I find it counterproductive to suggest a target word count for these answers, but you should organize your ideas into a succinct, forceful argument with supporting detail and then plan to devote the equivalent of one intensely active 80-minute class session to committing those thoughts to words.

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So, here’s the deal: For your responses, write like crazy, using full sentences but not bothering with the niceties of formal composition (no introductory comments, no restating the question, no having a concluding paragraph, etc.). Also feel free to abbreviate the film titles. Most importantly, use specific details from your lecture notes, readings, and superior memory to support your arguments. I find it counterproductive to suggest a target word count for these answers, but you should organize your ideas into a succinct, forceful argument with supporting detail and then plan to devote the equivalent of one intensely active 80-minute class session to committing those thoughts to words. (Note: If you’re done writing out your answers within 30 minutes, your ideas are most likely incomplete and your arguments underdeveloped.)
1. Working from the “03 | precursors, predispositions | guide” on the Carmen homepage, select six visual antecedents to cinema and describe how they anticipated various essential aspects of the moving image, cinematic technology and the film-viewing experience.
2. What are the principal differences between the Primitive Mode of Representation and the Institutional Mode of Representation? Use film examples we’ve seen in class or you’ve screened on your own to illustrate Burch’s schema.
3. A decade apart and in their own way, both A Trip to the Moon and Cabiria dazzled audiences of the day. In each case, what was the nature of that bedazzlement and how exactly did Méliès and Pastrone exceed prevailibcing expectations of cinematic entertainment?

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