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Submit your sequence analysis from a film of YOUR CHOICE here. BUT the key should be that the sequence should really comprise some meaningful unity of action/time/place. I.e. think carefully about where you start and stop. I am not going to prescribe a length, but there should probably be at least 10 shots in this sequence, unless you can make a convincing case, through your analysis, for a sequence that’s less shots (for instance, a sequence where cutting is replaced by re-framing in a long take).
This is a chance to really show that you understand how/why a sequence is edited together and the emotional, psychological and intellectual impacts that such a sequence can produce. You can use a number of formats–see the Yale Film Analysis guide or my template in the back of the syllabus–but you should be as thorough and technically sophisticated as possible. You really want to suggest to the reader WHY certain decisions are made. I.e. WHY does, for instance, Spike Lee stitch together two opposite dutch angles (canted angles) in a given sequence (see Do The Right Thing, for a lot of this kind of disruptive “diagonality” when we get to it). Or in other words what EFFECT/MEANING does this produce?
That’s just an example. And anyway, you have been doing miniature versions of this over the duration of the course.
Again: see:

Part 6: Analysis

or the syllabus for examples.
The “sequence analysis essay” portion of this page also has some good tips on avoiding plot summary and sticking to how film form creates meaning (although you’re not exactly/necessarily writing a full paper on your sequence, as more or less prescribed here):
https://www.webpages.uidaho.edu/~sflores/Engl230Shot&SequenceAnalysis.html

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