Media Production Custom Essay

This order is for two essays both media production but different modules and different questions the first essay is 5 pages:

A research question related to the cultural and historical themes

Aims and objectives related to this topic.(50-200 words)
Aims and objectives should plan out what your paper’s core argument will be and what methodology you will use to achieve it.

A brief review of the literature related to this subject (300-700 words).

An academic paper based on your topic idea (original academic argument based on primary research), including proper referencing and bibliography on this subject (2000 words).

The 2nd essay is 6 pages the question is:
Should we think of genre conventions as a set of possibilities for filmmakers or as a set of constraints?
Make detailed reference to TWO genres and at least 4 American films in your answer.

must include a filmography and a bibliography. Your bibliography must include at least FIVE PUBLISHED TEXTS (not from the internet). One of these texts should be Langford, Film Genre. Use the

bibliography in Langford and the reading list:

Essential Texts that must be included:

•Bordwell, David and Thompson, Kristin (2012 / 2010) Film Art: an Introduction (London: McGraw-Hill)
•Langford, Barry (2005) Film Genre: Hollywood and Beyond (Edinburgh: Edinburgh University Press)

Recommended Texts

•Altman, Rick (1999) Film/Genre (London: BFI)
•Altman, Rick (ed.) (1981) Genre: The Musical (London: BFI)
•Basinger, Jeanine (1986) The Second World War Combat Film: Anatomy of a Genre (New York: Columbia University Press)
•Burgoyne, Robert (2008), The Hollywood Historical Film (Oxford: Blackwell)
•Buscombe, Edward and Pearson, Roberta (eds) (1998) Back in the Saddle Again: New Essays on the Western (London: BFI)
•Chapman, James (2008) War and Film (London: Reaktion)
•Clarens, Carlos (1997) Crime Movies (New York: Da Capo)
•Clover, Carol J. (1992) Men, Women and Chainsaws: Gender in the Modern Horror Film (London: BFI)
•Cohan, Steve (ed.) (2002) Hollywood Musicals: The Film Reader (London: Routledge)
•Cohan, Steve and Hark, Ina Rae (eds) (1997) The Road Movie Book (London: Routledge)
•Cook, Pam (ed.) (2007) The Cinema Book (London: BFI)
•Copjec, J. (ed.) (1993) Shades of Noir (London: Verso)
•Cornea, Christine (2007) Science Fiction and Cinema: Between Fantasy and Reality (Edinburgh: Edinburgh University Press)
•Doherty, Thomas (1999) Pre-Code Hollywood: Sex, Immorality and Insurrection in American Cinema 1930-34 (New York: Columbia University Press)
•Doherty, Thomas (1999) Projections of War: Hollywood, American Culture, and World War II (New York: Columbia University Press)
•Durovicová, Nataša and Newman, Kathleen E., (eds) (2010), World Cinemas, Transnational Perspectives (New York: Routledge)
•Dyer, Richard (1998) Stars (London: BFI)
•Evans, Peter Williams and Deleyto, Celestino (eds) (1998) Terms of Endearment: Hollywood Romantic Comedy of the 1980s and 1990s (Edinburgh: Edinburgh University Press)
•Feuer, Jane (1993) The Hollywood Musical (London: Macmillan)
•Glitre, Kathrina (2006) Hollywood Romantic Comedy: States of the Union, 1934-1965 (Manchester: Manchester University Press)
•Grant, Barry Keith (2007) Film Genre: From Iconography to Ideology (London: Wallflower Press)
•Grieveson, Lee (2005) Mob Culture: Hidden Histories of American Gangster Film (Oxford: Berg)
•Hand, Richard J. and McRoy, Jay (eds) (2007) Monstrous Adaptations: Generic and Thematic Narrations in Horror Film (Manchester: Manchester University Press)
•Hanson, Helen (2007) Hollywood Heroines: Women in Film Noir and the Female Gothic Film (London: IB Tauris)
•Hardy, Phil (1997) The BFI Companion to Crime (London: Cassell)
•Hollows, Joanne, Hutchings, Peter and Jancovich, Mark (eds) (2000) The Film Studies Reader (London: Arnold)
•Jancovich, Mark (ed.) (2002) Horror: The Film Reader (London: Routledge)
•Keane, Stephen (2000) Disaster Movies: The Cinema of Catastrophe (London: Wallflower Press)
•Kelly, Andrew (1997) Cinema and the Great War (London: Routledge)
•King, Geoff (2000) Spectacular Narratives: Hollywood in the Age of the Blockbuster (London: IB Tauris)
•King, Geoff and Krzywinska, Tanya (2000) Science Fiction Cinema: From Cyberspace to Outerspace (London: Wallflower)
•Lacey, Nick (2000) Narrative & Genre: Key concepts in Media Studies (Basingstoke: Palgrave)
•Leitch, Thomas (2002) Crime Films (Cambridge: Cambridge University Press)
•Lev, Peter (2000) American Films of the 1970s: Conflicting Visions (Austin, TX: University of Texas Press)
•Maltby, Richard (2003) Hollywood Cinema (London: Wiley-Blackwell)
•Marshall, Bill and Stilwell, Robynn (ed.) (2000) Musicals: Hollywood and Beyond (Exeter: Intellect)
•Mason, Fran (2004) American Gangster Cinema: From Little Caesar to Pulp Fiction (London: Palgrave Macmillan)
•Mathijs, Ernest and Mendik, Xavier (eds) (2008) The Cult Film Reader (London: Open University Press)
•McGee, P. (2007) From Shane to Kill Bill: Rethinking the Western (Oxford: Blackwell)
•Miller, Toby (ed.) (2012) The Contemporary Hollywood Reader (New York: Routledge)
•Miller, Toby and Stam, Robert (eds) (2003) A Companion to Film Theory (London: Blackwell)
•Munby, Jonathan (2000) Public Enemies, Public Heroes (Chicago: University of Chicago Press)
•Naremore, James (1998) More Than Night: Film Noir in its Contexts (Berkeley: University of California Press)

