.

10 years after the Marker conceived Loin du Vietnam, a protest film against the Vietnam war structured in segments from a wealth of French Filmmakers including Godard, Resnais, Lelouch, Varda and Klein, the film is markedly more melancholic, plagued by a scepticism highlighted in the French title (directly translated as the essence of the air is red) that implies the socialist sentiment only ever existed in the air.

Opening with shots from Eisenstein’s Battleship Potemkin (1925), Marker’s mastery of the appropriated image emerges. The film’s first four minutes are perhaps the finest montage sequence of post-war cinema, commending the bravery of those who fought for the socialist ideal but ultimately acknowledging the inevitability of its failure at the hands of right wing opposition, whose growth in power Marker sees as masked by the outward protests of the left.

Behind closed doors centre right solidarity, particularly in Marker’s native France, was only increased in the face of a scattered, disorganised and self-destructive shouts for power from the left.

Marker’s film is archival re-appropriation at its most controlled, his erudition and poetic narration reinforcing the notion of history itself as recreated and retold by individuals, always having an agenda.

7. News From Home (1977) dir. Chantal Akerman

Borne from the influence of the structuralist filmmakers Akerman encountered in New York (see Michael Snow, Stan Brakhage and Hollis Frampton), News from Home is a portrait of a city as seen through the eyes of a foreigner, as she attempts to come to terms with her new surroundings and the contrast to the life she left in Brussels (constantly referenced in the letters from her mother that are used to narrate the film).

Akerman films New York with the intricate eye of someone completely out of their depth, attempting to survive in a city they hardly know, emphasised by the concern of the letters from her mother. News from Home is a contemplation of the inescapability of the past and how it informs the present viewed from a perspective of awe, confusion and intense deliberation.

Akerman’s stares at New York as if to glean some meaning from its landscape as the letters from her mother cannot help make her feel at once a child and to the unchartered explorer entering a new terrain with bravado and wonder.

8. Koyaanisqatsi (1982) dir. Godfrey Reggio

Koyaanisqatsi, meaning life out of balance, is a poetic ode to absurdity constructed through cinematographic deconstructions of time and space. By slowing down images or speeding them up via time-lapse techniques, Reggio presents the fog of modernity as a means to highlight the absurdity of purported meanings, whether it is mass production of hot dogs or humanities destructive capabilities life lived blindly, perceived without questioning, is insignificant.

The film’s rejection of language forces full focus onto the status and power of imagery, especially when contorted, to suppose passivity and acceptance as a way of life, unsurprisingly drawing influence, like Thom Andersen’s Los Angeles Plays Itself (2003) from Guy Debord’s Society of the Spectacle, going as far as to acknowledge him in the credits along with fellow critics of mass communications, big society and the power of technology, Jacques Ellul, Ivan Illich and Leopold Kohr.

As with Godard’s concern for the disintegration of language into base semiotic signifiers, evocative of nothing but materials and the literal, Koyaanisqatsi presents ‘a state of life that calls for another way a living’; a visually stunning but essentially aggressive denouncement of advanced capitalism, its pretence to knowledge and its ability to create an omnipresent complacency that drapes life in a visually pleasing veil, underneath which lies a profound nothingness.

6 Replies to “17 Essential Movies For An Introduction To Essay Films”

Sans Soleil?

Leave a Reply Cancel reply

This site uses Akismet to reduce spam. Learn how your comment data is processed .

Get science-backed answers as you write with Paperpal's Research feature

How to Write an Essay Introduction (with Examples)   

The introduction of an essay plays a critical role in engaging the reader and providing contextual information about the topic. It sets the stage for the rest of the essay, establishes the tone and style, and motivates the reader to continue reading. 

Table of Contents

What is an essay introduction , what to include in an essay introduction, how to create an essay structure , step-by-step process for writing an essay introduction , how to write an introduction paragraph , how to write a hook for your essay , how to include background information , how to write a thesis statement .

• Argumentative Essay Introduction Example: 
• Expository Essay Introduction Example 

Literary Analysis Essay Introduction Example

Check and revise – checklist for essay introduction , key takeaways , frequently asked questions .

An introduction is the opening section of an essay, paper, or other written work. It introduces the topic and provides background information, context, and an overview of what the reader can expect from the rest of the work. 1 The key is to be concise and to the point, providing enough information to engage the reader without delving into excessive detail. 

The essay introduction is crucial as it sets the tone for the entire piece and provides the reader with a roadmap of what to expect. Here are key elements to include in your essay introduction: 

• Hook : Start with an attention-grabbing statement or question to engage the reader. This could be a surprising fact, a relevant quote, or a compelling anecdote. 
• Background information : Provide context and background information to help the reader understand the topic. This can include historical information, definitions of key terms, or an overview of the current state of affairs related to your topic. 
• Thesis statement : Clearly state your main argument or position on the topic. Your thesis should be concise and specific, providing a clear direction for your essay. 

Before we get into how to write an essay introduction, we need to know how it is structured. The structure of an essay is crucial for organizing your thoughts and presenting them clearly and logically. It is divided as follows: 2  

• Introduction:  The introduction should grab the reader’s attention with a hook, provide context, and include a thesis statement that presents the main argument or purpose of the essay.  
• Body:  The body should consist of focused paragraphs that support your thesis statement using evidence and analysis. Each paragraph should concentrate on a single central idea or argument and provide evidence, examples, or analysis to back it up.  
• Conclusion:  The conclusion should summarize the main points and restate the thesis differently. End with a final statement that leaves a lasting impression on the reader. Avoid new information or arguments. 

Here’s a step-by-step guide on how to write an essay introduction: 

• Start with a Hook : Begin your introduction paragraph with an attention-grabbing statement, question, quote, or anecdote related to your topic. The hook should pique the reader’s interest and encourage them to continue reading. 
• Provide Background Information : This helps the reader understand the relevance and importance of the topic. 
• State Your Thesis Statement : The last sentence is the main argument or point of your essay. It should be clear, concise, and directly address the topic of your essay. 
• Preview the Main Points : This gives the reader an idea of what to expect and how you will support your thesis. 
• Keep it Concise and Clear : Avoid going into too much detail or including information not directly relevant to your topic. 
• Revise : Revise your introduction after you’ve written the rest of your essay to ensure it aligns with your final argument. 

Here’s an example of an essay introduction paragraph about the importance of education: 

Education is often viewed as a fundamental human right and a key social and economic development driver. As Nelson Mandela once famously said, “Education is the most powerful weapon which you can use to change the world.” It is the key to unlocking a wide range of opportunities and benefits for individuals, societies, and nations. In today’s constantly evolving world, education has become even more critical. It has expanded beyond traditional classroom learning to include digital and remote learning, making education more accessible and convenient. This essay will delve into the importance of education in empowering individuals to achieve their dreams, improving societies by promoting social justice and equality, and driving economic growth by developing a skilled workforce and promoting innovation. 

This introduction paragraph example includes a hook (the quote by Nelson Mandela), provides some background information on education, and states the thesis statement (the importance of education). 

This is one of the key steps in how to write an essay introduction. Crafting a compelling hook is vital because it sets the tone for your entire essay and determines whether your readers will stay interested. A good hook draws the reader in and sets the stage for the rest of your essay.  

• Avoid Dry Fact : Instead of simply stating a bland fact, try to make it engaging and relevant to your topic. For example, if you’re writing about the benefits of exercise, you could start with a startling statistic like, “Did you know that regular exercise can increase your lifespan by up to seven years?” 
• Avoid Using a Dictionary Definition : While definitions can be informative, they’re not always the most captivating way to start an essay. Instead, try to use a quote, anecdote, or provocative question to pique the reader’s interest. For instance, if you’re writing about freedom, you could begin with a quote from a famous freedom fighter or philosopher. 
• Do Not Just State a Fact That the Reader Already Knows : This ties back to the first point—your hook should surprise or intrigue the reader. For Here’s an introduction paragraph example, if you’re writing about climate change, you could start with a thought-provoking statement like, “Despite overwhelming evidence, many people still refuse to believe in the reality of climate change.” 

Including background information in the introduction section of your essay is important to provide context and establish the relevance of your topic. When writing the background information, you can follow these steps: 

• Start with a General Statement:  Begin with a general statement about the topic and gradually narrow it down to your specific focus. For example, when discussing the impact of social media, you can begin by making a broad statement about social media and its widespread use in today’s society, as follows: “Social media has become an integral part of modern life, with billions of users worldwide.” 
• Define Key Terms : Define any key terms or concepts that may be unfamiliar to your readers but are essential for understanding your argument. 
• Provide Relevant Statistics:  Use statistics or facts to highlight the significance of the issue you’re discussing. For instance, “According to a report by Statista, the number of social media users is expected to reach 4.41 billion by 2025.” 
• Discuss the Evolution:  Mention previous research or studies that have been conducted on the topic, especially those that are relevant to your argument. Mention key milestones or developments that have shaped its current impact. You can also outline some of the major effects of social media. For example, you can briefly describe how social media has evolved, including positives such as increased connectivity and issues like cyberbullying and privacy concerns. 
• Transition to Your Thesis:  Use the background information to lead into your thesis statement, which should clearly state the main argument or purpose of your essay. For example, “Given its pervasive influence, it is crucial to examine the impact of social media on mental health.” 

A thesis statement is a concise summary of the main point or claim of an essay, research paper, or other type of academic writing. It appears near the end of the introduction. Here’s how to write a thesis statement: 

• Identify the topic:  Start by identifying the topic of your essay. For example, if your essay is about the importance of exercise for overall health, your topic is “exercise.” 
• State your position:  Next, state your position or claim about the topic. This is the main argument or point you want to make. For example, if you believe that regular exercise is crucial for maintaining good health, your position could be: “Regular exercise is essential for maintaining good health.” 
• Support your position:  Provide a brief overview of the reasons or evidence that support your position. These will be the main points of your essay. For example, if you’re writing an essay about the importance of exercise, you could mention the physical health benefits, mental health benefits, and the role of exercise in disease prevention. 
• Make it specific:  Ensure your thesis statement clearly states what you will discuss in your essay. For example, instead of saying, “Exercise is good for you,” you could say, “Regular exercise, including cardiovascular and strength training, can improve overall health and reduce the risk of chronic diseases.” 

