evaluation of a movie

evaluation of a movie

Please I need also the outline and the webbing process
I need first the rough draft by april 27
1. the essay should have an introduction, three main idea chunks and a conclusion paragraph
2. should have a thesisIs i,arguable, clear, qualified (focused on a unified aspect or interpretation of the movie) and in the form of a statement

5. topic sentence in each body paragraph
6. three (or four) main ideas
7. there should be appropriate transitional words and phrases in each topic sentence
8. all of the body paragraphs should be unified around their intended topic

9. there should be enough examples that the point of the essay is clear in the reader’s mind (three examples, with at least three details per example)

10. the quotes and data have to be properly attributed (so you know who said it/where it’s from) Mark any omissions on the paper.
11. the conclusion paragraph should bring back up the three main idea points

12. Has the Call to Action/clincher
1.) Is the paper in Times New Roman, 12pt font with 1” margins?
2.) Is the header in the right-hand corner and does it have the writer’s last name and page number (in Times New Roman, 12pt font)?
3.) Is the title centered on its own line? (not underlined or in bold, in Times New Roman)
4.) Are there quotation marks around any short (under 4 lines) quotations?
5.) Are all block quotations formatted correctly?
6.) Is there a citation for all of the information (both quotes and paraphrases)?
7.) Is the period after the parentheses for the short quotes?
8.) Are all of the quotations/paraphrases properly “sandwiched”? Mark any mistakes on the essay.
9.) Does the name block include (in this order): writer’s name, professor’s name, Eng 121-002, date (in format like 1 Sept. 2011), Assignment (Trend Essay)
10.) Is the Works Cited page formatted correctly?
o On separate page
o The title (Works Cited) is centered on the top of the page (not underlined, bolded, etc)
o Entries are in alphabetical order
o All of the entries have the first line all the way to the left margin and the rest of the lines indented ½”
o Entries are all complete and correct

Sample essay
Esso Rotment
Professor Bennett
Eng 121-009
10 Nov. 2011
Evaluation Essay
Feminism in Film and the Cat People
Most horror films work out metaphorically the adolescent years and then play them out to end either safely or to end in a way that is cathartic for its fear-weary audience. Most of these films, however, maintain certain gender-specific roles within the framework of the film. The monster is generally male, and a good, would-be father must save another good would-be mother from the male “other” monster. This set-up puts all the power in the hands of the men–either the monster or the heroic boyfriend–and places the women, almost always, in the role of victim (Hollinger 297). This makes Jacques Tourneur’s “The Cat People” (1942) particularly interesting for the time period in which it was made. It is one of the few horror films where the figure to be feared is female.
Some films with female monsters, such as James Whale’s “Bride of Frankenstein” (1935), create a female monster and then suppress any fear she might have evoked by reanimating the male monster, and making him the center of attention (Hollinger 299). In other words, she becomes merely a gimmick for justifying the sequel. Such is not the case for the original “The Cat People,” where female sexuality run amuck is the central idea for horror in the film. By contrast, the 1982 version by Paul Schrader lessens the power of the female figure who made the original frightening; instead, a Svengali-like brother is introduced who usurps the power role.
Robin Wood points out that “The Cat People” (1942) “is centered on the repression of female sexuality in a period where the monster is almost invariably male and phallic” (183). The focus of “The Cat People” is on the fear of a sexually aggressive female, in the guise of a cat, unrepressed and on the prowl. It is a film that is almost progressive in its treatment of women.
If Tourneur’s version of “The Cat People” is a step in the right direction in at least recognizing female sexuality and the power it evokes over men, Shrader’s later version goes a huge step back. While it is ostensibly about female sexuality, it, like “The Bride of Frankenstein,” makes innocuous the threatening nature of the female monster. The opening scene positions the female as a ritual, sexual sacrifice to the lust of the male panther (Hollinger 304). Although the two films share the same name, a few of the same characters, and some of the same plot, they are two very different films with very different messages.
Walter Evans, in his essay “Monster Movies: A Sexual Theory,” suggests that what creates fear in many horror movies is produced “at the border which separates those who take up their proper gender roles from those who do not, or the border is between normal and abnormal sexual desire” (41). Irena, from Tourneur’s version of “The Cat People,” fits both of these fears. She has not taken up her proper gender role because as a wife she withholds sex from her husband. She does this because she is afraid she will turn into a panther and, as she puts it, be driven a desire to kill. But it still positions her as the power figure in the relationship because she is in control of what happens in the bedroom. Irena is also borders between normal and abnormal sexual desire, not only because she seems to exude sexuality, but also because she seems to desire sex, unlike Alice, who waits patiently, and asexually, for Oliver to notice. Irena, on the other hand, flirts, smiles, and seems to want. This behavior has a powerful effect on the men in the movie. And Dr. JuID, the other male influence in the movie, although he never confesses his attraction to Irena, reveals it through several sexual advances he makes toward her.
By Evans’ definition of horror, Irena, from the 1982 film, won’t even make you blink if she talks loud. She satisfies the expectations of her gender by maintaining her virginity well into adulthood, and when she does become sexually active; her partner has all control, making her sexual desire normal in a patriarchal culture, especially because it doesn’t admit much desire.?
Within the context of the 1942 film, there are two males who try to exert their patriarchal control over Irena. The first is Oliver Reed, the non-threatening male who tries to contain Irena’s sexuality in two ways. First, he transforms her into a fetishistic figure, “placing her in the cult of the beautiful and sexually provocative, but unknowable and untouchable woman” (Hollinger 301). Oliver confesses this while admitting his attraction to her. He also tries to control her buIDing sexuality by marrying her. Marriage would put Irena in a male-controlled environment with him as husband and controller. This attempt backfires, however, when Irena claims she cannot have intercourse with him. The power structure is therefore changed, and Irena is in control. Oliver is left to the boring and asexual union with his co-worker and friend Alice (Hollinger 302).
In contrast to Oliver’s somewhat passive and ineffectual attempts to control Irena is Dr. JuID, the psychiatrist who plans to fix what Oliver believes is Irena’s mental problem: that she believes she will turn into a cat if she has intercourse. Dr. JuID “sets out to actively counter Irena’s dangerous sexuality with the force of his phallic presence” (Hollinger 301). This presence is symbolized by his walking stick, which encases a sword “a sword that suggests a strong connection to the statue of King John of Serbia” in Irena’s apartment, which depicts him plunging a sword through a panther. Irena reveals to Dr. JuID, partially under hypnosis, that King John, coming to rid the village of evil, drove a matriarchal band of witches and


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