1. Please read "Nelson take week four" and then post two-three sentences in response.

2. Please watch the Rear Window film on youtube for part 2 and 3, it CraftRead Corrigan, "Film Terms and Topics." Watch Rear Window. As you watch, use the list of questions on pages 63-65 to take notes. Write answers to each question (2-4 sentences per question).

- What is the angle at which the camera frame represents the action? Does it create a high angle, viewing its subject from above, or a low angle, viewing the action from below? When a conversation between two people is shot through a group of alternating high angles and low angles, it could mean that one character is tall and the other is short; it could also say that one of the two is the more dominant personality.

- Does the height of the frame correspond to a normal relationship to the people and objects before the camera; that is, are they at eye level, more or less? Or does the camera seem to be placed at an odd height, too high or too low? At the beginning of Rebel without a Cause (1955), for instance, the camera is positioned at ground level to capture James Dean's desperate and pathetic embrace of a small toy as he crumbles to the ground.

- Does the camera frame ever seem unbalanced in relation to the space and action (called a canted frame)? If so, why does this occur when it does? Is it recreating the perspective of a character look¬ing at the action from an odd angle so that the buildings appear diagonal rather than vertical? Is it meant to recreate the perspec¬tive of a drunk, or might it be a more subtle way of commenting, for instance, on a community that lacks harmony and balance?

- What kind of distance does the frame maintain from its subject? Does the film use many close-ups (for instance, showing just the characters' faces), medium shots (showing most of a charac¬ter's body), or long shots (showing full bodies from a distance)? Perhaps a scene uses a series of these shots, beginning with a long shot of a man on the street, then showing a medium shot of him looking in a store window, and concluding with a close-up of his surprised face as he sees something in the window. Does the movie develop a more elaborate combination of these that might be interpreted according to some meaningful pattern: close-ups for love scenes and long shots for battle scenes, for instance?

- Besides describing and containing die action, does the frame suggest other action or space outside its borders? Do important events or sounds occur outside the borders of the frame-in off-screen space? What is the significance of this offscreen space or its relation to what is seen within the frame? Is offscreen space used for comic effect, as in Keaton's movie The General (1927), in which we discover that the wheel he is sitting on is part of a train located outside the frame and about to move? Or does it have a serious meaning, as in Robert Bresson's films, in which offscrecn space suggests a type of spiritual reality his characters are unable to grasp or understand because it is literally beyond the frame of their world?

(Please submit all assignments in MLA format. Review this resource on MLA formatting:

3.Formal Analysis:Follow the directions for exercise two at the end of "Film Terms and Topics." Use Rear Window as your film. Write two pages instead of two paragraphs.

https://www.dropbox.com/s/srtto8ebd13m5cj/Corrigan_film%20terms%20and%20topics.rar?dl=0

Attachment:- Nelsons Take.rar