Examples of essay introduction 

Here are examples of essay introductions for different types of essays: 

Argumentative Essay Introduction Example:  

Topic: Should the voting age be lowered to 16? 

“The question of whether the voting age should be lowered to 16 has sparked nationwide debate. While some argue that 16-year-olds lack the requisite maturity and knowledge to make informed decisions, others argue that doing so would imbue young people with agency and give them a voice in shaping their future.” 

Expository Essay Introduction Example  

Topic: The benefits of regular exercise 

“In today’s fast-paced world, the importance of regular exercise cannot be overstated. From improving physical health to boosting mental well-being, the benefits of exercise are numerous and far-reaching. This essay will examine the various advantages of regular exercise and provide tips on incorporating it into your daily routine.” 

Text: “To Kill a Mockingbird” by Harper Lee 

“Harper Lee’s novel, ‘To Kill a Mockingbird,’ is a timeless classic that explores themes of racism, injustice, and morality in the American South. Through the eyes of young Scout Finch, the reader is taken on a journey that challenges societal norms and forces characters to confront their prejudices. This essay will analyze the novel’s use of symbolism, character development, and narrative structure to uncover its deeper meaning and relevance to contemporary society.” 

• Engaging and Relevant First Sentence : The opening sentence captures the reader’s attention and relates directly to the topic. 
• Background Information : Enough background information is introduced to provide context for the thesis statement. 
• Definition of Important Terms : Key terms or concepts that might be unfamiliar to the audience or are central to the argument are defined. 
• Clear Thesis Statement : The thesis statement presents the main point or argument of the essay. 
• Relevance to Main Body : Everything in the introduction directly relates to and sets up the discussion in the main body of the essay. 

Writing a strong introduction is crucial for setting the tone and context of your essay. Here are the key takeaways for how to write essay introduction: 3  

• Hook the Reader : Start with an engaging hook to grab the reader’s attention. This could be a compelling question, a surprising fact, a relevant quote, or an anecdote. 
• Provide Background : Give a brief overview of the topic, setting the context and stage for the discussion. 
• Thesis Statement : State your thesis, which is the main argument or point of your essay. It should be concise, clear, and specific. 
• Preview the Structure : Outline the main points or arguments to help the reader understand the organization of your essay. 
• Keep it Concise : Avoid including unnecessary details or information not directly related to your thesis. 
• Revise and Edit : Revise your introduction to ensure clarity, coherence, and relevance. Check for grammar and spelling errors. 
• Seek Feedback : Get feedback from peers or instructors to improve your introduction further. 

The purpose of an essay introduction is to give an overview of the topic, context, and main ideas of the essay. It is meant to engage the reader, establish the tone for the rest of the essay, and introduce the thesis statement or central argument.  

An essay introduction typically ranges from 5-10% of the total word count. For example, in a 1,000-word essay, the introduction would be roughly 50-100 words. However, the length can vary depending on the complexity of the topic and the overall length of the essay.

An essay introduction is critical in engaging the reader and providing contextual information about the topic. To ensure its effectiveness, consider incorporating these key elements: a compelling hook, background information, a clear thesis statement, an outline of the essay’s scope, a smooth transition to the body, and optional signposting sentences.  

The process of writing an essay introduction is not necessarily straightforward, but there are several strategies that can be employed to achieve this end. When experiencing difficulty initiating the process, consider the following techniques: begin with an anecdote, a quotation, an image, a question, or a startling fact to pique the reader’s interest. It may also be helpful to consider the five W’s of journalism: who, what, when, where, why, and how.   For instance, an anecdotal opening could be structured as follows: “As I ascended the stage, momentarily blinded by the intense lights, I could sense the weight of a hundred eyes upon me, anticipating my next move. The topic of discussion was climate change, a subject I was passionate about, and it was my first public speaking event. Little did I know , that pivotal moment would not only alter my perspective but also chart my life’s course.” 

Crafting a compelling thesis statement for your introduction paragraph is crucial to grab your reader’s attention. To achieve this, avoid using overused phrases such as “In this paper, I will write about” or “I will focus on” as they lack originality. Instead, strive to engage your reader by substantiating your stance or proposition with a “so what” clause. While writing your thesis statement, aim to be precise, succinct, and clear in conveying your main argument.  

To create an effective essay introduction, ensure it is clear, engaging, relevant, and contains a concise thesis statement. It should transition smoothly into the essay and be long enough to cover necessary points but not become overwhelming. Seek feedback from peers or instructors to assess its effectiveness. 

References  

• Cui, L. (2022). Unit 6 Essay Introduction.  Building Academic Writing Skills . 
• West, H., Malcolm, G., Keywood, S., & Hill, J. (2019). Writing a successful essay.  Journal of Geography in Higher Education ,  43 (4), 609-617. 
• Beavers, M. E., Thoune, D. L., & McBeth, M. (2023). Bibliographic Essay: Reading, Researching, Teaching, and Writing with Hooks: A Queer Literacy Sponsorship. College English, 85(3), 230-242. 

Paperpal is a comprehensive AI writing toolkit that helps students and researchers achieve 2x the writing in half the time. It leverages 21+ years of STM experience and insights from millions of research articles to provide in-depth academic writing, language editing, and submission readiness support to help you write better, faster.  

Get accurate academic translations, rewriting support, grammar checks, vocabulary suggestions, and generative AI assistance that delivers human precision at machine speed. Try for free or upgrade to Paperpal Prime starting at US$19 a month to access premium features, including consistency, plagiarism, and 30+ submission readiness checks to help you succeed.  

Experience the future of academic writing – Sign up to Paperpal and start writing for free!  

Related Reads:

• What is an Argumentative Essay? How to Write It (With Examples)
• How to Paraphrase Research Papers Effectively
• How to Cite Social Media Sources in Academic Writing? 
• How Long Should a Chapter Be?

Similarity Checks: The Author’s Guide to Plagiarism and Responsible Writing

Types of plagiarism and 6 tips to avoid it in your writing , you may also like, how paperpal’s research feature helps you develop and..., how paperpal is enhancing academic productivity and accelerating..., academic editing: how to self-edit academic text with..., 4 ways paperpal encourages responsible writing with ai, what are scholarly sources and where can you..., how to write a hypothesis types and examples , what is academic writing: tips for students, what is hedging in academic writing  , how to use ai to enhance your college..., how to use paperpal to generate emails &....

• Subject List
• Take a Tour
• For Authors
• Subscriber Services
• Publications
• African American Studies
• African Studies
• American Literature
• Anthropology
• Architecture Planning and Preservation
• Art History
• Atlantic History
• Biblical Studies
• British and Irish Literature
• Childhood Studies
• Chinese Studies

Cinema and Media Studies

• Communication
• Criminology
• Environmental Science
• Evolutionary Biology
• International Law
• International Relations
• Islamic Studies
• Jewish Studies
• Latin American Studies
• Latino Studies
• Linguistics
• Literary and Critical Theory
• Medieval Studies
• Military History
• Political Science
• Public Health
• Renaissance and Reformation
• Social Work
• Urban Studies
• Victorian Literature
• Browse All Subjects

How to Subscribe

• Free Trials

In This Article Expand or collapse the "in this article" section Essay Film

Introduction, anthologies.

• Bibliographies
• Spectator Engagement
• Personal Documentary
• 1940s Watershed Years
• Chris Marker
• Alain Resnais
• Jean-Luc Godard
• Harun Farocki
• Latin American Cinema
• Installation and Exhibition

Related Articles Expand or collapse the "related articles" section about

About related articles close popup.

Lorem Ipsum Sit Dolor Amet

Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Aliquam ligula odio, euismod ut aliquam et, vestibulum nec risus. Nulla viverra, arcu et iaculis consequat, justo diam ornare tellus, semper ultrices tellus nunc eu tellus.

• Documentary Film
• Dziga Vertov
• Trinh T. Minh-ha

Other Subject Areas

Forthcoming articles expand or collapse the "forthcoming articles" section.

• Jacques Tati
• Media Materiality
• The Golden Girls
• Find more forthcoming articles...
• Export Citations
• Share This Facebook LinkedIn Twitter

Essay Film by Yelizaveta Moss LAST REVIEWED: 24 March 2021 LAST MODIFIED: 24 March 2021 DOI: 10.1093/obo/9780199791286-0216

The term “essay film” has become increasingly used in film criticism to describe a self-reflective and self-referential documentary cinema that blurs the lines between fiction and nonfiction. Scholars unanimously agree that the first published use of the term was by Richter in 1940. Also uncontested is that Andre Bazin, in 1958, was the first to analyze a film, which was Marker’s Letter from Siberia (1958), according to the essay form. The French New Wave created a popularization of short essay films, and German New Cinema saw a resurgence in essay films due to a broad interest in examining German history. But beyond these origins of the term, scholars deviate on what exactly constitutes an essay film and how to categorize essay films. Generally, scholars fall into two camps: those who find a literary genealogy to the essay film and those who find a documentary genealogy to the essay film. The most commonly cited essay filmmakers are French and German: Marker, Resnais, Godard, and Farocki. These filmmakers are singled out for their breadth of essay film projects, as opposed to filmmakers who have made an essay film but who specialize in other genres. Though essay films have been and are being produced outside of the West, scholarship specifically addressing essay films focuses largely on France and Germany, although Solanas and Getino’s theory of “Third Cinema” and approval of certain French essay films has produced some essay film scholarship on Latin America. But the gap in scholarship on global essay film remains, with hope of being bridged by some forthcoming work. Since the term “essay film” is used so sparingly for specific films and filmmakers, the scholarship on essay film tends to take the form of single articles or chapters in either film theory or documentary anthologies and journals. Some recent scholarship has pointed out the evolutionary quality of essay films, emphasizing their ability to change form and style as a response to conventional filmmaking practices. The most recent scholarship and conference papers on essay film have shifted from an emphasis on literary essay to an emphasis on technology, arguing that essay film has the potential in the 21st century to present technology as self-conscious and self-reflexive of its role in art.

