12/24/2019 Assignment 2: Close textual analysis
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Teaching Period 3, 2019
MDA10003: Screen Studies: Movies, Television and
Ourselves
Assignment 2: Close textual analysis
Word limit: 1000 words (+/- 10%)
Weighting: 30%
Due date: 5pm AEDT Monday 30 December 2019 (Week 7)
After you have read this information, head over to the Assignment 2 Q&A discussion board to ask any
questions and see what your peers are saying about this assignment.
Assignment overview
This assignment requires you to prepare a close textual analysis of a scene (or scenes) from a film
or television show of your choosing.
This assignment supports unit learning outcomes 1, 2, 3 and 4.
Assignment details
Prepare a close textual analysis of a scene (or scenes) from a film or television show of you
choosing. Scrutinise the scene shot by shot. After watching the sequence multiple times, identify and
explain how the formal elements (e.g. mise-en-scène, editing, cinematography, sound) are used.
Inte
ogate why and how these elements have been used to achieve a certain effect.
Apply the terminology and concepts used in this unit so far. It is essential that your analysis is
supported with evidence from the film and relevant scholarly references.
The following list offers some tips when writing a textual analysis:
Provide an introduction, body of the analysis, conclusion and reference list.
Cross-reference where possible i.e. do not compartmentalise topics (such as aspects of form)
into discrete paragraphs. Break down your paragraphs thematically, which will allow for a more
elegant structure.
Support every argument. Make sure you have sufficient evidence to make your points and
arguments persuasive. Place further information in a footnote, if necessary.
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12/24/2019 Assignment 2: Close textual analysis
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Ensure that each paragraph covers a particular point and argument (i.e. make sure that each
paragraph has a focus without trying to cover too much).
Include one point or argument in each paragraph.
Do not leave sentences in isolation, but combine them into paragraphs that cover one point o
topic.
You do not need to provide a plot synopsis—only discuss the plot where relevant.
Avoid evaluative phrasing and personalisation to maintain critical distance.
Discuss the 'spectator' or the 'audience' rather than 'I' or 'you'.
Aim for an academic tone; avoid colloquialisms or loose informal phrasing. For instance, it is 'film'
not 'movie'.
Proofread thoroughly to avoid stylistic, grammatical and spelling e
ors.
Additional resources
Have a look at the following example of past student work, Assignment 2 Exemplar (PDF 221 KB),
as a guide when approaching this assignment.
Submission details overview
This assignment will be submitted via Turnitin. You will find the relevant submission point below.
Please allow a 24-hour turnaround for an originality report to be generated. See the Turnitin
originality report (https:
portal.swinburneonline.edu.au/study-resources/turnitin-originality-report-0)
area of Study Resources for several guides to assist with the submission process.
Assignment support
Don't forget that in addition to your eLAs who provide discipline-specific content advice, you can
access the 24/7 draft writing service from Studiosity.
If you need assistance with academic feedback on a draft of your assignment task see Assignment
support: Studiosity.
Assignment criteria
1. Content of textual analysis demonstrates understanding of the chosen screening and relevant
film concepts.
2. Analysis is presented in a clear, coherent and engaging manner.
Your work will be assessed using the following marking guide:
Assignment 2 marking guide
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12/24/2019 Assignment 2: Close textual analysis
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Criteria No
Pass
Pass
50-59%
Credit
60-69%
Distinction
70-79%
High
Distinction
80-100%
Criteria No
Pass
Pass
50-59%
Credit
60-69%
Distinction
70-79%
High
Distinction
80-100%
Content of
textual
analysis
demonstrates
understanding
of the chosen
screening and
elevant film
concepts
(70%)
Did not
meet
criterion.
Basic
identification of
the formal
aspects used in
a scene (e.g.
cinematography,
editing, mise-
en-scène,
sound).
Identification of
the formal
aspects used in
a scene (e.g.
cinematography,
editing, mise-
en-scène,
sound).
Explanation of
how the
filmmaker has
used these
formal aspects
to achieve a
particular effect.
