In order to demonstrate your knowledge of course materials and your ability to make connections between the readings, lectures, and film screenings, you will answer three prompted questions that ask you to synthesize the course materials from the week (or to connect one week’s course materials to another week’s course materials). For more details on what is expected, and recommendations for a strong write-up, please see the bullet point list below. Written clearly, proofread, organized in a clear and effective way (no more than 300 words per question) Addresses the questions directly and completely (especially, if there are multiple parts to the question) Demonstrates (even highlights) knowledge of the course materials, especially by constructing answers with examples that connect readings, lectures, and films Integrate quotations from textbook, readings, lecture videos, or films (needs to be cited correctly, MLA style (Links to an external site.), and appropriatelynot too much quotation, addressed in your own words after citing) Demonstrates deep analytical and critical thinking (through a cultural studies lens) Attentive to the political and historical context of the period, film, filmmaker, movement, etc. being written about When appropriate, develops a strong argument that is proven through well-chosen evidence that is vividly described in your answer 1. Please watch the clip from Solanas and Getino’s The Hour of the Furnaces below. Using your FH textbook, the “Towards a Third Cinema” manifesto, and our lecture video on the film and manifesto, closely analyze the clip and write an argument about the meaning and effect this clip has on its viewer. The clip is part of the film chapter “Ideological War” in The Hour of the Furnaces, so feel encouraged to see where it is located in relationship to the other chapters in the film (it’s towards the end). In your answer, make sure to write about specific examples in the clip, that you vividly describe, to make your argument about the meaning and effect the clip has on its viewers–and, perhaps, the intentions of the filmmakers, especially since we have their manifesto.