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UNDER NO CIRCUMSTANCES CAN THIS BE LATE! Custom Essay

1. How useful have you found formal textual analysis in your consideration of film/or TV texts? Consider with reference to at least ONE of the films studied on the unit.
2. What are the key textual and thematic features of film noir and why does the cycle remain so significant? Consider with reference to at least ONE of the films studied on the unit.
3. How important is it to place a film within its social and historical context?
4. Show how two films from the same historical decade relate to the social and political context of the time in which they were made.
5. How significant are industrial and economic features to the production of the film and TV texts that we consume? Please use one or more of the case-studies discussed on the module to exemplify your answer.
6. What were the key industrial features that lead to the creation of the classical Hollywood system?
7. Assess the strengths and weaknesses of Marxist film theory, with reference to at least ONE film you have studied in the module.
8. ‘Hollywood films tend to reflect the dominant ideology’. Discuss with reference to one or more films from the module.
9. Assess the strengths and weaknesses of semiotic theory with reference to ONE or more films you have studied on the module.

10. Is it possible to construct a semiotics of the Bond series? Critically examine this statement with reference to AT LEAST ONE Bond title studied on the module.

11. How useful have you found psychoanalytic theories to your understanding of Film and TV texts studied on the module?

12. To what extent can psychoanalysis be used to consider the voyeuristic drives of the American slasher film? Illustrate your answer with reference to ONE or more films studied on the module.

13. How useful is the critical methodology of national cinema to the study of film and media texts?

14. Critically compare TWO methodologies studied on the module to see which offers the most appropriate interpretation of ONE film text studied on the module.

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