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Here is my final paper for psychology of performance class. I’m really in bad shape in this class. I have to get at leas %90 to pass. Please If your not fully understand what you are doing, please do not do it.
*** Need it with the presentation!!!
*** Plus, an extra credit assignment <<< Need them both by Wed 21st of Jan (NO LATER THAN 11AM)
Here you go:
PSYCHOLOGY OF PERFORMANCE: Final Project and Presentation – PAPER DUE 2nd Last Class
Create a new story inspired by the news or other incident (must check with the instructor for approval), and address the following items according to the material covered over the semester. Provide details, using terms and theories that support your characters, story, process, and audience. Look for areas where this potential project could either be improved, expanded or focused to increase impact using psychological concepts.
PAPER: 100 pts.
Minimum 6 pages (just write the paragraphs as described): you may attach visuals and music as additional files, but these are not included in the 6 pages.
You must include three references (beyond the text and handouts from class) in MLA citation format, using credible sources from suggested books, documents, websites, or interviews as in-text citations and on a works cited page.
PRESENTATION: 8-10 minutes 50 pts
Present three significant aspects of your decisions for this story:
Also describe (and provide for class) one 2-3 minute scene from another movie that is an similar (or an inspiration) to your film.
Psychology: Extra Credit
You asked for Extra Credit: this will count as long as you have finished all the other assignments. 50 pts, due at the end of the break.
In the course thus far we’ve focused on the psychological relationship between filmmaker, subject matter, character, production, and emotional impact on the audience.
Take one director/movie that you love and write a paragraph (120-200 wds.) on EACH of the following, and also list your sources: (I used Von Trier because I have never researched his approach and work!)
1) What is the background of the filmmaker that influences the way they bring human behavior to the screen? In your own words…
Eg: Lars Von Trier was brought up in an extremely permissive environment that contrasted with his strict and abusive school environment. His parents took him to nudist camps, but he had to conform in his school environment, and so consequently he was “very scared” of the real world. He also discovered as a young adult that his father wasn’t his father: that he had been the result of a fling that his mother had with her boss. Throughout his career he has been ‘disliked, misunderstood, and unpleasant” – and he has taken steps to be contrary with producers and others: in creating his films, he always is looking to disrupt the audience expectations and make them think and experience outside the norm. In “Dogville” the sense of impending doom and fear is a driving force that makes the outcomes believable if not inevitable.
2) What do you know about the creation of characters in one of their films?
Eg: Von Triers characters are often psychologically complex and not easily generalized, but there are other consistent ways that he approaches characters beyond the norm. Often his characters are allegorical or represent specific ideas (“Dogville”) and extend an ideology about religion or ‘faith’, but a faith that has many readings. He deliberately violates notions of accepted society and finds the frailty in all. He also often touches on the persecution of women, almost to an obsessive nature. He says they are not women, not female at all, but instead says, “They are Self Portraits.” (Newsweek) Also, “My technique is that I divide my personality into the characters that I write, and then very early on they get a life of their own.”
3) What can you find about how the director works on set ?
Eg: Von Trier is not known to be an actor’s director – and has been said to have no interest in what the actors think. He is mixing his elements, but his direction is mechanical, often describing motion and voice, but not getting into the psychological understanding that many actors expect. He does press the performer, in what is sometimes perceived as an unsympathetic way, but this process sometimes produces performances that shine in confident actors OR reveal the delicacies in those that usually require more interaction. On the other hand, the crew and creative are often satisfied with his demanding and technical approach. He is known for having a dark but funny perspective – witty and intelligent – and at least from the cinematography perspective is demanding, technical and precise in this desires to capture the essence of the scenes. Cinematographer Anthony Dodd Mantle described the process of “Antichrist” as both exhausting, demanding and interesting – both from keeping VonTrier emotionally satisfied and also resolving technical demands.
4) What themes are explored in their work?
Eg: When asked about his perspective and whether there was more misery or joy – he responded: “Misery, dammit! Clearly. You may argue: Orgasm. Yes, that’s fine enough. But, orgasms, Ferraris and other pleasures. Yes, but with death and suffering at the other end of the scale, these weigh more, I think. And there’s much more suffering and pain than pleasure”. In a way this sums up his approach to characters and creation of narratives that push discomfort in many ways. Von Trier takes the ambiguity and paradox of existence to be the basis of his interpretation, never leaving the viewer with an easy answer. Underneath every normal societal configuration there is a sideways truth that is erodes the superficial ideas.
5) What is the audience/public reaction to the emotional content of the work?
Reading reviews of any Von Trier work, can be quite revealing, since reviews often contain both respect for his technical and artistic approach but then split heavily in interpretation of theme and ultimate meaning. Because he does push boundaries and genuinely include provocative images that explore his themes and intent, there is a challenge to tolerance and norms. Peter Hjorth, one of his long term collaborators as a 2nd unit director and visual effects supervisor puts it this way – “Lars’ films both ravish and revolt audiences, pushing the limits of tolerance and understandability.” In looking at reviews of “Dogville” for example, there are many critical statements ranging from “fatally self important” to “brutally masterful allegory” and in general there is a question between the artistic value and daring measured against the pretentious ambiguity and harsh interpretation. In other words, unless you have a high tolerance for ambiguity, or just enjoy his visual experiments, and symbolic/allegorical presentations, it may be a difficult experience.
Gross, Larry. “The Six Commandments of the Church of Lars Von Trier’s Antichrist | FilmComment.” The Six Commandments of the Church of Lars Von Trier’s Antichrist. Film Comment, 1 Sept. 2009. Web. 24 Dec. 2014. <http://www.filmcomment.com/article/the-six-commandments-of-the-church-of-lars-von-triers-antichrist>.
Rapold, Nicolas. “Hard Life for a Von Trier Woman, Again.” The New York Times. The New York Times, 1 Mar. 2014. Web. 24 Dec. 2014. <http://www.nytimes.com/2014/03/02/movies/hard-life-for-a-von-trier-woman-again.html?_r=0>.
O’Hahir, Andrew. “Interview: Charlotte Gainsbourg Talks Von Trier’s “Melancholia”.”Saloncom RSS. 9 Nov. 2011. Web. 24 Dec. 2014. <http://www.salon.com/2011/11/10/interview_charlotte_gainsbourg_talks_von_triers_melancholia/>.
Thomas, Dana. “Directing in the Dark.”Newsweek 15 June 2003: Print.
Thorsen, Nils. “Longing for the End of All.”Cannes Festival – Www.festival-cannes.com. 11 Apr. 2011. Web. 24 Dec. 2014. <http://www.festival-cannes.com/assets/Image/Direct/042199.pdf>
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