Absolutely nothing is as practical as a good theory—and to the would-b

WORKBOOK
The Practice of Motion Picture Criticism

Hyginus EKWUAZI
Every filmmaker carries within him, the beating heart of a film critic—
In lieu of a preface

Filmmaking is the filmmaker’s ability to answer four inter-related questions:

 What do I shoot? [Choice of subject]
 How do I shoot it? [Camera distance; camera angle; camera movement]
 How do I join the various shots together? [Modes of transition; also, time lapses]
 How I do pace my shots? [Rhythm/beat/tempo].
The film critic approaches the film with four questions:
 This thing that has been shoot—why has it been shot?
 Why has it been shot this way?
 Why has the various shots been joined together in the manner they have been joined
together?
 Why has this rhythm or beat been adopted?
The tool kits are not the same. But they are complementary. And they add value to each other.
This should explain two facts.
 Fact 1: why the filmmaker carries inside him the beating heart of the film critic—for he
has to regularly and intensely question the choices he has made in his own film; and the
choices that have been made by others in their own films: he has to question these
choices in order to make better choices next time.
 Fact 2: why screening of films is a vital complement of filmmaking courses—providing
ample opportunity for the student to learn from the masters how to do it; and from the
pot-boilers, how not to do it.
This workbook, therefore, is for both the film production student and the film/media studies
student.
The critic has a straight forward role: to mediate between the filmmaker and the audience—to
make the filmmaker and the audience grow into greater understanding.
To function adequately in this role, the critic must approach the film under study with a great
sense of respect. Respect, because, out of nothing, as it were, something substantial has been
created. His role, then, is to expand the understanding of this something that has been created.
If the critic must expand the understanding of the film, the critic must approach the film in the
manner one approaches a masquerade performance: not from just one angle/position but from
several angles/positions.
In intent, content and orientation, the questions that have been gathered together in this
Workbook represent these several angles/positions.

1|Page
There are provisions here for five exercises/sections: three on the feature film; and two on the
documentary.
Each exercise/section on the feature film carries the same set of twenty questions.
Each exercise/section on the documentary film carries the same set of fifteen questions.
The questions have been made to suit the genre.
It bears stressing, however, that irrespective of the genre, the questions have been designed to
beam the critical search light on all possible aspects of the film under study: exposing, thereby,
the film’s entire universe of meaning. The searchlight, therefore, is not just on what the film
means but also on how the film means what it means.
These questions, it is hoped, will enable the student build up the skills and competences to
fruitfully engage any film. In other words, in respect of any film, the student should be able to
shorn statements like:
The man was jogging
in preference for statements like:
The athletic looking young man, clad in faded joggers and with a
red bandana around his neck, was jogging briskly by the side of
the pot-holed high way along which the early morning traffic
was already beginning to build up.
The questions have been structured to systematically harvest the density of information from any
film. Exposure to these questions, therefore, should make the engagement with any film robust.
What the critic takes out of his engagement with any film is, of course, conditioned by what he
took into that engagement in the first instance. The proverbial tale of the blind men and the
elephant comes into play here. Each blind man feels that what best represents the elephant is that
part of the elephant with which he comes in direct contact. Each of the blind men is, of course,
right—within context. No two critics will react to the same film in the same manner—the issue
of individual differences cannot but come in. As long as the critic justifies his position with
evidence/s from the film, his reaction to the film cannot be deemed wrong.
The greatest problem confronting the critic is not reading the film. it is not even justifying
whatever position he takes as regards the film. His greatest problem must lie along the lines of
conveying in words—words written/words spoken— an experience which is essentially visual. A
picture, we say, is worth a thousand words….
I should point out that I have taught film/media production in and outside the school system. I
have also participated very actively in drawing up curricula in same fields. Within the school
system, I have engaged with students at both the undergraduate and post-graduate levels. Outside
the school system, my most significant engagement remains the GEM-World Bank Rapid Skills

2|Page
Training for filmmakers for which I was the Lead Trainer/Consultant. The point is this—in all
these encounters, I always felt the need for a workbook like this; somehow, though, I always
managed to do without. But while searching for how to track the reading of my lower level mass
communication students, I came across Prof Matthew Umukoro’s Library Reading Record—and
it pointed me the way to this Workbook.
This Workbook on the practice of motion picture criticism is designed for both the undergraduate
and post-graduate student of film production and film/media studies.
Hyginus Ekwuazi, PhD
Professor of Broadcasting & Film, University of Ibadan
Professor [Sabbatical Fellow] M.Sc. Film Production Programme
School of Media & Communication, Pan-Atlantic University, Lekki, Lagos
Pioneer Consulting Director, National Film Institute, Jos
Former Director General, Nigeria Film Corporation, Jos.