Both anthologies dedicated entirely to essay film have been published in order to fill gaps in essay film scholarship. Biemann 2003 brings the discussion of essay film into the digital age by explicitly resisting traditional German and French film and literary theory. Papazian and Eades 2016 also resists European theory by explicitly showcasing work on postcolonial and transnational essay film.

Biemann, Ursula, ed. Stuff It: The Video Essay in the Digital Age . New York: Springer, 2003.

This anthology positions Marker’s Sans Soleil (1983) as the originator of the post-structuralist essay film. In opposition to German and French film and literary theory, Biemann discusses video essays with respect to non-linear and non-logical movement of thought and a range of new media in Internet, digital imaging, and art installation. In its resistance to the French/German theory influence on essay film, this anthology makes a concerted effort to include other theoretical influences, such as transnationalism, postcolonialism, and globalization.

Papazian, Elizabeth, and Caroline Eades, eds. The Essay Film: Dialogue, Politics, Utopia . London: Wallflower, 2016.

This forthcoming anthology bridges several gaps in 21st-century essay film scholarship: non-Western cinemas, popular cinema, and digital media.

back to top

Users without a subscription are not able to see the full content on this page. Please subscribe or login .

Oxford Bibliographies Online is available by subscription and perpetual access to institutions. For more information or to contact an Oxford Sales Representative click here .

• About Cinema and Media Studies »
• Meet the Editorial Board »
• 2001: A Space Odyssey
• Accounting, Motion Picture
• Action Cinema
• Advertising and Promotion
• African American Cinema
• African American Stars
• African Cinema
• AIDS in Film and Television
• Akerman, Chantal
• Allen, Woody
• Almodóvar, Pedro
• Altman, Robert
• American Cinema, 1895-1915
• American Cinema, 1939-1975
• American Cinema, 1976 to Present
• American Independent Cinema
• American Independent Cinema, Producers
• American Public Broadcasting
• Anderson, Wes
• Animals in Film and Media
• Animation and the Animated Film
• Arbuckle, Roscoe
• Architecture and Cinema
• Argentine Cinema
• Aronofsky, Darren
• Arzner, Dorothy
• Asian American Cinema
• Asian Television
• Astaire, Fred and Rogers, Ginger
• Audiences and Moviegoing Cultures
• Australian Cinema
• Authorship, Television
• Avant-Garde and Experimental Film
• Bachchan, Amitabh
• Battle of Algiers, The
• Battleship Potemkin, The
• Bazin, André
• Bergman, Ingmar
• Bernstein, Elmer
• Bertolucci, Bernardo
• Bigelow, Kathryn
• Birth of a Nation, The
• Blade Runner
• Blockbusters
• Bong, Joon Ho
• Brakhage, Stan
• Brando, Marlon
• Brazilian Cinema
• Breaking Bad
• Bresson, Robert
• British Cinema
• Broadcasting, Australian
• Buffy the Vampire Slayer
• Burnett, Charles
• Buñuel, Luis
• Cameron, James
• Campion, Jane
• Canadian Cinema
• Capra, Frank
• Carpenter, John
• Cassavetes, John
• Cavell, Stanley
• Chahine, Youssef
• Chan, Jackie
• Chaplin, Charles
• Children in Film
• Chinese Cinema
• Cinecittà Studios
• Cinema and Media Industries, Creative Labor in
• Cinema and the Visual Arts
• Cinematography and Cinematographers
• Citizen Kane
• City in Film, The
• Cocteau, Jean
• Coen Brothers, The
• Colonial Educational Film
• Comedy, Film
• Comedy, Television
• Comics, Film, and Media
• Computer-Generated Imagery (CGI)
• Copland, Aaron
• Coppola, Francis Ford
• Copyright and Piracy
• Corman, Roger
• Costume and Fashion
• Cronenberg, David
• Cuban Cinema
• Cult Cinema
• Dance and Film
• de Oliveira, Manoel
• Dean, James
• Deleuze, Gilles
• Denis, Claire
• Deren, Maya
• Design, Art, Set, and Production
• Detective Films
• Dietrich, Marlene
• Digital Media and Convergence Culture
• Disney, Walt
• Downton Abbey
• Dr. Strangelove
• Dreyer, Carl Theodor
• Eastern European Television
• Eastwood, Clint
• Eisenstein, Sergei
• Elfman, Danny
• Ethnographic Film
• European Television
• Exhibition and Distribution
• Exploitation Film
• Fairbanks, Douglas
• Fan Studies
• Fellini, Federico
• Film Aesthetics
• Film and Literature
• Film Guilds and Unions
• Film, Historical
• Film Preservation and Restoration
• Film Theory and Criticism, Science Fiction
• Film Theory Before 1945
• Film Theory, Psychoanalytic
• Finance Film, The
• French Cinema
• Game of Thrones
• Gance, Abel
• Gangster Films
• Garbo, Greta
• Garland, Judy
• German Cinema
• Gilliam, Terry
• Global Television Industry
• Godard, Jean-Luc
• Godfather Trilogy, The
• Greek Cinema
• Griffith, D.W.
• Hammett, Dashiell
• Haneke, Michael
• Hawks, Howard
• Haynes, Todd
• Hepburn, Katharine
• Herrmann, Bernard
• Herzog, Werner
• Hindi Cinema, Popular
• Hitchcock, Alfred
• Hollywood Studios
• Holocaust Cinema
• Hong Kong Cinema
• Horror-Comedy
• Hsiao-Hsien, Hou
• Hungarian Cinema
• Icelandic Cinema
• Immigration and Cinema
• Indigenous Media
• Industrial, Educational, and Instructional Television and ...
• Invasion of the Body Snatchers
• Iranian Cinema
• Irish Cinema
• Israeli Cinema
• It Happened One Night
• Italian Americans in Cinema and Media
• Italian Cinema
• Japanese Cinema
• Jazz Singer, The
• Jews in American Cinema and Media
• Keaton, Buster
• Kitano, Takeshi
• Korean Cinema
• Kracauer, Siegfried
• Kubrick, Stanley
• Lang, Fritz
• Latina/o Americans in Film and Television
• Lee, Chang-dong
• Lesbian, Gay, Bisexual, Transgender, and Queer (LGBTQ) Cin...
• Lord of the Rings Trilogy, The
• Los Angeles and Cinema
• Lubitsch, Ernst
• Lumet, Sidney
• Lupino, Ida
• Lynch, David
• Marker, Chris
• Martel, Lucrecia
• Masculinity in Film
• Media, Community
• Media Ecology
• Memory and the Flashback in Cinema
• Metz, Christian
• Mexican Film
• Micheaux, Oscar
• Ming-liang, Tsai
• Minnelli, Vincente
• Miyazaki, Hayao
• Méliès, Georges
• Modernism and Film
• Monroe, Marilyn
• Mészáros, Márta
• Music and Cinema, Classical Hollywood
• Music and Cinema, Global Practices
• Music, Television
• Music Video
• Musicals on Television
• Native Americans
• New Media Art
• New Media Policy
• New Media Theory
• New York City and Cinema
• New Zealand Cinema
• Opera and Film
• Ophuls, Max
• Orphan Films
• Oshima, Nagisa
• Ozu, Yasujiro
• Panh, Rithy
• Pasolini, Pier Paolo
• Passion of Joan of Arc, The
• Peckinpah, Sam
• Philosophy and Film
• Photography and Cinema
• Pickford, Mary
• Planet of the Apes
• Poems, Novels, and Plays About Film
• Poitier, Sidney
• Polanski, Roman
• Polish Cinema
• Politics, Hollywood and
• Pop, Blues, and Jazz in Film
• Pornography
• Postcolonial Theory in Film
• Potter, Sally
• Prime Time Drama
• Queer Television
• Queer Theory
• Race and Cinema
• Radio and Sound Studies
• Ray, Nicholas
• Ray, Satyajit
• Reality Television
• Reenactment in Cinema and Media
• Regulation, Television
• Religion and Film
• Remakes, Sequels and Prequels
• Renoir, Jean
• Resnais, Alain
• Romanian Cinema
• Romantic Comedy, American
• Rossellini, Roberto
• Russian Cinema
• Saturday Night Live
• Scandinavian Cinema
• Scorsese, Martin
• Scott, Ridley
• Searchers, The
• Sennett, Mack
• Sesame Street
• Shakespeare on Film
• Silent Film
• Simpsons, The
• Singin' in the Rain
• Sirk, Douglas
• Soap Operas
• Social Class
• Social Media
• Social Problem Films
• Soderbergh, Steven
• Sound Design, Film
• Sound, Film
• Spanish Cinema
• Spanish-Language Television
• Spielberg, Steven
• Sports and Media
• Sports in Film
• Stand-Up Comedians
• Stop-Motion Animation
• Streaming Television
• Sturges, Preston
• Surrealism and Film
• Taiwanese Cinema
• Tarantino, Quentin
• Tarkovsky, Andrei
• Television Audiences
• Television Celebrity
• Television, History of
• Television Industry, American
• Theater and Film
• Theory, Cognitive Film
• Theory, Critical Media
• Theory, Feminist Film
• Theory, Film
• Theory, Trauma
• Touch of Evil
• Transnational and Diasporic Cinema
• Trinh, T. Minh-ha
• Truffaut, François
• Turkish Cinema
• Twilight Zone, The
• Varda, Agnès
• Vertov, Dziga
• Video and Computer Games
• Video Installation
• Violence and Cinema
• Virtual Reality
• Visconti, Luchino
• Von Sternberg, Josef
• Von Stroheim, Erich
• von Trier, Lars
• Warhol, The Films of Andy
• Waters, John
• Wayne, John
• Weerasethakul, Apichatpong
• Weir, Peter
• Welles, Orson
• Whedon, Joss
• Wilder, Billy
• Williams, John
• Wiseman, Frederick
• Wizard of Oz, The
• Women and Film
• Women and the Silent Screen
• Wong, Anna May
• Wong, Kar-wai
• Wood, Natalie
• Yang, Edward
• Yimou, Zhang
• Yugoslav and Post-Yugoslav Cinema
• Zinnemann, Fred
• Zombies in Cinema and Media
• Privacy Policy
• Cookie Policy
• Legal Notice
• Accessibility

Powered by:

• [66.249.64.20|185.80.151.41]
• 185.80.151.41

Home — Essay Samples — Entertainment — Film Analysis — The introduction of the first movie

The Introduction of The First Movie

• Categories: Film Analysis Film Editing Watching TV

About this sample

Words: 486 |

Published: Mar 28, 2019

Words: 486 | Page: 1 | 3 min read

History of The Invention of Film

Works cited.

