For your second and third assignment in this class, choose two of the following assignments:

Audio Visual Analysis Assignment: Create an audio visual analysis of the film clip I show in class based on Chion's model analysis (p. 198) 3-5 pages, typed, single-spaced for scene breakdown, double-spaced for analysis.

Psychoanalysis Assignment: Create an psychoanalytic reading of one of the film clips I show in class for this assignment, or a scene from a film of your choice, based on the theoretical frameworks deployed by Silverman as well as her reference to and critique of Chion. 5-7 pages, typed, double-spaced, with footnotes or other forms of citation.

Film Music Assignment: There are 2 options for this assignment.

1) Create an analysis of the musical score in a film of your choice ( you can focus on one significant scene in a film) utilizing Gorbman and/or Kassabian's methodologies. 5-7 pages, typed, double-spaced, with footnotes or other form of citation.

2) Applying Chion's forced marriage experiment to a scene or sequence of your choice (no longer than 5 min.) and discuss the results using Gorbman and/or Kassabian's methodologies. 3-5 pages, typed, double-spaced, with footnotes or other form of citation. Please note: if you choose this option, there will no be additional technical instruction done in class, therefore you must already know how to dub new sound onto an existing sequence. You may use a soundtrack that you create yourself, or found sound. The sequence you create should be submitted on a DVD as a quicktime file, along with your paper. In-class presentation of re-scored sequence on 12.11

Recording Assignment: produce a 5 minute recording that responds to the various issues of the sound space and the reproduction of sound raised by Altman and Thompson. The recording should demonstrate the way acoustics define that space, and how space influences the sound in your recording- physically, technologically, historically and theoretically. The recording should demonstrate the way acoustics define that space - spatially, technologically, and theoretically. The recording will be presented in class, and accompanied by a 5-7 pages, typed, double-spaced paper discussing the process and design of the recording, as well as its theoretical and historical premise. I accept the following formats for your recording: DAT, audio cassette, or audio CD. This assignment can be done in small groups or partnerships. Due date: 12.11, final deadline 12.18

All of these are take-home assignments, due a week after they are assigned. Each graded assignment will count for 20% of your class grade (a total of 40%)

Please focus on analysis rather than reportage, and support your first-hand observations with additional research in historical and theoretical areas. The readings are a good place to start, and you are encouraged to also look at secondary sources. Ideas from class discussions can also be incorporated into your paper.

Your grade will be based on your understanding of the formal and theoretical aspects of how sound is used these films and recordings. Your ability to support your arguments and observations with research in historical facts and theoretical discussions, as well as your speaking, writing and analytical skills will also figure into my assessment. You are, of course, encouraged to incorporate your own opinions into the discussion. Explain how your views correspond to and differ from the ideas expressed in films and in the class readings.

Please turn the assignments in on time, and please follow the format I outlined: assignments that are too long or too short, late papers, hand-written papers, etc. will lower your grade.

Include appropriate citations in your paper assignments: usually a bibliography and footnotes as well as a filmography for the films you cited in your papers should cover most references.

Be specific: cite reading sources, use footnotes, and use actual references from the film to support your argument.

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