3|Page
 Exercise 1 [Feature Film]

Title of film
Director & year of production/release
Production Company
Lead cast

Script writer
Editor

1. (a) What story does this film tell?

(b) List the main story-events

4|Page
 (c) Briefly describe how these story-events are linked together.

(d) If this story is not an original story—i.e.—if this story is an adaptation—list

and discuss the areas of convergence with and divergence from the original
source.

5|Page
 (e) Do you think enough suspense has been built into this story? If Yes/No, why?

(f) Whose point of view predominates in this story? Why do you think this is so?

(g) Is this story open-ended or closed-ended? How do you justify this?

2. (a) What plot order has been adopted in the telling of the story?

6|Page
 (b) How effective is this plot order?

3. How has this film handled time lapses and modes of transition?

4. What do you think are the thematic concerns of this film?

7|Page
 5. How does the setting contribute to the development of the story and of the themes?

6. How would you classify this film in terms of genre; and why would you so classify
it?

7. ‘One man sets out on a journey; but it is a different man that arrives at journey’s
end.’ How is this in any way true of the two main characters of this story?

8|Page
 8. With reference to certain shots/scenes/sequences, how would you say the lighting
design has helped in the telling of this story?

9. With reference to the nature of shots and how these shots have been used, discuss
camera positioning in this film.

9|Page
 10. ‘The camera must move—isn’t that why it is called motion picture? However, the
movement, in all cases, must be motivated.’ How does this film reflect/not reflect
this?

11. (a) List the camera angles employed in this film.

(b) Which of these angles predominates in this film?

10 | P a g e
 (c) Why do you think this is so?

12. Discuss the quality of acting in this film.

13. Discuss the use of diegetic and non-diegetic sound in this film.

11 | P a g e
 14. What sounds and symbols are repeated in the film and why do you think this is so?

15. Relate how this film has attempted to balance production values with audience
mores to the censorship rating of the film

16. Is there anything you find unusual in the use of film language/film technique in this
film?

12 | P a g e
 17. (a) Which feature[s] of this film has/have made the most impression on you?

(b) Can you think of any reasons why this/these feature[s] has/have made this
impression on you?

18. In the light of your answers to all the foregoing questions, how would you rate this
film as an interesting visual story?

19. What other work/works of this director are you familiar with? If there is/are, how
does this film relate to it/them?

13 | P a g e
 20. What aspects of this film remind you of some other films?

14 | P a g e
 Exercise 2 [Feature Film]

Title of film
Director & year of production/release
Production Company
Lead cast

Script writer
Editor

1. (a) What story does this film tell?

(b) List the main story-events

15 | P a g e
 (c) Briefly describe how these story-events are linked together.

(d) If this story is not an original story—i.e.—if this story is an adaptation—list

and discuss the areas of convergence with and divergence from the original
source.

16 | P a g e
 (e) Do you think enough suspense has been built into this story? If Yes/No, why?

(f) Whose point of view predominates in this story? Why do you think this is so?

(g) Is this story open-ended or closed-ended? How do you justify this?

2. (a) What plot order has been adopted in the telling of the story?

17 | P a g e
 (b) How effective is this plot order?

3. How has this film handled time lapses and modes of transition?

4. What do you think are the thematic concerns of this film?

18 | P a g e
 5. How does the setting contribute to the development of the story and of the themes?

6. How would you classify this film in terms of genre; and why would you so classify
it?

7. ‘One man sets out on a journey; but it is a different man that arrives at journey’s
end.’ How is this in any way true of the two main characters of this story?

19 | P a g e
 8. With reference to certain shots/scenes/sequences, how would you say the lighting
design has helped in the telling of this story?