•Neale, Steve (ed.) (2012) The Classical Hollywood Reader (New York: Routledge)
•Neale, Steve (ed.) (2002) Genre and Contemporary Hollywood (London: BFI)
•Neale, Steve (2000) Genre and Hollywood (London: Routledge)
•Prince, Stephen (2003) Classical Film Violence: Designing and Regulating Brutality in Hollywood Cinema, 1930-1968 (London: Rutgers University Press)
•Prince, Stephen (1998) Savage Cinema: Sam Peckinpah and the Rise of Ultraviolent Movies (London: Athlone)
•Ray, Robert (1985) A Certain Tendency of the Hollywood Cinema, 1930-1980 (Princeton, NJ: Princeton University Press)
•Rubin, Martin (1999) Thrillers (Cambridge: Cambridge University Press)
•Sanders, Steven (2008) The Philosophy of Science Fiction Film (London: Eurospan)
•Saunders, John (2001) The Western Genre: from Lordsbug to Big Whiskey (London: Wallflower Press)
•Schatz, Thomas (1981) Hollywood Genres: Formulas, Film-making and the Studio System (New York: Random House)
•Shadoian, Jack (2003) Dreams and Dead Ends: The American Gangster Film (Oxford: Oxford University Press)
•Spicer, Andrew (2002) Film Noir (Harlow: Pearson)
•Stam, Robert & Miller, Toby (1999) Film Theory: An Introduction (New York: Routledge)
•Stringer, Julian (ed.) (2003) Movie Blockbusters (London: Routledge)
•Tasker, Yvonne (ed.) (2004) Action and Adventure Cinema (London: Routledge)
•Tasker, Yvonne (1993) Spectacular Bodies: Gender, Genre and the Action Cinema (London: Routledge)
•Telotte, J.P. (2001) Science Fiction Film (Cambridge: Cambridge University Press)
•Thompson, Kristin (2007) Frodo Franchise: The Lord of the Rings and Modern Hollywood (Berkeley, California: University of California Press)
•Thornham, Sue (ed.) (1999) Feminist Film Theory: a Reader (Edinburgh: Edinburgh University Press)
•Warshow, Robert [1948] (1975) ‘The Gangster as Tragic Hero’, in The Immediate Experience: Movies, Comics, Theatre and Other Aspects of Popular Culture (New York: Atheneum)
•Wells, Paul (2000) The Horror Genre: from Beelzebub to Blair Witch (London: Wallflower Press)
•Wollen, Peter (1997) Signs and Meaning in the Cinema (London: BFI)
•Wood, Aylish (2004) ‘The Collapse of Reality and Illusion in The Matrix’, in Tasker, Yvonne (ed.) Action and Adventure Cinema (London: Routledge), pp.153-65
•Wood, Aylish (2000) Technoscience in Contemporary Film: Beyond Science Fiction (Basingstoke: Palgrave)
•Wood, Robin (2003) Hollywood From Vietnam to Reagan…. and Beyond (New York: Columbia University Press)