The Moving Object

Question 1

Conduct textual analysis of editing, focusing your study on either graphic

relations or rhythmic relations or spatial relations or temporal relations.

To do so, conduct one of the following comparisons:

(a) Call the Midwife series 2 episode 5 [one of the two seminar extracts] and Don’t Look Now [any scene] or
(b) Exile [the seminar extract] and Vertigo [any scene] or

(c) Duel [the seminar extract] and Vertigo [the seminar pursuit scene] or
(d) Exile [the seminar extract] and Doctor Who: ‘Heaven Sent’ [any scene] or
(e) Exile [the seminar extract] and Duel [the seminar extract]

Question 2

What does John Baxter “see” in Don’t Look Now and when does he see it? What motivates the editing? Discuss in relation to one of the following
combinations:

(a) Graphic relations and rhythmic relations or

(b) Graphic relations and spatial relations or

(c) Graphic relations and temporal relations or

(d) Spatial relations and temporal relations

Question 3

Compare the ways in which editing conveys time and place in Don’t Look Now and Doctor Who: ‘Heaven Sent’

Question 4

Discuss the ways in which Jonathan Olliver argues for the use of statistical style analysis. (You may supplement Olliver with other sources on statistical style analysis recommended in the Topic 7 folder.) Demonstrate your position on that debate by conducting one of the
following:

(a) Statistical style analysis of editing in any text from the ‘Essay 2

text list’ or

(b) Statistical style analysis of camera and editing in any text from

the ‘Essay 2 text list’ [you may not answer this question if you wrote about camera in Essay 1]

Question 5

Explain how and why film scholarship needs to do more to engage with sound. Put your argument into practice by analysing the ways in which sound conveys Morvern’s subjectivity in Morvern Callar. (Your answer may engage with the film’s use of songs if you choose, but purely in
relation to sound design.)

Question 6

Explain how and why film scholarship needs to do more to engage with music. Put your argument into practice by analysing music in one of the
following ways:

(a) Compare two scenes from key moments of Don’t Look Now or

(b) Explore how Morvern Callar uses pre-existing songs as soundtrack or
(c) Explore how character themes/motifs operate in Vertigo or

(d) Conduct textual analysis, informed specifically by module sources, to explore Sullivan’s argument that Bernard Herrmann’s music for

Vertigo employs “endless circlings, recirclings, and suspensions” in its depiction of obsession

Question 7

Conduct a case study of television sound and/or television music in

relation to one of the following:

(a) The Radiophonic Workshop’s contribution to Doctor Who: ‘An Unearthly Child’ or
(b) Murray Gold’s score for Doctor Who: ‘Heaven Sent’ or

(c) The ways in which studies of the Radiophonic Workshop address sound and music in twentieth-century Doctor Who. [Be warned that
this is not something that we will study in class.] or

(d) How the first and last regular episodes of any one regular character (Doctor or regular companion) in twenty-first-century Doctor Who make use of that character’s signature theme/motif. [Be warned that this is not something that we will study in class.]

Question 8

Discuss the ways in which the ‘Spaces of Television’ project has facilitated the discussion of television style. Support this through your analysis of Doctor Who: ‘An Unearthly Child’

Question 9

Why does it matter that chapters in Television aesthetics and style contest the use of the word “cinematic” in studies of television? Join the “aesthetics debate” through your analysis of either:
(a) Call the Midwife series 2 episode 5 or

(b) Doctor Who: ‘Heaven Sent’ or

(c) Small Axe: ‘Lovers Rock’ or

(d) Black Narcissus 1-3

Question 10

With close reference to issues of Movie, explain why the Movie tradition of textual analysis-informed film scholarship has made a comeback and write a Movie-style article analysing any one text from the ‘Essay 2 text
list’. Address one of the following:

(a) editing or

(b) sound or

(c) music