FILM ANALYSIS Assignment | Online Assignment Help

I need a film analysis done. I will provide a list of choices that are able to be used. Instructions are given for both the outline and essay.

After watching the film, complete this Discussion Forum by answering each question below in paragraph form. Answers need to be thorough and comprehensive, demonstrating that you paid attention to the film and thought about what was shown on the screen.  You may use more than one paragraph if necessary. Be sure that the topic sentence of your first paragraph uses key words from the question. All responses should be in complete sentences using proper spelling, grammar and punctuation.

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State the title of the film and the year it was released. Then briefly describe what the film is about and the position that it advocates.


Notes: ________________________________________________________________________________






Describe the progression of the film: how it begins, what stages it passes through, and how it concludes.


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List six facts described in the film that impressed you and explain how each fact relates to the film’s premise or theme.


Notes: ________________________________________________________________________________














How did the filmmakers try to convince you of the position that the film supports? Look for appeals to logic (logos), emotion (pathos), and prejudice (ethos).


Notes: ________________________________________________________________________________






Did any of the reasoning given in support of the position advocated by the film seem to be weak or misleading? If so, describe the concept put forward in the film and why you thought the reasoning was flawed.


Notes: ________________________________________________________________________________






Describe any cinematic techniques used in presenting particular scenes, images, or sounds which were designed to appeal to the viewer’s emotions and to encourage the viewer to agree with the position advocated by the film, without reliance upon fact or logical argument.


Notes: ________________________________________________________________________________






If the filmmakers asked how this film could be improved, what would you tell them? Describe the changes you would suggest in detail.


Notes: ________________________________________________________________________________






Did the film change your mind about any aspect of the subject that it presents? What information, argument or persuasive technique caused you to change your mind?


Notes: ________________________________________________________________________________





Possible Documentary Films for Essay 2

Note: This list is by no means comprehensive but does include some examples of documentary films that seek to persuade the viewer on a matter of political or social significance.

The following list was obtained from as of Dec. 1, 2019:

The Hottest August:When you think of climate change documentaries, chances are you picture Al Gore giving a PowerPoint presentation, or else scientists talking about rising sea levels in alarmist tones. Brett Story takes a radically different approach, engaging with “normal” New Yorkers (each more eccentric than the last, actually) and editing their thoughts about the issues that concern them most in such a way that subtly reveals the disconnect between the looming crisis and their daily behavior. The result is a brilliant puzzle-mosaic — in which global warming lurks largely unspoken — that every audience member inevitably assembles differently, presenting a good-natured survey of a time when earthlings had the luxury of worrying about other things than the planet’s survival.

Honeyland:Nestled in the Balkan mountains, a beekeeper sustains an existence that feels tied to something ancient and holy. This lyrical and majestic tone poem is a special kind of feast for the senses. It’s ravishing to look at — because the images are beautiful, but also because the directors, LjuboStefanov and Tamara Kotevska, immerse us in a way of life that’s really a way of being. The disruption of the beekeeper’s habitual serenity by a more contemporary tremor — in the form of a honey-gathering interloper who practices something akin to mass production — speaks to a spirit the whole world is losing.

Apollo 11:An astonishing time capsule featuring footage few us even realized existed, Todd Douglas Miller’s mind-blowing documentary takes audiences inside the Apollo 11 mission. Though the event was filmed extensively at the time, it took half a century for someone to put it all together, using masterful editing and vertebrae-rattling sound design to bear witness to this awesome technological feat. Whereas “First Man” frustrated me with melodrama, this film drove home for someone like me — who was born after Americans had set foot on the moon, and therefore took that achievement for granted — why the mission represented such a giant leap for mankind.

Carmine Street Guitars:Rick Kelly makes hand-crafted guitars out of blocks of old New York wood in a crowded shop in Greenwich Village. But the guitars have a magical sound (he’s the Geppetto of rock ‘n’ roll), and Ron Mann’s film is a piece of analog alchemy that celebrates the fading of a certain kind of New York bohemia. It’s made to look like a random slice of life, but as the guest stars (Lenny Kaye, Jim Jarmusch, Charlie Sexton from the Bob Dylan Band) swing by, you realize that the store has become a kind of stage set, and that what you’re watching is something more beguiling: the documentary as verité fairy tale.