• Bradford National Media and Technology Museum. (2012, September 12). The First Color Film in the World. Retrieved from https://www.nationalmediamuseum.org.uk/blog/the-first-colour-film-in-the-world/
• Eadweard Muybridge. (n.d.). In Britannica.
• Film. (2021, March 16). In Encyclopædia Britannica.
• History of Film. (2021, April 12). In Wikipedia.
• Le Prince, Louis Aimé Augustin. (2018, March 26). In Encyclopædia Britannica. Retrieved from https://www.britannica.com/biography/Louis-Aime-Augustin-Le-Prince
• Movie. (n.d.). In Merriam-Webster.
• Sherak, T. (2013, January 18). How Movies Affect Society. In Huffington Post. Retrieved from https://www.huffpost.com/entry/how-movies-affect-society_b_2508424
• The Kinetoscope. (n.d.). In History.com.
• The Lumière Brothers. (n.d.). In Britannica.
• Winston, B. (2019). Lies, Damn Lies, and Documentary: Documentary Film and the Documentary Mode in the Twenty-First Century. In International Journal of Communication, 13, 4475-4493.

Cite this Essay

Let us write you an essay from scratch

• 450+ experts on 30 subjects ready to help
• Custom essay delivered in as few as 3 hours

Get high-quality help

Prof. Kifaru

Verified writer

• Expert in: Entertainment Life

+ 120 experts online

By clicking “Check Writers’ Offers”, you agree to our terms of service and privacy policy . We’ll occasionally send you promo and account related email

No need to pay just yet!

Related Essays

2 pages / 1165 words

1 pages / 1270 words

4 pages / 1842 words

3 pages / 1458 words

Remember! This is just a sample.

You can get your custom paper by one of our expert writers.

121 writers online

Still can’t find what you need?

Browse our vast selection of original essay samples, each expertly formatted and styled

Related Essays on Film Analysis

Watching a good movie is one of my favorite pastimes. After a long day of school or work there is on other sensations such as curling up on the couch and watching a great movie. Epic stories throughout our history our best [...]

The movie Coco is a film full of Mexican Culture and takes place during the Día de Muertos, Day of the Dead celebration. It’s directed by Lee Unkrich and released in 2017. The main character, Miguel Rivera loves music and [...]

Spotlight is directed by Tom McCarthy and stars Michael Keaton, Mark Ruffalo, Rachel McAdams, and Liev Schreiber. It’s the true story of the Boston news reporters who work for the Boston Globe who uncovered a very disturbing [...]

“All power to ALL the people.” This motto is repeated throughout the latest “Spike Lee Joint.” BlacKkKlansman is the newest film by the director of acclaimed films like Do the Right Thing, Malcolm X, and Inside Man. The film [...]

The belief that “men and women should have equal rights and opportunities is pure feminist. This movement is based on the desire to become a better version, is more as a fight for freedom and to belong somewhere. A [...]

This article is about very interesting movie named girl interrupted. I am happy to write this article, because this movie inspired me a lot when I first watched it. Being psychologists this movie is a must watch as it holds many [...]

Related Topics

By clicking “Send”, you agree to our Terms of service and Privacy statement . We will occasionally send you account related emails.

Where do you want us to send this sample?

By clicking “Continue”, you agree to our terms of service and privacy policy.

Be careful. This essay is not unique

This essay was donated by a student and is likely to have been used and submitted before

Download this Sample

Free samples may contain mistakes and not unique parts

Sorry, we could not paraphrase this essay. Our professional writers can rewrite it and get you a unique paper.

Please check your inbox.

We can write you a custom essay that will follow your exact instructions and meet the deadlines. Let's fix your grades together!

Get Your Personalized Essay in 3 Hours or Less!

We use cookies to personalyze your web-site experience. By continuing we’ll assume you board with our cookie policy .

• Instructions Followed To The Letter
• Deadlines Met At Every Stage
• Unique And Plagiarism Free

Want to create or adapt books like this? Learn more about how Pressbooks supports open publishing practices.

55 Writing about the Novel: Film Comparison

You began the process of writing your literary comparison paper in the Introduction to the Novel chapter by choosing an essay, reading it carefully, and writing a personal response. In this chapter, we will move through the remaining steps of writing your paper.

Step 3: Choose a Film for Comparison

The key to a good comparison essay is to choose two subjects that connect in a meaningful way. The purpose of conducting the comparison is not to state the obvious, but rather to illuminate subtle differences or unexpected similarities.

When writing a film comparison paper, the point is to make an argument that will make your audience think about your topic in a new and interesting way. You might explore how the novel and the film present the theme…or how the novel and the film explore the identity of a main character…or…the options are limitless. Here’s a quick video giving you a little overview of what a film vs novel comparison might look like:

To this end, your next goal is to choose a film adaptation of your novel. Some novels may only have one, but some have many that have been created over the last 100 years! Your adaptation could be a feature film, a YouTube short, or an indie film. Choose one that allows you to make an interesting point about the portrayal of the theme of the novel and the film.

Step 4: Research

Once you’ve chosen a second piece, it’s time to enter into the academic conversation to see what others are saying about the authors and the pieces you’ve chosen.

Regardless of the focus of your essay, discovering more about the author of the text you’ve chosen can add to your understanding of the text and add depth to your argument. Author pages are located in the Literature Online ProQuest database. Here, you can find information about an author and his/her work, along with a list of recent articles written about the author. This is a wonderful starting point for your research.

The next step is to attempt to locate articles about the text and the film themselves. For novels, it’s important to narrow down your database choices to the Literature category. For essays, you might have better luck searching the whole ProQuest library with the ProQuest Research Library Article Databases or databases like Flipster that include publications like newspapers and magazines.

Finally, you might look for articles pertinent to an issue discussed in the novel. For example, The Grapes of Wrath is about the Great Depression and the Dust Bowl, but it also contains an environmental theme. Depending on what aspect you want to highlight in your comparison, you might look for articles about the Great Depression or about farming and the environment.

Remember, it is helpful to keep a Research Journal to track your research. Your journal should include, at a minimum, the correct MLA citation of the source, a brief summary of the article, and any quotes that stick out to you. A note about how you think the article adds to your understanding of the topic or might contribute to your project is a good addition, as well.

Step 5: Thesis & Outline

Similar to other academic essays, the film comparison essay starts with a thesis that clearly introduces the two subjects that are to be compared and the reason for doing so.

This video highlights some of the key differences between novels and films:

Begin by deciding on your basis for comparison. The basis of comparison could include items like a similar theme, differences in the focus of the piece, or the way both pieces represent an important issue.

This article gives some helpful advice on choosing a topic.

Once you’ve decided on the basis of comparison, you should focus on the points of comparison between the two pieces. For example, if you are focusing on how the literary elements and the cinematic elements used impact the message, you might make a table of each of these elements. Then, you’d find examples of each element from each piece. Remember, a comparison includes both similarities and differences.

By putting together your basis of comparison and your points of comparison, you’ll have a thesis that both makes an argument and gives readers a map of your essay.

A good thesis should be:

• Statement of Fact: “The novel and the film of Pride and Prejudice are similar in many ways.”
• Arguable: “The film version of Pride and Prejudice changes key moments in the text that alter the portrayal of the theme.”
• Personal Opinion: “‘The novel is definitely better than the movie.”
• Provable by the Texts: “Both the novel and the film focus on the importance of identity.”
• Obvious: “The movie provides a modern take on the novel.”
• Surprising: “Though the movie stays true to the original themes of the novel, the modern version may lead viewers to believe that the characters in the book held different values than are portrayed in the novel.”
• General: “Both the novel and the film highlight the plight of women.”
• Specific: “The novel and the film highlight the plight of women by focusing on specific experiences of the protagonist. “

The organizational structure you choose depends on the nature of the topic, your purpose, and your audience. You may organize compare-and-contrast essays in one of the following two ways:

• Block: Organize topics according to the subjects themselves, discussing the novel and then the film.
• Woven: Organize according to individual points, discussing both the novel and the film point by point.

Exercises: Create a Thesis and Outline

You’ll want to start by identifying the theme of both pieces and deciding how you want to tie them together. Then, you’ll want to think through the points of similarity and difference in the two pieces.

In two columns, write down the points that are similar and those that are different. Make sure to jot down quotes from the two pieces that illustrate these ideas.

Following the tips in this section, create a thesis and outline for your novel/film comparison paper.

Here’s a sample thesis and outline:

Step 6: Drafting Tips

Once you have a solid thesis and outline, it’s time to start drafting your essay. As in any academic essay, you’ll begin with an introduction. The introduction should include a hook that connects your readers to your topic. Then, you should introduce the topic. In this case, you will want to include the authors and title of the novel and the director and title of the film. Finally, your introduction should include your thesis. Remember, your thesis should be the last sentence of your introduction.

In a film comparison essay, you may want to follow your introduction with background on both pieces. Assume that your readers have at least heard of either the novel or the film, but that they might not have read the novel or watched the film–or both–…or maybe it’s been awhile. For example, if you were writing about Pride and Prejudice , you might include a brief introduction to Austen and her novel and an introduction to the version of the film you’ve chosen. The background section should be no more than two short paragraphs.

In the body of the paper, you’ll want to focus on supporting your argument. Regardless of the organizational scheme you choose, you’ll want to begin each paragraph with a topic sentence. This should be followed by the use of quotes from your two texts in support of your point. Remember to use the quote formula–always introduce and explain each quote and the relationship to your point! It’s very important that you address both literary pieces equally, balancing your argument. Finally, each paragraph should end with a wrap up sentence that tells readers the significance of the paragraph.

Here are some transition words that are helpful in tying points together:

Finally, your paper will end with a conclusion that brings home your argument and helps readers to understand the importance/significance of your essay.

In this video, an instructor explains step by step how to write an essay comparing two films. Though you will be writing about a novel and a film, rather than two films, the same information applies.