9. With reference to the nature of shots and how these shots have been used, discuss
camera positioning in this film.

20 | P a g e
 10. ‘The camera must move—isn’t that why it is called motion picture? However, the
movement, in all cases, must be motivated.’ How does this film reflect/not reflect
this?

11. (a) List the camera angles employed in this film.

(b) Which of these angles predominates in this film?

21 | P a g e
 (c) Why do you think this is so?

12. Discuss the quality of acting in this film.

13. Discuss the use of diegetic and non-diegetic sound in this film.

22 | P a g e
 14. What sounds and symbols are repeated in the film and why do you think this is so?

15. Relate how this film has attempted to balance production values with audience
mores to the censorship rating of the film

16. Is there anything you find unusual in the use of film language/film technique in this
film?

23 | P a g e
 17. (a) Which feature[s] of this film has/have made the most impression on you?

(b) Can you think of any reasons why this/these feature[s] has/have made this
impression on you?

18. In the light of your answers to all the foregoing questions, how would you rate this
film as an interesting visual story?

19. What other work/works of this director are you familiar with? If there is/are, how
does this film relate to it/them?

24 | P a g e
 20. What aspects of this film remind you of some other films?

25 | P a g e
 Exercise 3 [Feature Film]

Title of film
Director & year of production/release
Production Company
Lead cast

Script writer
Editor

1. (a) What story does this film tell?

(b) List the main story-events

26 | P a g e
 (c) Briefly describe how these story-events are linked together.

(d) If this story is not an original story—i.e.—if this story is an adaptation—list

and discuss the areas of convergence with and divergence from the original
source.

27 | P a g e
 (e) Do you think enough suspense has been built into this story? If Yes/No, why?

(f) Whose point of view predominates in this story? Why do you think this is so?

(g) Is this story open-ended or closed-ended? How do you justify this?

2. (a) What plot order has been adopted in the telling of the story?

28 | P a g e
 (b) How effective is this plot order?

3. How has this film handled time lapses and modes of transition?

4. What do you think are the thematic concerns of this film?

29 | P a g e
 5. How does the setting contribute to the development of the story and of the themes?

6. How would you classify this film in terms of genre; and why would you so classify
it?

7. ‘One man sets out on a journey; but it is a different man that arrives at journey’s
end.’ How is this in any way true of the two main characters of this story?

30 | P a g e
 8. With reference to certain shots/scenes/sequences, how would you say the lighting
design has helped in the telling of this story?

9. With reference to the nature of shots and how these shots have been used, discuss
camera positioning in this film.

31 | P a g e
 10. ‘The camera must move—isn’t that why it is called motion picture? However, the
movement, in all cases, must be motivated.’ How does this film reflect/not reflect
this?

11. (a) List the camera angles employed in this film.

(b) Which of these angles predominates in this film?

32 | P a g e
 (c) Why do you think this is so?

12. Discuss the quality of acting in this film.

13. Discuss the use of diegetic and non-diegetic sound in this film.

33 | P a g e
 14. What sounds and symbols are repeated in the film and why do you think this is so?

15. Relate how this film has attempted to balance production values with audience
mores to the censorship rating of the film

16. Is there anything you find unusual in the use of film language/film technique in this
film?

34 | P a g e
 17. (a) Which feature[s] of this film has/have made the most impression on you?

(b) Can you think of any reasons why this/these feature[s] has/have made this
impression on you?

18. In the light of your answers to all the foregoing questions, how would you rate this
film as an interesting visual story?

19. What other work/works of this director are you familiar with? If there is/are, how
does this film relate to it/them?

35 | P a g e
 20. What aspects of this film remind you of some other films?

36 | P a g e
 Exercise 4 [Documentary Film]

Title of film
Director & year of production/release
Production Company
Script writer
Editor

1. How does the title of this documentary relate directly to what this documentary is
all about?

2. Where is more of the information carried: in the audio or in the video component?
How? Do you consider this a weakness or a strength?

37 | P a g e
 3. To what type of the documentary does this documentary belong? How?

4. Discuss the structure of this documentary. Do you think the structure is the most
appropriate? Why?

5. There is a pattern of characteristics in

 subject matter
 concept
 purpose
 theme; and
 technique
common to the documentary genre. How does this documentary reflect this pattern
of characteristics?