American Factory:Directors Julia Reichert and Steven Bognar have been in the right place at the right time before. Their Oscar-nominated short film “The Last Truck” captured the end of an era, as General Motors shuttered an auto manufacturing plant outside Detroit. Less than a decade later, they found themselves returning to the same site to bear witness to a bold new experiment, as Chinese glass company Fuyao moved in, offering locals new jobs under very different terms. This eye-opening film chronicles the rise of China, the decline of American industry, and the enormous gap between the two countries’ work ethic.

Miles Davis: Birth of the Cool:Each year, there are portraits of artists made in the “classical,” PBS-ready, still-photos-and-talking-heads style, and some of them are very good. This one, however, is great. The beauty of it, apart from the way it channels Miles Davis’ music with pleasurable finesse, is that Stanley Nelson’s enthralling film takes the many sides of Miles — the lyrical jazz genius, the midnight pop star, the drugs and domestic violence, the stubborn inner light — and puts them together, so that we emerge with a full sense of the artist’s contrapuntal humanity.

The Kingmaker:Essential viewing, especially for those who know more about Imelda Marcos’ infamous shoe collection than they do her family’s political chicanery, which lately involves returning to the Philippines — from which she and dictator husband Ferdinand were exiled in 1986 — and using her family’s name/fortune to engineer a quasi-democratic coup. Considering her morally complicated reputation as a chronicler of the lifestyles of the rich and famous, “The Queen of Versailles” director Lauren Greenfield doesn’t seem the obvious choice to deliver a hard-hitting exposé on political corruption, and yet, Imelda’s narcissism yields incredible access, revealing parallels to corruption in our own country.

The Brink:Stephen K. Bannon, the huckster of white nationalism, outsmarted the filmmaker Errol Morris — or, at least, he didn’t let him get close enough to peek behind Bannon’s disheveled-regular-guy, working-class-hero mask. But the ace documentarian Alison Klayman proves to be the razor-sharp filmmaker Bannon deserves. She follows him through Europe, after he leaves the Trump White House and goes off to help Europe’s racist nationalist leaders organize their movements into power grabs. This time, we get close-up glimpses of the raging flame-thrower: the carny barker of hate. “The Brink” is a vivid and scary movie that captures the formation of a new world disorder.

Leaving Neverland:This shockingly intimate exposé, in which Wade Robson and James Safechuck describe the experience of being sexually abused as boys by Michael Jackson, stands as a vital reckoning, one that reveals the greatest pop star of his time to have been a monster. By placing this issue on the table the way it does, Dan Reed’s two-part HBO film created a cultural earthquake whose aftershocks are still being felt. The importance of “Leaving Neverland” lies in the human power of its testimony, which compels us to confront the dark side of celebrity as few documentaries have.

Anthropocene: The Human Epoch:Photographer Edward Burtynsky has dedicated his career to documenting mankind’s impact on the planet, primarily through stunning, ultra-high-resolution photographs of “manufactured landscapes” — of strip-mining sites, surreal irrigation circles, and mountains of garbage. Now, in the eco-conscious Canadian artist’s third feature-length collaboration with co-directors Jennifer Baichwal and Nicholas de Pencier, the trio leverages the power of cinema to achieve what gallery work so rarely can: to mobilize audiences into action. Traveling the globe to film sites of greatest transformation, the team presents a different kind of disaster movie, hoping to reshape us into more responsible custodians of our planet.