Here’s another instructor explaining how to write a comparison essay about two poems. Note the similarities between the two videos.

Here’s a sample paper:

Attributions:

• Content created by Dr. Karen Palmer. Licensed under CC BY NC SA .
• Content adapted from “Comparison and Contrast” from the book Successful Writing licensed CC BY NC SA .

The Worry Free Writer Copyright © 2020 by Dr. Karen Palmer is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

Share This Book

Books Vs. Movies: Similarities and Differences Essay

Books vs. movies – introduction, similarities between books and movies, difference between books and movies, works cited.

This paper examines the similarities and differences between books and movies. Although both tell stories and evoke emotions, they also have distinct characteristics. For example, books rely on the reader’s imagination, while movies present a pre-determined visual interpretation. Another difference between books and movies is that books typically offer a more in-depth exploration of characters, while movies may prioritize visual spectacle over character development. Despite these contrasts, both books and movies have the power to entertain, educate, and inspire. This essay compares and contrasts the two products in detail and provides examples from famous works.

Books and movies are two of the most important mediums for communicating ideas to an audience. The two can be used for various purposes, including entertaining and informing. Books make use of written words to communicate with the reader. On the other hand, movies utilize audio-visual technology to communicate with the viewing audience. Books and Movies have several significant similarities and differences.

A major similarity is that both books and movies set out to tell stories that are often fascinating to the audience. Regardless of which medium is being used, efforts are made to create stories that are going to be engaging to the reader or viewer. For both movies and books, the story is a central part, and the authors or directors come up with themes and plotlines that can captivate and entertain the audience (Bordwell and Staiger 262). By using elements such as characters, setting, conflict, and resolution at the end, book authors and movie directors can come up with successful stories.

Another similarity is that both books and movies make great use of characters through whom the story is told. Bordwell and Staiger note that the characters used must be well suited to the story, and they must be clearly distinguished from one another (262). They are given personalities and used to fulfill the key elements of the story being told through the book or the movie. In most cases, it is the characters that make the audience regard a movie or book as superior or inferior.

A significant difference between books and movies is in the manner in which the visual images are created. When reading a book, the reader has to use his/her imagination to create a visual image from the words contained in the book (Mayer 17). For example, in the Harry Potter books, the reader is required to form his/her own image of the various magical creatures. On the other hand, movies present the reader with a ready visual image. In the Harry Potter Movies, the images of creatures such as trolls and goblins are presented to the audience. The imagination of the viewer is not required since the movie makers have already created the image they want the audience to have.

Books and movies differ in the level of detail provided. In books, the author spends a lot of time providing details of characters, events, objects, and places. These lengthy descriptions are necessary to help the reader to create a mental image of the story. With movies, there are no lengthy details used. Movies do not have to engage in detailed descriptions since a complicated image can be shown in a single movie shot. Mayer notes that a movie can, within the span of a few seconds, graphically show a mass of details to the viewer (17).

Books and movies are both adequate means of telling a story. While the two make use of different technologies to communicate with an audience, they have some similarities. These include the use of stories and the reliance on characters to tell the story. However, the two have major differences in terms of the level of imagination required of the audience and the use of details. Overall, books and movies are important communication mediums that play a great role in our society.

Bordwell, David, and Janet Staiger. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. NY: Routledge, 2003. Print.

Mayer, Robert. Eighteenth-Century Fiction on Screen . Cambridge: Cambridge University Press, 2002. Print.

• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2023, October 29). Books Vs. Movies: Similarities and Differences Essay. https://ivypanda.com/essays/books-vs-movies-similarities-and-differences/

"Books Vs. Movies: Similarities and Differences Essay." IvyPanda , 29 Oct. 2023, ivypanda.com/essays/books-vs-movies-similarities-and-differences/.

IvyPanda . (2023) 'Books Vs. Movies: Similarities and Differences Essay'. 29 October.

IvyPanda . 2023. "Books Vs. Movies: Similarities and Differences Essay." October 29, 2023. https://ivypanda.com/essays/books-vs-movies-similarities-and-differences/.

1. IvyPanda . "Books Vs. Movies: Similarities and Differences Essay." October 29, 2023. https://ivypanda.com/essays/books-vs-movies-similarities-and-differences/.

Bibliography

IvyPanda . "Books Vs. Movies: Similarities and Differences Essay." October 29, 2023. https://ivypanda.com/essays/books-vs-movies-similarities-and-differences/.

• J. K. Rowling's Harry Potter and Its Popularity
• Harry Potter Stories and Impact on Pop Culture
• Concept of Home in "The Odyssey" and "Harry Potter"
• The New Hollywood Cinema Development
• The Creation of Narrative Films: History and Factors
• The Invention of Cinema at the End of the XIX Century
• Filmmaking History of the USA
• Silent Era vs. Modern Cinema Era

Narrative Essays

Narrative: The spoken or written account of connected events; a story

Narrative Introductions

The introduction of a narrative essay sets the scene for the story that follows. Interesting introductions—for any kind of writing—engage and draw readers in because they want to know more.

Since narratives tell a story and involve events, the introduction of a narrative quite often starts in the middle of the action in order to bring the reader into the story immediately, as shown in examples 1, 3, and 5 below. Other effective introductions briefly provide background for the point of the story—often the lesson learned—as in 4 below and the first example on the reverse side.

Below are some strategies for writing effective openings. Remember your introduction should be interesting and draw your reader in. It should make your audience want to read more. If it's a person , begin with a description of the person and then say why that person mattered. If it's an event , begin with the action or begin by reflecting back on why the event mattered, then go into the narrative.

• "Potter...take off!" my coach yelled as I was cracking yet another joke during practice.
• Why do such a small percentage of high school athletes play Division One sports?
• It was a cold, rainy night, under the lights on the field. I lined up the ball on the penalty line under the wet grass. After glancing up at the tied score, I stared into the goalkeeper's eyes.
• My heart pounds in my chest. My stomach full of nervous butterflies. I hear the crowd talking and names being cheered.
• Slipping the red and white uniform over my head for the first time is a feeling I will never forget.
• "No football." Those words rang in my head for hours as I thought about what a stupid decision I had made three nights before.
• "SNAP!" I heard the startling sound of my left knee before I ever felt the pain.
• According to the NCAA, there are over 400,000 student-athletes in the United States.

Narrative Story

• Unified: Ensure all actions in your story develop a central idea or argument.
• Interesting: Draw your readers into your scene(s), making them feel as if they're experiencing them first-hand.
• Coherent: Indicate changes in time, location, and characters clearly (even if your story is not chronological).
• Climactic: Include a moment (the climax) when your ending is revealed or the importance of events is made clear.
• Remember the 5 W's : Who? What? When? Where? Why?
• Write vividly : Include significant sensory information in the scene (sight, sound, touch, smell, taste) to make readers feel they are there
• Develop " Thick Descriptions "

Clifford Geertz describes thick descriptions as accounts that include not only facts but also commentary and interpretation . The goal is to vividly describe an action or scene, often through the use of metaphors, analogies, and other forms of interpretation that can emote strong feelings and images in your readers' minds.

"The flatness of the Delta made the shack, the quarters, and the railroad tracks nearby seem like some tabletop model train set. Like many Mississippi shacks, this one looked as if no one had lived there since the birth of the blues. Four sunflowers leaned alongside a sagging porch. When the front door creaked open, cockroaches bigger than pecans scurried for cover [...] walls wept with mildew."

—from Bruce Watson's Freedom Summer

Narrative Checklist

• Does the story have a clear and unifying idea? If not, what could that idea be?
• If the story doesn't include a thesis sentence, is the unifying idea of the story clear without it?
• Is the story unified, with all the details contributing to the central idea?
• Is the story arranged chronologically? If not, is the organization of ideas and events still effective and clear?
• Do the transitions show the movement from idea to idea and scene to scene?
• Are there enough details?
• Is there dialogue at important moments?
• Is there a climax to the story—moment at which the action is resolved or a key idea is revealed?

501 E. High Street Oxford, OH 45056

• Online: Miami Online
• Main Operator 513-529-1809
• Office of Admission 513-529-2531
• Vine Hotline 513-529-6400
• Emergency Info https://miamioh.edu/emergency

1601 University Blvd. Hamilton, OH 45011

• Online: E-Campus
• Main Operator 513-785-3000
• Office of Admission 513-785-3111
• Campus Status Line 513-785-3077
• Emergency Info https://miamioh.edu/regionals/emergency

4200 N. University Blvd. Middletown, OH 45042

• Main Operator 513-727-3200
• Office of Admission 513-727-3216
• Campus Status 513-727-3477

7847 VOA Park Dr. (Corner of VOA Park Dr. and Cox Rd.) West Chester, OH 45069

• Main Operator 513-895-8862
• From Middletown 513-217-8862

Chateau de Differdange 1, Impasse du Chateau, L-4524 Differdange Grand Duchy of Luxembourg

• Main Operator 011-352-582222-1
• Email [email protected]
• Website https://miamioh.edu/luxembourg

217-222 MacMillan Hall 501 E. Spring St. Oxford, OH 45056, USA

• Main Operator 513-529-8600

Initiatives

• Miami THRIVE Strategic Plan
• Miami Rise Strategic Plan
• Boldly Creative
• Annual Report
• Moon Shot for Equity
• Miami and Ohio
• Majors, Minors, and Programs
• Inclusive Excellence
• Employment Opportunities
• University Safety and Security
• Parking, Directions, and Maps
• Equal Opportunity
• Consumer Information
• Land Acknowledgement
• Privacy Statement
• Title IX Statement
• Report an Accessibility Issue
• Annual Security and Fire Safety Report
• Report a Problem with this Website
• Policy Library

Purdue Online Writing Lab Purdue OWL® College of Liberal Arts

Welcome to the Purdue Online Writing Lab

Welcome to the Purdue OWL

This page is brought to you by the OWL at Purdue University. When printing this page, you must include the entire legal notice.

Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use.

The Online Writing Lab at Purdue University houses writing resources and instructional material, and we provide these as a free service of the Writing Lab at Purdue. Students, members of the community, and users worldwide will find information to assist with many writing projects. Teachers and trainers may use this material for in-class and out-of-class instruction.

