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All non-fiction films are authored, but the author – or the authorial attitude – is not always immediately visible. Discuss this proposition with reference to two long- form non-fiction films of your choosing
The primary theme of the paper is All non-fiction films are authored, but the author – or the authorial attitude – is not always immediately visible. Discuss this proposition with reference to two long- form non-fiction films of your choosing in which you are required to emphasize its aspects in detail. The cost of the paper starts from $139 and it has been purchased and rated 4.9 points on the scale of 5 points by the students. To gain deeper insights into the paper and achieve fresh information, kindly contact our support.
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All non-fiction films are authored, but the author – or the authorial attitude – is not always immediately visible. Discuss this proposition with reference to two long- form non-fiction films of your choosing. You should compare one film where the author is a visible and/or audible presence with one where the author (or the authorship) is not.
Note: By long- form, the examiners mean an hour slot as a minimum on (broadcast) television; a complete, self-contained interactive piece made for the web, or of course a full-length cinema feature or equivalent.
Watch at least two non-fiction films or long-form programmes as specified above
Analyse those films in line with either of the titles, paying close attention to the different emphasis in each title.
Write a 3000 word essay exploring and discussing your findings.
You are not required to summarise your chosen films beyond the degree required to aid the reader’s understanding of your argument. You can assume your examiners will know – or will be able to access – your choices.
think about both theoretical and practical responses to the production of non- fiction.
The word counts – 3000 words – include references (Harvard) but do not include your bibliography.
You may use illustrations or screen grabs to assist your account as long as they are properly referenced.
Some of the specific ways in which those class descriptors will be assessed in relation to this exercise are listed below:
Structure and Argument
How well the argument has been conducted
clarity with which you make your points, and the degree to which your points follow logically to create an overall argument about the films / programmes you are considering.
The degree to which your
argument explores, focuses on and develops the implications of the proposition you have chosen.
Knowledge and Understanding How well the topic has been grasped
Depth: the degree to which your argument situates your specific analysis within larger issues relating to the conveying of meaning and / or the deployment of aesthetic form in non-fiction films or programmes.
The degree to which you identify the relationship between form, and meaning / impact.
Use of Sources
How well sources have been identified and used
Relevance: The degree to which your chosen films or programmes exemplify points of comparison in relation to the proposition you have chosen to explore..
The level of scholarship or academic commentary and / or the comparative examples you deploy to develop your argument.
Style and Presentation
The quality of the writing and editorial care
Quality and clarity of writing; clarity of organisation; correct use of referencing systems; close attention to critical analysis of what happens in your chosen films or programmes as a way of exploring how your chosen proposition.
The chosen programmes CANNOT be any of these films as we have studied them before:
The Civil War
Exit Through the Gift Shop
The Power of Nightmares
Bowling for Columbine
The Last Waltz
This Is Spinal Tap
Dreams of a Life
The September Issue
The World at War
Night and Fog
The Race for the Double Helix (episode of Life Story)
Nostalgia for the Light
The Spirit of `45
The Great Global Warming Swindle
Into the Abyss
Louis Theroux: The Ultra Zionists
Team America: World Police