**For more highly rated documentaries from 2019, click here:

Here are some more popular options, as obtained from as of January 2, 2017:

Longshot:The less you know about Jacob LaMendola’s 40-minute documentary Long Shot the better because its twists and turns are absolutely shocking even if its larger point should be burned into viewers’ memories by now. Overall, the documentary focuses on Juan Catalan, who was accused of a murder he didn’t commit and the lengths he had to go to in order to prove his innocence. While our justice system likes to tout that the accused are “innocent until proven guilty,” Long Shot shows in its brief runtime that the truth is just the opposite. Despite the flimsy evidence against Catalan, he had to be extraordinarily lucky to prove his innocence and that we have a system that incentivizes detectives and prosecutors simply to close cases rather than find justice. The brilliant thing about Long Shot is that it never has to come right out and say it. The case speaks volumes on its own. – from Matt Goldberg

13th:Ava DuVernay follows up her acclaimed film Selma with a searing documentary that looks at the mass incarceration of minorities following the passage of the 13th amendment. As the documentary points out, it’s not just ingrained cultural racism that results in the widespread incarceration of African-Americans and other minorities.  There’s a financial incentive as well, and it’s good business to lock people up.  13th systematically goes through the decades following the passage of the 13th amendment to show how black people were targeted by the media, by the government, and by businesses to create a new form of slavery.  It is a movie that will infuriate you, depress you, and hopefully spur you to action against a system that done egregious harm to our fellow citizens.  – from Matt Goldberg

Newtown:The documentary Newtown is not an easy film to watch, nor should it be, but it is absolutely essential. The film is a tactful, powerful look at how the community of Newtown, Connecticut came together in the aftermath of the largest mass shooting of schoolchildren in American history. It is a deeply personal film, focusing on the parents, brothers, and sisters who were affected by this act of terrorism, and how it has impacted not just them but the community as a whole. The film forces the viewer to confront the consequences of gun violence in an unflinching, almost overwhelmingly emotional manner. It is not preachy and it has no agenda other than showing human truth. If I had my personal druthers, this film would be required viewing for every single American citizen. – from Adam Chitwood

Cartel Land: Cartel Land is an incredibly compelling piece of documentary filmmaking. The film chronicles the battle against Mexican drug cartels by two vigilante groups on opposite sides of the border: the Arizona Border Recon in the U.S., and a rebel uprising group in the Mexican state of Michoacán. What begins as a seemingly simple story of two groups ultimately fighting for the same thing slowly turns into a deeply unsettling look at the corruption that permeates throughout Mexico, and how the process of rebellion breeds its own kind of corruption and power struggles. The film features some of the most harrowing and intense scenes I’ve ever seen on film, with the electricity and plot twists of a fictional drug war thriller made all the more disturbing for the fact that this is real life. Fascinating, searing, dark, and deeply unsettling, Cartel Land is essential viewing. – from Adam Chitwood

The Overnighters:Jesse Moss’ documentary The Overnighters is a current and searing look at not only the shortcomings of the American Dream and the current economy, but also a larger story about how difficult it is just to do good by your fellow man. Pastor Jay Reinke allows men to sleep in his church, but runs up against opposition from his community and the town government. It’s also a touching look at how hard it is to do right by each other when we’re such flawed creatures. It’s a somber, melancholy picture that shows the difficulties of doing right by your fellow man, especially in present-day America. – from Matt Goldberg

Blackfish:Gabriela Cowperthwaite’s second feature, Blackfish, tracks the psychological and physical torment inflicted on Orca whales in the name of a strong corporate brand, but its contours are not your everyday money-excuses-death scenario. It’s plotting suggests something far more audacious, as the director, aided by interviews from former SeaWorld staff members and experts, carefully builds a case for freely empathizing with animals in captivity. As you watch, one can clearly understand why these mammals lash out and why, despite their aggressive and largely unhelpful harangues, advocates against animal captivity and cruelty devote their time to such endeavors. Cowperthwaite’s film does more to open up a dialogue about animal treatment in America, corporate or otherwise, than a million cleverly written protest signs and manipulative ads featuring Sarah McLachlan music combined. – from Chris Cabin

Here are some more documentaries posted from the past few years, as well. The following documentaries and their descriptions were pulled from the Huffington Post’s articles “Another 12 Mind-Blowing Documentaries To Watch On Netflix” and “Yet Another 12 Mind-Blowing Documentaries To Watch On Netflix”:

Shenandoah:In depicting the story of four high school boys who murdered a Mexican immigrant, Shenandoah dissects the mob mentality of the small town in which their atrocity took place. Whether or not you were familiar with this case when it ran through the news, the objective here is to take on a very specific form of racism, told through the disturbing reality of American life for those who don’t fit into the mold of “tradition.”

