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Describe and illustrate with descriptions from Ingmar Bergman’s Persona (1966) the allegation that women engage in performative roles in a patriarchal society.
Discuss how violence and sex were used in Bonnie and Clyde to suggest larger societal concerns.
Name the method used by Jean Rouch and Edgar Morin in Chronique dun été / Chronicle of a Summer (1961) and provide examples of how their practice of documentary filmmaking differed from Alain Resnais in his film finished five years earlier, Nuit et Brouillard / Night and Fog (1956)?
How does the protagonist’s crisis change her by the end of Agnès Varda’s Cléo de 5 à 7 / Cleo from 5 to 7 (1962)? Describe Cléo from the beginning of the film and from the end of the film to demonstrate the transformation.
Using examples from the film explain how D. A. Pennebaker’s Don’t Look Back (1967) provides a time capsule for a specific cultural and historical moment.
Discuss how the historical moment (the 1960s) marked the evolution of the screenplay, production, and editing of The Battle of Algiers (1966) co-written by Franco Solinas and Gillo Pontecorvo and directed by Pontecorvo.
Describe in detail three examples from Bicycle Thief (1948) that help us identify Vittorio DeSica’s film as an influential Italian neorealist film.
Compare both protagonist and antagonist in Akira Kurosawa’s Stray Dog (1949) and how they each provide insight into the turmoil of post-war Japan.
Explain with examples from Robert Aldrich’s Kiss Me Deadly (1955) how the film exposes the misogyny of American pulp detective protagonists of the 1950s.

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