Study Circle

What do you think about Marxist theory in cinema, and how has it been depicted globally and over time? Does Parasite (2019) by Bong Joon Ho offer a novel way of communicating its message? Please add your refenreces at the end of your response.

Evaluate the significance of Louis Malle's career, focusing on his versatility as a director and his approach to addressing challenging social and historical themes. Analyze how Malle's distinctive filmmaking style, characterized by a blend of realism and personal perspective, influences the narrative and development of character-driven stories within his films. Be sure to include citations from credible sources to support your analysis and provide a bibliography at the end of your essay. Pointers for Students with Citation Instructions: 1. Introduction to Louis Malle: • Begin with a brief biography of Louis Malle. Use authoritative sources for biographical details. • Mention the diversity of genres and topics he explored. Cite specific films as examples. 2. Versatility as a Director: • Discuss examples of Malle’s films across different genres. Use film reviews and scholarly articles as sources. • Highlight his work in different cultural settings, citing interviews or critiques that discuss his cross-cultural impact. 3. Tackling Challenging Themes: • Identify and examine the social and historical themes in Malle's films. Utilize film analysis and academic papers to support your points. • Reflect on Malle’s approach to controversial issues, citing specific scenes or narratives as evidence. 4. Filmmaking Style: • Analyze Malle's use of realism, referencing film critiques or scholarly commentary that discusses his technique. • Discuss how his personal experiences influence his films, citing interviews or biographical sources. 5. Focus on Character-driven Stories: • Explore Malle's character development, using film studies literature to highlight his methods and impacts. • Provide examples from his films, citing specific sequences or character arcs that illustrate your points. 6. Impact and Legacy: • Assess Malle's impact on cinema and his legacy. Use critical essays, retrospectives, and reviews as sources. • Consider current filmmakers who may be influenced by Malle, citing interviews or articles where they reference his work. Understanding Louis Malle will need a detailed enquiry on these topics. You can choose to comment on any three topics.

1 NO consecutive 5ths When there are perfect 5ths in the same two parts one after the other, we call them “consecutive 5ths”. 2. NO consecutive octaves When there are 2 octaves in the same two parts one after the other, we call them “consecutive octaves” 3. NO hidden (or “exposed”) consecutive Hidden consecutive happen when: • The bass and soprano parts form a perfect 5th or octave AND • The 5th/8ve is approached by similar motion AND • The soprano part is approached by a leap (the interval between the two notes is wider than a 2nd). 4. NO dissonant leaps (seventh, augmented, or diminished intervals), choose small intervals. The leading note resolves to the tonic. Leaps of a seventh are NOT allowed. In major keys, diminished/augmented melodic intervals are NOT recommended. Augmented 2nds and 4ths are NOT allowed. 6ths should be avoided. Leading notes in dominant chords ALWAYS resolve onto the tonic of a tonic chord. (Bach didn't always do this, though!) In a cadential 6-4, the 4 resolves to 3 and the 6 resolves to 5. Always choose a semitone step if one is available. 5. The soprano line should have an interesting melody. The best intervals to use are 2nds and 3rds. 4ths and 5ths are OK, but should only be used in an emergency. Repeated notes can be used, but the more you use the more boring your melody will be, so only use them if you are stuck. 6. The alto and tenor lines should not move about much at all. In the alto and tenor parts, you are padding out the chords: Always choose the nearest note that you can, without breaking any other rules (e.g. of consecutive or illegal intervals, etc.) If possible, repeat the previous note. Otherwise, choose the next nearest note. Leaps of 4ths and 5ths are ok but use them sparingly. 7. Double the root or fifth in root position chords. Double any note in the first inversion chords. Double the fifth in second inversion chords. Double the third in diminished chords. Double the third with care in other chords. 8. Never leave out a figured note. Never leave out the root or third. You can never leave out the fifth of a 6-4 chord. Never leave out the third or the root. 9. Never overlap parts. Don’t let your voice parts overlap. The soprano line must always be higher than all the rest, the alto must always be higher than the tenor. Be careful not to write parts that cross over like these two. 10. Stay in the accepted voice ranges and don’t put more than an octave between the upper voices. Reference: https://www.cmburridge.com/teaching/bach-chorales/lesson-2-rules-of-chorale-harmony/#:~:text=Rule%201%3A%20Avoidance%20of%20Parallel%20Fifths%20and%20Octaves.,It%20becomes%20much%20harder%20to%20build%20...%20