From One Second to the Next:Werner Herzog’s documentary about texting while driving has an obvious agenda: stop careless (people) from texting while driving. But that doesn’t stop it from being a well-packaged and emotionally-moving film, perhaps because no matter how many times you’ve heard the stats, the extent of senseless deaths that are a direct result of texting and driving remain mind-blowing.

Bigger, Stronger, Faster:Using himself and his brothers as the subject, director Chris Bell examines the conflation of steroid subculture and the more ambitious aspects of the American dream. Dealing in the dangerous effects of steroids, Bell also takes a look at what he identifies as “the side effects of American culture.” Obviously, both Hulk Hogan and Sylvester Stallone make cameos in the film.

The Revisionaries:The former Chair of the Texas State Board of Education, Don McLeroy, once said of the kind of power he had: “It boggles my mind.” After no less than four minutes into the documentary, your mind will also be boggled. The Revisionaries explores the inordinate influence of Texas in buying textbooks, which affects the rest of the country and, consequently, its curriculum. Of course, this conflict boils down to the theories of evolution verses intelligent design, with the latter pushed so aggressively by the Texas school board, that it might not be readjusting only what kids are taught in schools, but the future policy that emerges from those lessons.

Into the Abyss:Into The Abyss examines why people kill, and whether capital punishment is ever warranted. In conversations with inmate Michael Perry and those affected by his crime, Herzog delves deep into the state of the prison system, for an unflinching look at life, death and the value of a humanity, as impacted by a search for justice.

Life 2.0:Examining the world of virtual reality, Life 2.0 depicts the consuming nature of the site called “Second Life” (which, for many in the film, is given priority over what we might call “first life”). One of many stunning portraits tells the story of two married-in-real-life people who commit “emotional adultery,” when they meet and fall in love within the confines of “Second Life.” Overall, this is a haunting look at the need for human connection and clever ways in which we are willing to garner a sense of acceptance.

It’s a Girl:This upsetting look at “gendercide” in India and China encounters the devaluation of females and the extent to which it has led to infanticide and violence toward women. In case you needed further warning as to precisely how grave this situation has become: the film opens with a woman who has given birth to and subsequently murdered eight of her daughters.

Terms and Conditions May Apply:The title sounds about as boring as, well, reading the terms and conditions of nothing in particular, but this documentary is more eye-opening than it may seem. There’s a lot going on with all that fine print, and there are plenty of industries that rely on the fact that we do not realize it. For example, it would take approximately 180 hours per year to read all of the terms and conditions agreements at each of the various sites you likely hold an account, and consumers lose about $250 billion dollars annually as a result of what they simply do not know.

The House I Live In:The House I Live In takes on the tangible effects of drug abuse as just one aspect of a much larger issue. By delving into the workings of America’s criminal justice system — notably the “jailingest” one on the planet — director Eugene Jarecki investigates the impact of the war on drugs: an effort that has cost more than $1 trillion, led to more than 45 million arrests and left illegal drug use essentially unchanged.

Whores’ Glory:This exploration of prostitution looks at the act of selling sex across three different countries, languages and religions. Director Michael Glawogger views his subjects through an unflinching yet compassionate lens, for a disturbing look at the crossover between sexuality and politics, and its impact on women from vastly different cultures.

The Act of Killing:This 2014 Oscar nominee tracks two Indonesian death-squad leaders as they reenact their mass killings in whatever genres they wish. As they recreate their share of the atrocities — totaling approximately 1 million deaths — the film peels back an unflinching look at the meaning of evil once it is no longer contextualized by war.

The Institute: The impact of The Institute on its viewers is, at least for the duration of the film, that of the Jejune Institute on its inductees. As it follows the story of participants in an two-year alternate reality experiment designed as “a citywide art project and living game,” it will leave you questioning what is “real” and whether our experiences matter any less, once we discover that they have been contrived.