The Purdue On-Campus Writing Lab and Purdue Online Writing Lab assist clients in their development as writers—no matter what their skill level—with on-campus consultations, online participation, and community engagement. The Purdue Writing Lab serves the Purdue, West Lafayette, campus and coordinates with local literacy initiatives. The Purdue OWL offers global support through online reference materials and services.

A Message From the Assistant Director of Content Development 

The Purdue OWL® is committed to supporting  students, instructors, and writers by offering a wide range of resources that are developed and revised with them in mind. To do this, the OWL team is always exploring possibilties for a better design, allowing accessibility and user experience to guide our process. As the OWL undergoes some changes, we welcome your feedback and suggestions by email at any time.

Please don't hesitate to contact us via our contact page  if you have any questions or comments.

All the best,

Social Media

Facebook twitter.

30 Highest Rated Movies of all Time: Movies With 100% on Rotten Tomatoes

For 23 years, Rotten Tomatoes has been the go-to for those looking to get the scoop on what is new in movies. Aggregating opinions from fans and critics across the country, Rotten Tomatoes uses its “Tomatometer” system to calculate critical reception for any given film. If 60% of reviews are positive, the movie is given a “Fresh” status, but if positive reviews fall below that benchmark, it is deemed “Rotten.” A popular piece of media will typically fall between the 70-90% range, but rarely, a project will receive a 100% score. This means every last review from critics was positive.

Close to 480 films with at least 20 reviews have achieved a 100% score, with many coming very close. Greta Gerwig’s “Lady Bird” had a 100% rating with 196 positive reviews before a critic submitted a negative one, knocking it down to 99%. The immortal classic “Citizen Kane” had a 100% rating until a negative review from a 1941 issue of the Chicago Tribune was rediscovered, revoking its 100% status.

Here are Rotten Tomatoes’ highest-rated movies that have managed to maintain a 100% score and have the highest number of reviews.

The Philadelphia Story (1940)

“The Philadelphia Story” is based on the 1939 Broadway play and follows a socialite whose wedding plans are complicated by the arrival of her ex-husband and a tabloid magazine journalist. Directed by George Cukor, he film stars Katharine Hepburn, Cary Grant, James Stewart and Ruth Hussey.

“It’s definitely not a celluloid adventure for wee lads and lassies and no doubt some of the faithful watchers-out for other people’s souls are going to have a word about that,” Variety ‘s review said. “…All of which, in addition to a generous taste of socialite quaffing to excess and talk of virtue, easy and uneasy, makes “The Philadelphia Story” a picture every suburban mamma and poppa must see – after Junior and little Elsie Dinsmore are tucked away.”

Meet Me in St. Louis (1944)

Christmas musical film “Meet Me in St. Louis” follows a year of the Smith family’s life in St. Louis leading up to the opening of the Louisiana Purchase Exposition, known as the St. Louis World’s Fair, in the spring of 1904. The film stars Judy Garland, Margaret O’Brien, Mary Astor, Lucille Bremer, Tom Drake, Leon Ames, Marjorie Main, June Lockhart and Joan Carroll and directed by Vincente Minnelli, who Garland later married.

“‘Meet Me in St. Louis’ is wholesome in story [from the book by Sally Benson], colorful both in background and its literal Technicolor, and as American as the World’s Series,” Variety ‘s review said. “Garland achieves true stature with her deeply understanding performance, while her sisterly running-mate, Lucille Bremer, likewise makes excellent impact with a well-balanced performance.”

Singin’ in the Rain (1952)

The musical romantic comedy “Singin’ In the Rain” follows three Hollywood stars in the late 1920s dealing with the transition from silent films to talkies. Starring Gene Kelly, Debbie Reynolds and Donald O’Connor, the movie was one of the first 25 films selected by the U.S. Library of Congress for preservation in the National Film Registry.

“‘Singin’ In the Rain’ is a fancy package of musical entertainment with wide appeal and bright grossing prospects,” Variety ‘s review said. “Concocted by Arthur Freed with showmanship know-how, it glitters with color, talent and tunes, and an infectious air that will click with ticket buyers in all types of situations.”

Seven Samurai (1954)

Epic samurai action film “Seven Samurai” follows the story of a village of farmers in 1586 who seek to hire samurai to protect their crops from thieves. The film was the most expensive movie made in Japan at the time.

“Director Akira Kurosawa has given this a virile mounting,” Variety ‘s review said. “It is primarily a man’s film, with the brief romantic interludes also done with taste. Each character is firmly molded. Toshiro Mifune as the bold, hairbrained but courageous warrior weaves a colossal portrait. He dominates the picture although he has an extremely strong supporting cast.”

The Terminator (1984)

Sci-fi action film “The Terminator” follows a cyborg assassin (Arnold Schwarzenegger) sent back in time to kill Sarah Connor (Linda Hamilton), whose son will one day save mankind from extinction from artificial intelligence, Skynet. Co-written and directed by James Cameron and co-written and produced by Gale Anne Hurd, the film topped the U.S. box office for two weeks and grossed $78.3 million.

“‘The Terminator,’ which opens today at Loews State and other theaters, is a B-movie with flair. Much of it, as directed by James Cameron (‘Piranha II’), has suspense and personality, and only the obligatory mayhem becomes dull,” wrote Janet Maslin in a New York Times review. “There is far too much of the latter, in the form of car chases, messy shootouts and Mr. Schwarzenegger’s slamming brutally into anything that gets in his way. Far better are the scenes that follow Sarah (Linda Hamilton) from cheerful obliviousness to the grim knowledge that someone horrible is on her trail.”

Toy Story (1995)

Animated comedy film “Toy Story” follows the first adventures of cowboy doll Woody and space cadet action figure Buzz Lightyear. Owned by a boy named Andy, Woody and Buzz are a part of a group of toys that spring to life when humans aren’t around. Birthed after the success of Pixar’s short film “Tin Toy,” “Toy Story” was the first feature film from Pixar and the first entirely computer-animated feature film.

“To swipe Buzz’s motto –“To infinity and beyond”–“Toy Story” aims high to go where no animator has gone before,” wrote Leonard Klady in a 1995 Variety film review . “Fears at mission control of the whole effort crashing to Earth proved unwarranted; this is one entertainment that soars to new heights.”

Toy Story 2 (1999)

“Toy Story 2” continues Woody and Buzz Lightyear’s journey as the co-leaders of the toy group. When Woody is stolen by a toy collector, Buzz and the other toys must find set out to find him. During his time with the collector, Woody meets Jessie and Stinky Pete, other toys also based on characters from the TV show “Woody’s Roundup.” The animated film was originally supposed to be a direct-to-video sequel, but was upgraded to a theatrical release by Disney.

“In the realm of sequels, “Toy Story 2″ is to “Toy Story” what “The Empire Strikes Back” was to its predecessor, a richer, more satisfying film in every respect,” wrote former chief film critic Todd McCarthy in a 1999 Variety film review . “The comparison between these two franchises will be pursued no further, given their utter dissimilarity. But John Lasseter and his team, their confidence clearly bolstered by the massive success of their 1995 blockbuster, have conspired to vigorously push the new entry further with fresh characters, broadened scope, boisterous humor and, most of all, a gratifying emotional and thematic depth.”

Deliver Us From Evil (2006)

“Deliver Us From Evil” is a documentary that follows the case of convicted pedophile Oliver O’Grady, who molested approximately 25 children as a priest in northern California between the late 1970s through early 1990s. Filmmaker Amy Berg tracks O’Grady down to Ireland, where he was deported after being convicted of child molestation in 1993 and serving seven years in prison.

“Given how strong this kind of testimony is, “Deliver Us From Evil’s” decision to hype it more than it needs to be is unfortunate,” L.A. Times film critic Kenneth Turan said about the film in a 2006 review. “The film has a weakness for over-dramatization, for unsettling music and portentous close-ups of O’Grady’s hands and lips that are distracting and unnecessary.”

“There is nothing over-dramatic, however, about the deeply painful testimony of the adults who were victimized as children and their still traumatized parents,” he continued. “’He was the closest thing to God that we knew,’ one mother says. ‘I let the wolf in through the gate.'”

Taxi to the Dark Side (2007)

“Taxi to the Dark Side” is a documentary film directed by Alex Gibney about the 2002 killing of an Afghan taxi drive named Dilawar, who was beaten to death by American soldiers while being detained without a trial and interrogated at a black site, a detention center operated by a state where prisoners are incarcerated without due process or court order.

The film was a part of the “Why Democracy?” series, produced by The Why Foundation, which consisted of 10 documentary films examining democracy.

“Gibney (“Enron: The Smartest Guys in the Room”) has crafted more than just an important document of systemic abuse — he’s stripped the rhetoric from official doublespeak to expose a callous disregard for not only the Geneva Conventions but the vision of the Founding Fathers,” writes Jay Weissberg in a Variety film review . “All enemies in wartime are perceived as animals, but Gibney uncovers the ways the White House and Pentagon have encouraged torture while distancing themselves from responsibility.”

Man on Wire (2008)

James Marsh’s “Man on Wire” documents the death-defining hire-wire stunts of Philippe Petit, who in 1974, performed a tightrope walk between the Twin Towers of the World Trade Center in New York City. “For contemporary audiences, Petit’s moment of mastery is inevitably shot through with a sense of loss; the following scenes, which reveal the band’s subsequent dissolution, reaffirm the bittersweet truth that triumph is but fleeting,” wrote Catherine Wheatley, who reviewed the film for Sight and Sound in 2010. “The film’s vision, though, is ultimately uplifting: relationships, like buildings, can collapse into rubble, but as [Annie Allix] tenderly puts it, sometimes ‘It is beautiful that way’.”

Poetry (2010)

Lee Chang-dong’s “Poetry” chronicles the life of Mija, a Korean grandmother who is simultaneously dealing with an early-onset Alzheimer’s diagnosis and the violent crime committed by her teenage grandson. “Now is the time to bestow on yourself the gift of one of the most, well, poetic films of 2010,” Lisa Kennedy wrote for the Denver Post in 2011. “And by ‘poetic,’ we mean rich with soulful pauses that are at once visual and aural and deeply observant of the dance of routine and quiet surprise.”

