The Classic Gangster Film is the epitome of the “cinema of the American Dream”. Do you agree with this statement? Use at least two films from the Warner Bros cycle in your answer.

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1. Brian Massumi argues that affect “is a state of suspense, potentially of disruption”.  Discuss the implications of this statement and theories of cinematic affect for the analysis of urban film.  Use at least two films as examples “
2. Discuss the relationship between early cinema and the characteristics of urban modernity in terms of the ‘affective experience’. 
3. The Classic Gangster Film is the epitome of the “cinema of the American Dream”.  Do you agree with this statement?  Use at least two films from the Warner Bros cycle in your answer.
4. Examine the notion that film noir can be read as symptomatic of a crisis of the American Dream and American modernity.  Use at least two films in your answer
5. How might the conspiracy or paranoia film be read as part of a decline in the power ofHollywoodrealism and its genres?  Discuss using at least two examples.
6. What are the politics of ethnicity in the 1970s’ cinema of Martin Scorsese? Use at least two films in your answer.
7. "The new wave” of Hong Kong Cinema is less concerned with narratives than the visualisation of a local culture within a global context’.  Examine the validity of this statement with reference to at least two films.
8. David Bordwell argues that John Woo’s films are part of “an ecstatic cinema, one that carries spectators away, tearing them ‘out of stasis’ and arousing a rapt, electric apprehension of sheer pictorial and auditory momentum”  What does he mean by this statement and is it valid?
9. Indian Popular Cinema has been described as a “Cinema of Interruptions”.  Explore the significance of this statement in relation to at least at least two films.
10. “Nor is it a matter of scenes of terror, although there are sometimes corpses and blood.  It is a matter of something too powerful, or too unjust, but sometimes also too beautiful, and which henceforth outstrips our sensory-motor capacities”.  How do Deleuze’s meditations on the affective properties of the cinema help us understand the power of South Korean contemporary cinema?
11. “New Black Realism was a political attempt to reanimate affective shock in its images and form.”  Discuss this argument in relation to at least two relevant films.
12. Examine the ways in white “new-brutality” films of the 1990s depend on African-American culture and bodies for their affective power?

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