Solitary Confinement:This National Geographic feature paints a chilling portrait of the deeply tortuous effects of isolation. With a mix of experts and those that have experienced such extreme captivity, it takes on the caveats of a system that reduces violence in the general prison population, but also often leaves its captives too broken to function outside of the cells to which they’ve been confined.

How to Die in Oregon: As humanely as How to Die in Oregon handles its subjects, the documentary remains quite difficult to watch. In 1994, the titular state became the first to legalize physician-assisted suicide. The film depicts the stories of those who have opted to take advantage of the “Death With Dignity” act. “How to Die in Oregon” brings together journalists, lawyers and physicians in an attempt to investigate the practical and philosophical implications of making this choice, the reality of which can only truly be comprehended by the families of the patients and, of course, the patients themselves.

The Waiting Room:An intimate look at the health-care crisis, The Waiting Room functions as a much-needed indictment of the system, but also manages to cast an uplifting and even empowering look at the employees who care for the sick in the bleakest of circumstances. Director Peter Nicks is granted an impressive level access into a day of life in the ER. Acting as his own cinematographer, he is able to scrutinize the struggle of bureaucracy for a look at the hopeful optimism of compassion.

The Vanishing of the Bees:The dwindling honey bee population seems like it would be a problem for apiarists and maybe insect lovers. Though, paired with major economic, political and economic consequences associated with the dropping numbers, The Vanishing of the Beeswarrants widespread concern. The film lays bare the daunting realities of Colony Collapse Disorder. While the format leaves a bit to be desired — slow-mo bees are hardly praise-worthy filmmaking — the information contained in Maryam Henein and George Langworthy’s documentary is powerful enough to sustain it.

For Essay 2, you must:

  • Analyze a documentary film of your choice. (It must be a documentary that seeks to persuade the viewer on a matter of political or social significance. Use the document titled “Possible Documentary Films for Essay 2” (linked in the essay assignment Canvas Page) for help with choosing a film, if needed.)
  • The essay must be a minimum of750 words.
  • Only third person POV accepted (he, she, it, they); NO FIRST PERSON POV (“I”).

  • Your essay must includethree sources:
    • One documentary film (your primary source)
    • Two additional sources must be either academic or professional (can be online, book, magazine, etc.). No Wikipedia!

Guidelines for Essay 2:

  • Write an analysis of a documentary film of your choice in which you use material from two additional sources as either support or rebuttal to your analysis. An analysis would include the following:
    • Discuss the film’s subject (what the film is about) and position (what the film is trying to convince you of).
    • Discuss how the filmmaker tries to convince you of the position that the film supports(i.e. use of logical appeals: logos, pathos, ethos).
      • To re-review use of logical appeals re-read textbook pages included in Module One’s Discussion Forum Two readings. You may also watch this short YouTube clip for further clarification:
  • Your essay must avoid a lengthy summary but instead focus on:
    • How the film is presented
    • Whether or not it was successful in its argument
    • Why the film is politically or socially significant.
  • In the introductory paragraph, you must also identify the title of the film and the year it was released, as well as the narrator and the director of the film. Then briefly describe what the film is about and the position that it advocates. This should then lead into your thesis statement, which should include the overall claim of the film (a more specific/deeper statement on the position the film advocates).


Additional Guidelines for Essay 2:

In your essay you must quote or paraphrase at least one source in each body paragraph. These references must be tied into the content of the paragraph and not merely inserted.

For the film and secondary sources you use, your essay must have a blend of paraphrases (two minimum) and quotations (two minimum) for a total of four citations (you may use more).

Do not use sources (other than the film) in the introduction or conclusion, but do not use a citation in either.

**Copies of both secondary sources used for the essay must be submitted with the essay. These sources need to be uploaded into the Essay 2 Source Material assignment box, which can be found on Canvas: Module Two. When uploading these documents, do NOT submit a link to a source.  Copy and paste your source material into a Word Document, or you may save your document as a PDF file and upload this material.

Follow the MLA guidelines (Purdue OWL) to correctly use in text citations for a movie source and online sources and to create a Works Cited page.

Strict and correct adherence to MLA format is expected and required.

Notice that film titles are italicized.


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