Film: The lives of others

Film: The lives of others
For this paper, you will analyze The Lives of Others and discuss an important idea in the film. You will focus on individual scenes, and through a close reading of those scenes, you will make connections to other moments in the film and show how an important idea is argued. You will balance your details or observations and your conclusions and ideas. You will also incorporate into your argument the observations and arguments of no less than three and no more than five secondary sources, including literary criticism and cultural context materials, as is appropriate to your purpose in the paper. At least two of your sources must be literary criticism.

Structure: In paper III, you practiced using the pattern of compare and contrast. This film would also accommodate that structure very well. You are not required to use it, however. You can take whatever approach you would like. You must make an analytical argument that is logical, relevant, and supported by evidence from the film.

Begin by doing a very close reading of the film. Look for details and think about what they might mean, just as you did with your previous papers. Make note of any scenes that seem significant to you, and especially those that you have questions about. You should go to the critics to see what others say, but write down all of your own ideas about the film BEFORE you read any articles about it.

Literary Criticism: You will use the work of literary scholars and critics to help you better understand important ideas in the story. These articles can help you in several ways: they can point out ideas you may not have thought of; they can support your own interpretations; they can provide you with someone to argue against (you may not agree with their interpretations). You should incorporate the critics intelligently but keep your own voice. You may also incorporate contextual sources on any ideas explored in the film (the GDR, the power of art, fall of the Berlin wall, etc.)

Documentation: You will need to use MLA guidelines to make a Works Cited and in-text citations. Additionally, make a Works Consulted list to document any texts you consult (you read but don’t necessarily use in the paper). Be very careful to avoid plagiarism by putting any direct source language in quotation marks, and attributing any ideas to the source they come from, even if you don’t use source language.

Your introductory paragraph should identify the film by title and director. It should also set up the context for your analytical thesis. You can do this by providing a brief plot summary and perhaps also by outlining in brief what some critics have said about the story.

Your body paragraphs should be focused on distinct and separate supporting ideas.

Refer to the format guidelines listed in your syllabus. Also, see the following reminders:

1. Write about your texts in the present tense. If an event takes place within the story, you will always refer to it as happening now, not in the past.
2. Avoid spending much time retelling the plot. You will provide a brief plot summary somewhere near the beginning of the paper, usually the first paragraph. The rest of the time, stay away from plot summary. Instead, stay focused on the specifics that support the ideas you wish to argue.
4. Title your paper to indicate your thesis.
5. Punctuate titles of stories and books correctly.
6. Don’t use the second-person pronoun.

The following questions may help you think of a focus for your paper. A precise and specific answer to one of the question can become a thesis to help you guide your discussion. Remember that having a thesis is not enough; you must also outline supporting reasons and assumptions (frame an enthymeme). Remember also that the critical reading questions from your earlier handout can help you fill out your thesis, as well.
How does Wiesler change? How does he remain the same? What are the forces that cause him to change?

How does Dreyman change? How does he remain the same? What are the forces that cause him to change?

What does it mean to be a “good man” in the film?

Why does Christa Maria seem unable to achieve the same “good” status of the male characters?

What are some of the significant ironies of this film? How do these ironies convey the relationship between the three main characters?

What effects are created by the color and shapes of sets and costumes? What ideas do these effects help establish?

How important is Minister Hempf’s remark to Dreyman at the beginning of the film that “people don’t change”? What does the film seem to say about people’s ability to change?

What is the significance of Dreyman’s quoting of Lenin in the film? Apparently, Lenin had said, “If I had listened to Beethoven’s Appassionata Sonata more, I might not have finished the Revolution." What does the film seem to say about the power of art (including theater, poetry, literature, music) to change people’s thinking?
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