Identification of
the formal
aspects used in
a scene (e.g.
cinematography,
editing, mise-
en-scène,
sound), using
co
ect
terminology.
Clea
explanation of
how and why
the filmmake
has used these
formal aspects
to achieve a
particular effect.
Thorough
identification of
the formal
aspects used in
a scene (e.g.
cinematography,
editing, mise-
en-scène,
sound), using
co
ect
terminology.
Clear and
concise
explanation of
how and why
the filmmake
has used these
formal aspects
to achieve a
particular effect.
No extraneous
information.
12/24/2019 Assignment 2: Close textual analysis
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Criteria No
Pass
Pass
50-59%
Credit
60-69%
Distinction
70-79%
High
Distinction
80-100%
Analysis is
presented in a
clear,
coherent and
engaging
manne
(30%)
Did not
meet
criterion.
Acceptable
standard of
presentation
with clea
language.
Good standard
of presentation,
with clea
language.
Accurate
spelling,
grammar and
eferencing.
Reference list
included at the
end of the
analysis.
Very good
standard of
presentation,
with clea
language that
maintains
critical distance.
Accurate
spelling,
grammar and
eferencing.
Reference list
included at the
end of the
analysis.
Outstanding
standard of
presentation,
with clea
language that
maintains
critical distance,
coherent flow
and linkage of
ideas and
sections.
Accurate
spelling,
grammar and
eferencing.
Reference list
included at the
end of the
analysis.
Request for assignment extension
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some other extraordinary cause or circumstance reasonably beyond your control. If you feel this is
the case and you need an extension to support you in completing your assignments, please select
the option that you feel is most appropriate for your situation.
Please note: the request must be received prior to the submission date and time of the assignment.
Assessment declaration
I would like to request a 48-hou
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I would like to request longer than 48
hours
12/24/2019 Assignment 2: Close textual analysis
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except where due acknowledgement is made.
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Plagiarised material can be drawn from, and presented in, written, graphic and visual form, including
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12/24/2019 Assignment 2: Close textual analysis
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Exemplar - MDA10003 TP3 2019
This exemplar is to be used as a guide to direct you on your assessment. In order to maintain your academic
integrity, you should not copy the exemplar in whole or in part. A high TurnItIn similarity report would lead to
a
each of academic misconduct.
Close Textual Analysis
Assignment 2
Due date: 10th December 2018
Word Count: 992
Exemplar - MDA10003 TP3 2019
This exemplar is to be used as a guide to direct you on your assessment. In order to maintain your academic
integrity, you should not copy the exemplar in whole or in part. A high TurnItIn similarity report would lead to
a
each of academic misconduct.
Jonathan Demme’s 1990 cinematic adaptation of Thomas Ha
is’ bestselling novel The Silence of the
Lambs is a psychological thriller and ho
or film, which combines and explores the themes of transsexuality,
empowerment and feminism through the character development of the chief protagonist, Clarice Starling.
With the insightful and enduring dialogue of Ted Tally’s screenplay, the director’s constant and defining
use of close-up shots and tight camera framing of central characters, as well as economic mise-en-scene, the
viewer is regularly compelled to experience the chilling and te
ifying nature of the subject matter directly
through the eyes of the novice FBI agent Starling. The purpose of this analysis is to provide an examination
of the elements of the scene where Starling is first introduced to the primary antagonist, Hannibal Lecter
(Movieclips XXXXXXXXXXThe cu
ent analysis will also discuss how the filmmaker explored the above themes by
examining the formal aspects of this scene.
Having been charged with the responsibility of interviewing imprisoned serial killer Hannibal Lecter,
FBI agent Starling’s first encounter with the chief antagonist is as confronting for the viewer as it is Starling,
largely due to the realistic setting and the atmospheric lighting of the mise-en-scene. As the audience often
judges the mise-en-scene by standards of realism (Bordwell & Thompson 2011), the filmmaker’s depiction
of Lecter’s prison cell establishes a distinct and som
e mood with his