Waste Land (2010)

Lucy Walker’s “Waste Land” follows modern artist Vik Muniz to Jardim Gramacho, Brazil, the world’s largest landfill. There, he photographs the work of “catadores,” men and women who collect the refuse to recreate classical art. Legendary film critic Roger Ebert wrote for the Chicago Sun-Times in 2011, “I do not mean to make their lives seem easy or pleasant. It is miserable work, even after they grow accustomed to the smell. But it is useful work, and I have been thinking much about the happiness to be found by work that is honest and valuable.”

The Square (2013)

“The Square” is a documentary film by Jehane Noujaim, which follows Egyptian revolutionaries during the Egyptian Crisis, a period that started with the Egyptian Revolution of 2011 at Tahrir Square and lasted for three years. The film was nominated for the Academy Award for Best Documentary Feature and won three Emmys.

“Continuing to follow a group of activists as they rally against the undue powers of the Muslim Brotherhood and the Army, ‘The Square’ understands that the Revolution itself is a work in progress, and while its immediacy means it, too, will soon be superseded, it stands as a vigorous, useful account,” writes Jay Weissberg in a 2013 Variety film review .

Gloria (2013)

Sebastián Lelio’s “Gloria” follows the relationship between an aging divorce and an amusement park operator after their chance encounter at a singles disco. “With someone else in the central role, ‘Gloria’ might have been cloyingly sentimental or downright maudlin,” wrote Joe Morgenstern in his 2014 Wall St. Journal review. “With [Paulina García] on hand, it’s a mostly convincing celebration of unquenchable energy.”

The Tale of Princess Kaguya (2014)

Isao Takahata’s “The Tale of Princess Kaguya” tells the fable of a beautiful young woman who sends her suitors away on impossible tasks in hopes of avoiding a loveless marriage. In a 2015 review for Sight and Sound, Andrew Osmond wrote, “While the characters feel very simplified at times, there are scenes that put great weight on performance and subtle expressions, in a way that’s nearer to the classical Disney tradition than most Japanese animation.”

Seymour: An Introduction (2014)

Ethan Hawke’s documentary “Seymour: An Introduction” chronicles the life of Seymour Bernstein, a concert pianist who, at age 50, gave up performing to become an educator and composer. “Coming off of his superb one-two performances for Richard Linklater in ‘Before Midnight’ and ‘Boyhood,’ Hawke continues to work at a creative high level,” wrote Bruce Ingram in his 2015 review for the Chicago Sun-Times. “He demonstrates a rapport and openness with his subject that proves exceptionally affecting.”

Gett: The Trial of Viviane Amsalem (2014)

From directors Ronit and Shlomi Elkabetz, “Gett: The Trial of Viviane Amsalem” follows an Israeli woman’s three-year battle to separate from her husband who refuses to dissolve their marriage. “Ultimately the movie is wearying, but then it’s likely supposed to be,” Tom Long wrote for Detroit News in 2015. “If Viviane’s going through the wringer, you’re going through the wringer too.”

One Cut of the Dead (2017)

Shin’ichirô Ueda’s “One Cut of the Dead” follows Director Higurashi and his crew who attempt to shoot a zombie movie at an abandoned WWII Japanese facility. Things go wrong when they realize they are being attacked by real zombies. In his 2019 Los Angeles Times review, Carlos Aguilar called the film, “A master class in endless narrative inventiveness and an ode to the resourceful and collaborative spirit of hands-on filmmaking, ‘One Cut of the Dead’ amounts to an explosively hilarious rarity.”

Leave No Trace (2018)

Debra Granik’s “Leave No Trace” follows a father and daughter hiding in the forests of Portland, Ore. When a misstep tips off their location to local authorities, they must escape and find a new place to call home. Peter Travers wrote in his 2018 Rolling Stone review, “Debra Granik’s drama about a damaged war vet (Ben Foster) living off the grid with his teen daughter, brilliantly played by breakout star Thomasin Harcourt McKenzie, is hypnotic, haunting and one of the year’s best.”

Summer 1993 (2018)

Carla Simón’s “Summer 1993” is told through the eyes of six-year-old Frida, who watches in silence as her recently deceased mother’s last possessions are packed into boxes. “Some creatures are able to grow new limbs,” wrote Joe Morgenstern in his 2018 Wall Street Journal review. “Frida, given more than half a chance after demanding it, achieves something no less remarkable. She grows new joy and hope.”

Minding the Gap (2018)

“Minding the Gap” follows the relationship of three boys who use skateboarding as an outlet to escape their hardships at home. “The film captures more than a decade long documentary footage showcasing their friendship. In some documentaries, the filmmakers attempt to make themselves invisible. Despite Liu’s camera-shyness, he never pretends to be anything other than a part of the story, hitting his subjects with direct, deeply personal questions,” wrote Peter Debruge, who reviewed the film for Variety in 2018.

Honeyland (2019)

“Honeyland” is a Macedonian documentary film that was directed by Tamara Kotevska and Ljubomir Stefanov. The movie follows a woman and her beekeeping traditions to cultivate honey in the mountains of North Macedonia. Guy Lodge from Variety describes “Honeyland” as it begins as a “calm, captured-in-amber character study, before stumbling upon another, more conflict-driven story altogether — as younger interlopers on the land threaten not just Hatidze’s solitude but her very livelihood with their newer, less nature-conscious farming methods,” he said.

Welcome to Chechnya (2020)

“Welcome to Chechnya” released in 2020, exposes Russian leader Ramzan Kadyrov and his government as they try to detain, torture and execute LGBTQ Chechens. “A vital, pulse-quickening new documentary from journalist-turned-filmmaker David France that urgently lifts the lid on one of the most horrifying humanitarian crises of present times: the state-sanctioned purge of LGBTQ people in the eponymous southern Russian republic,” wrote Guy Lodge from Variety in 2020.

Crip Camp (2020)

“Crip Camp” is based on Camp Jened, which was a summer camp for teens with disabilities in the ’70s that inspired real-life activism. The film eliminates stereotypes and challenges the way people think about disabilities. “It may be startling for those who haven’t spent time with people with cerebral palsy or polio to see how a paraplegic gets from his wheelchair into the pool,” wrote Peter Debruge for Variety in 2020. “On closer inspection, it becomes clear that these teenagers…are having the time of their lives.”

76 Days (2020)

“76 Days” is a documentary released on Netflix in 2020 that shows the struggles of medical professionals and patients in Wuhan, China dealing with the COVID-19 pandemic. “As an artifact alone, the result is remarkable, capturing all the panic and pragmatism greeting a disaster before its entire global impact had been gauged, while strategies and protocols are adjusted on the hoof,” wrote Guy Lodge for Variety in 2020. “That it’s so artfully and elegantly observed, and packs such a candid wallop of feeling, atop its frontline urgency is testament to the grace and sensitivity of its directorial team, not just their timely savvy.”

His House (2020)

“His House” is a horror movie that initially released on Netflix and terrified audiences. The plot follows a refugee couple that try to create a new life for themselves in an English town by escaping South Sudan but find their new home is haunted. Jessica Kiang reviewed the film for Variety in 2020 and wrote “‘His House’ is at its most persuasively terrifying when it gets out of the house and into the existential terror of reality. Out there are aspects of the refugee experience that contain greater horrors and mortifications than all the blackening plaster, childish ghostly humming and skittering presences in the walls could ever hope to suggest.”

Quo Vadis, Aida? (2020)

“Quo Vadis, Aida?” documents the journey of Aida, a translator for the U.N. in Srebrenica interpreting the crime taking place when the Serbian army takes over the Bosnian town. “This is not historical revisionism, if anything, ‘Quo Vadis, Aida?’ works to un-revise history, re-centering the victims’ plight as the eye of a storm of evils — not only the massacre itself, but the broader evils of institutional failure and international indifference,” wrote Jessica Kiang, who reviewed the film in 2020 for Variety.

Hive (2021)

“Hive” tells the true story about a woman, Fahrije, who becomes an entrepreneur, after her husband goes missing during the Kosovo War. She sells her own red pepper ajvar and honey, and recruiting more women to join her. “Within the heavily patriarchal hierarchy of the country’s rural society, this places these maybe-widows in an impossible situation, especially when, like Fahrije, they have a family to care for,” writes Jessica Kiang for Variety . “They are expected to wait in continual expectation of their breadwinner-husbands’ return, subsisting on paltry welfare handouts, because to take a job or set up a business is looked on not only as a subversion of the natural order, but as a sign of disrespect to the husband and possibly loose morals.” 

Descendant (2022)

Netflix described its 2022 film, saying, “Descendants of the enslaved Africans on an illegal ship that arrived in Alabama in 1860 seek justice and healing when the craft’s remains are discovered.” “This past remains present, Brown shows, as activists explain how the land on which Africatown (formerly Magazine Point) was established once belonged to Meaher, who sold some of it to former slaves.,” wrote Peter Debruge for Variety . “Talk of racial injustice calls for nuance, and it’s impressive just how many facets of the conversation Brown is able to include in her film.”

20 Days in Mariupol (2023)

“20 Days in Mariupol” tells the story of a group of Ukrainian journalists who are trapped in Mariupol during the Russian invasion and struggle to continue documenting the war. The film is directed by Mstyslav Chernov, a Ukrainian director and it won the Academy Award for Best Documentary Feature Film in 2024. “Powerful as those glimpses were to international viewers, Chernov doesn’t spare his documentary more brutally sustained moments,” wrote Dennis Harvey for Variety . “There’s no political analysis or sermonizing here, just a punishingly up-close look at the toll of modern warfare on a population.”

More From Our Brands

Watch paramore perform ‘burning down the house’ live in paris, alabama and florida just banned the sale of lab-grown meat, college title ix gender equity compliance is a failure, feds say, the best loofahs and body scrubbers, according to dermatologists, is law & order: organized crime preparing to lose a stabler read episode 12 recap, verify it's you, please log in.

Welcome to The Double-After Hours Podcast! Join Aaron Gresser, and his group of friends as they cover everything from pop culture. Including Movies, TV Shows, Games, Anime, Music, and more! It's like a chat with your friends but with the audio edited! We're all about chilling out, shooting the stuff, and having fun with what we're discussing. We aren't the most serious podcast in the world, but stick around if you're okay with that! Podcasts are uploaded every Thursday morning, and thank you for staying after hours!