38 | P a g e
 6. Perhaps, the most popular definition of the documentary genre is: the creative
treatment of actuality—a selective dramatization of facts in terms of their human
consequence. How does this apply to the documentary under study?

7. ‘The human interest elements are important in creating and holding interest in any
well-made documentary.’ To what extent does this apply/not apply to this
documentary?

39 | P a g e
 8. What has this documentary gained/lost by using/not using the voice-over narration
and interviews?

9. The video component of a documentary consists of:

 Action footage
 Library footage
 Interviews
 Reenactments of past events
 Recreation of past events
 Documents, titles, headlines, cartoons or other graphics
 Still photos; and
 Blank screen.
How have these been used/not been used in this documentary; and to what effect?

40 | P a g e
 10. Traditionally, the audio component of a documentary consists of:
 Voice over
 Narration
 Synchronous sound
 Sound effects
 Music; and
 Silence.
Discuss the overall effect of the presence/absence of these elements of the audio
component in this documentary.

41 | P a g e
 11. Does this documentary have a point of view? If so, what is it? How has this point of
view been made an integral part of this formal system?

12. ‘The documentary is like a witness in a court of law. He must speak the truth, the
whole truth and nothing but the truth. But no one expects him not to be biased: he
can be biased all he wants to.’ How has this documentary handled the issue of truth
versus bias?

13. How has the lighting design of this documentary contributed to its success/failure?

42 | P a g e
 14. ‘…the last word is said not by the cameraman but by the editor…who arranges it all
into a comprehensive story—comprehensive, because compressed and concentrated
and therefore able to actively influence the viewer.’ How does this documentary
secede or fail in this regard?

15. What do you find very striking in this documentary? Does this documentary in any
way mark a departure from other documentaries you are familiar with?

43 | P a g e
 Exercise 5 [Documentary Film]

Title of film
Director & year of production/release
Production Company
Script writer
Editor

1. How does the title of this documentary relate directly to what this documentary is
all about?

2. Where is more of the information carried: in the audio or in the video component?
How? Do you consider this a weakness or a strength?
 3. To what type of the documentary does this documentary belong? How?

4. Discuss the structure of this documentary. Do you think the structure is the most
appropriate? Why?

5. There is a pattern of characteristics in

 subject matter
 concept
 purpose
 theme; and
 technique
common to the documentary genre. How does this documentary reflect this pattern
of characteristics?

1|Page
 6. Perhaps, the most popular definition of the documentary genre is: the creative
treatment of actuality—a selective dramatization of facts in terms of their human
consequence. How does this apply to the documentary under study?

7. ‘The human interest elements are important in creating and holding interest in any
well-made documentary.’ To what extent does this apply/not apply to this
documentary?

2|Page
 8. What has this documentary gained/lost by using/not using the voice-over narration
and interviews?

9. The video component of a documentary consists of:

 Action footage
 Library footage
 Interviews
 Reenactments of past events
 Recreation of past events
 Documents, titles, headlines, cartoons or other graphics
 Still photos; and
 Blank screen.
How have these been used/not been used in this documentary; and to what effect?

3|Page
 10. Traditionally, the audio component of a documentary consists of:
 Voice over
 Narration
 Synchronous sound
 Sound effects
 Music; and
 Silence.
Discuss the overall effect of the presence/absence of these elements of the audio
component in this documentary.

4|Page
 11. Does this documentary have a point of view? If so, what is it? How has this point of
view been made an integral part of this formal system?

12. ‘The documentary is like a witness in a court of law. He must speak the truth, the
whole truth and nothing but the truth. But no one expects him not to be biased: he
can be biased all he wants to.’ How has this documentary handled the issue of truth
versus bias?

13. How has the lighting design of this documentary contributed to its success/failure?

5|Page
 14. ‘…the last word is said not by the cameraman but by the editor…who arranges it all
into a comprehensive story—comprehensive, because compressed and concentrated
and therefore able to actively influence the viewer.’ How does this documentary
secede or fail in this regard?

15. What do you find very striking in this documentary? Does this documentary in any
way mark a departure from other documentaries you are familiar with?

6|Page