The Double-After Hours Podcast Aaron Gresser, Charles Robison, Brice Guskovict, Shane Sygiel, and George Rice

• MAY 10, 2024

What Was Broadcasting Like?

Good Morning, Vietnam! Just kidding, we’re not talking about that movie (yet) but we are talking about what it’s like to be in the radio/broadcasting field! Join Aaron, Charlie, and Shane as they discuss what it was like to have their own radio show and how they approached it in their daily lives. It’s fun stories, some in-depth analysis of the radio show and why the podcast will be different, and a whole lot of jokes in between.

Was Bolt a Good Movie?

Let’s put a pin in it! On today’s episode, Aaron and Charlie get around to talking about a movie they’ve fumed about in the past, Disney’s Bolt. Imagine an attempt at an in-depth movie review, but filled with the boys making jokes that derail the whole thing, as usual. It’s more interesting than the movie itself. Trust us, because we watched it for this, and that wasn’t easy.

• 1 hr 12 min

An Introduction To The Double-After Hours Podcast

At long last, The Double-After Hours Podcast is finally here! Have you ever wanted to listen to four guys just talk about whatever their 17 brain cells can come up with? Then this is the episode for you. It’s a little chaotic, but that’s okay. From everything to fumbling girls, the world of theater, stealing straws off the ground, and a little insight into the world of radio, this episode serves as a jumping-off point to getting to know the guys. Thanks for reading this, and thanks for staying after hours...

• © Aaron Gresser 2024

Top Podcasts In Leisure

You talking to me? Robert De Niro gets his own De Niro Con at 2024 Tribeca Festival

You talking to me?

The 2024 Tribeca Festival is switching it up this year and will be hosting a celebration of Fest co-founder Robert De Niro.

The off-shoot, appropriately titled De Niro Con promises to be a fitting tribute to the Oscar winner. 

“I can’t think of a better way to celebrate 80 years of Robert De Niro, my dear friend and co-conspirator for the past 35 years, than by throwing a big bash for his fellow New Yorkers,” Tribeca co-founder and CEO Jane Rosenthal said in a statement.

The extravaganza, which takes place from June 14-16, is a De Niro delight.

And many famous co-stars and directors will be joining in.

Film screenings include “A Bronx Tale” with an introduction by co-star Chazz Palminteri.

“Jackie Brown” will be followed by a conversation between Quentin Tarantino and De Niro.

Billy Crystal will be chatting with De Niro after a screening of “Analyze This.”

“Silver Linings Playbook” will include a convo with director David O. Russell, along with an introduction by Kathrine Narducci. 

Screenwriter Nicholas Pileggi will discuss “Good Fellas” with the actor after a screening. 

There will also be screenings of “The Godfather Part II,” “The Deer Hunter,” “Raging Bull” and “Taxi Driver.”

Perhaps the hottest ticket will be a screening of “Mean Streets,” which coincides with the film’s 50th anniversary. After the screening at the Beacon Theater, director Martin Scorsese and De Niro will be interviewed by Nas.

De Niro Con also promises some one-of-a-kind fan experiences, “including Max Cady’s prison tattoo parlor from Cape Fear (where fans can get real or temporary tattoos), Travis Bickle’s bedroom from Taxi Driver, and Jack Byrnes’ infamous polygraph test from ‘Meet The Parents.'” 

There’s even going to be a Trivia Night and Hero Sandwich Competition.

Tribeca Membership and De Niro Con tickets are available at TribecaFilm.com .

You may opt out or contact us anytime.

Zócalo Podcasts

What Can Sankofa Teach Us?

The popular african symbol—which means ‘return to your past’—continues to guide and inspire the black diaspora.

Over the last few decades, the African American community has embraced Sankofa—a concept that calls for people to reach back to move forward. Scholar Christel N. Temple writes about the power and promise of the Adinkra symbol. Image of the Sankofa Village Community Garden in Pittsburgh, Pennsylvania; courtesy of Yasmine Abbas, Penn State.

by Christel N. Temple | May 9, 2024

This essay publishes alongside tonight’s Zócalo and Destination Crenshaw event, “How Do You Grow a Rose From Concrete?” Register here to join the program live in-person at Crenshaw High School or virtually online at 6 p.m. PT.

Affixed on jewelry, tattoos, fabric, and home decor, and even in the pattern of wrought-iron fences in places like Washington, D.C., and Savannah, Georgia, is a heart-shaped symbol with curly circles at the top and bottom, almost like the mirroring of two S’s to make a heart.

It is one version of the popular Adinkra symbol Sankofa .

Sankofa literally means “return to your past” or “go back and fetch it.” It can also mean “it is not taboo to go back and fetch it,” which is useful as an apology (e.g., “I invoke Sankofa and wish to go back and correct what I did at yesterday’s meeting when I incorrectly accused you of wrongdoing”).

Also commonly symbolized by the outline of a bird whose head and beak are pointed backward, toward its tail, often with an egg either in the beak or nestled in the tail, Sankofa has become a cultural phenomenon. It gives a name to the African diaspora’s concerns for heritage, legacy, authenticity, and dignity—in the U.S. and beyond.

Sankofa belongs to a communication system called the Adinkera, or Adinkra, which comes from present-day Ghana and Ivory Coast—key West African regions from which African Americans’ ancestors came.

After Ghana’s independence from Britain in 1957, the country’s first prime minister, Kwame Nkrumah, instituted a national policy to revive and celebrate the Adinkra system, particularly the concept of Sankofa. Nkrumah also welcomed the descendants of enslaved Africans to repatriate, or at least visit, the nation. Martin Luther King Jr., Maya Angelou, Malcolm X, and many other artists, activists, and culturally curious African Americans began making trips to Ghana in the late 1950s, where they would have likely encountered Adinkra symbols and philosophies. Scholarship around the Adinkra started to become more visible stateside, too, beginning in 1983 with the publication of Ivory Coast anthropologist Georges Niangoran-Bouah’s The Akan World of Gold Weights .

The concept of Sankofa resonates with core aspects of African American culture and life. The ideas of “return” and “back-to-Africa” anchor African American nationalist thought. Even more pervasive in Black people’s consciousness is the endearment of Africa as a homeland. By reflecting folk narratives presenting flight as self-emancipation and escape from enslavement and oppression, Sankofa embodies a sense of love, affection, respect, and sacred remembrance that affirms African American cultural uniqueness and celebrated difference. The principle of Sankofa is a reminder that “flight” and “return” go hand in hand. Just as peace can only come from knowing one’s legacy as well as the healing power of cultural memory.

Ethiopian filmmaker Haile Gerima’s 1993 resistance-themed feature film Sankofa helped introduce the proverb to a wider audience. The multi-award-winning independent film begins in contemporary times, with a culturally unaware African American model doing a photoshoot on the same Ghana beach where the historic Elmina enslavement fort still stands. The model then travels through time to the enslavement past and discovers the sacredness of how her ancestors survived through revolts and sacrifice. Rich in themes of communalism, revolt, Pan-Africanism, and intellectual agency, Sankofa is a revolutionary vision of enslavement courage. In the years since its release, it has attracted a cult and cultural following.

The Sankofa cultural explosion continues in high schools and colleges today. In Black Studies classes, teachers introduce Sankofa to newer generations through the film and as an example of African philosophy. For many, it is a new and inspirational experience that reinforces the educational goals of historical recovery and presents the rich intellectual tradition of the African world. In practices of Black psychology, Sankofa grounds wellness and renewal in ancient wisdom. And in literary analysis, Sankofa is a paradigm that asks readers to map the ways characters of African descent travel and explore heritage homelands. This travel is often multidirectional and involves not just Africa, but also the Americas, the Caribbean, and even Europe.

But Sankofa is most visible outside of academia, in the explosion of businesses, schools, and community engagement projects that have embraced the name “Sankofa.” Represented by familiar icons (a heart, a bird) rather than some of the less familiar geometric shapes in the Adinkra, Sankofa holds immediate, recognizable visual appeal. While community institutions may not necessarily have a deep understanding of Sankofa’s precise Adinkra meaning, Sankofa has also been embraced by some as a general African/Black legacy concept that communicates that they are proud agents of a global heritage.

Consider just a sampling: Sankofa Kitchen (Dallas); Sankofa Arts Lounge (Dallas); Sankofa Research Institute (Houston); Sankofa Village for the Arts (Pittsburgh); Sankofa African and World Bazaar (Baltimore); Sankofa Church (Atlanta); Sankofa Community Discount Card (Atlanta); Sankofa Initiative (Jacksonville); Sankofa Creations Spalon (Jacksonville); Sankofa Jazz Festival (Miami); and Sankofa Soul, the sponsor of music festivals in St. Lucia, Curacao, Brooklyn, and Coney Island.

For hundreds of years, African Americans have used everything from storytelling to art to religion to keep their heritage alive in a hostile U.S. In 1991, African American archaeologists even discovered Sankofa symbols in a colonial-era African burial ground during a high-rise construction project in lower Manhattan; that site is now a national monument . Such relics from the past, like the Akan gold weights that fueled commerce for 500 years, show the depth and longevity of the ancient traditional West African roots of African Americans.

The knowledge imparted by African ancestors—an inheritance forcibly taken away, though never completely lost—has endured, yet African Americans revel in the more recent awareness of the vast Adinkra system because it is specific amidst a cultural history that largely has been a generic remembrance.

Imagine the possibilities for cultural reclamation and enrichment if the African American and diasporic communities continue to utilize not just Sankofa but the wealth of philosophies shared within the entire Adinkra system. Because among its symbols lie universal wisdom around the human capacity to heal, to repair, to renew, and to return.

Send A Letter To the Editors

Please tell us your thoughts. Include your name and daytime phone number, and a link to the article you’re responding to. We may edit your letter for length and clarity and publish it on our site.

(Optional) Attach an image to your letter. Jpeg, PNG or GIF accepted, 1MB maximum.

By continuing to use our website, you agree to our privacy and cookie policy . Zócalo wants to hear from you. Please take our survey !-->

Get More Zócalo

No paywall. No ads. No partisan hacks. Ideas journalism with a head and a heart.