Answer 5 question:Story-telling in narrative film relies on a main conflict that the protagonist must deal with and hopefully solve by the film’s conclusion. Although a protagonist might be driven by...

Answer 5 question:Story-telling in narrative film relies on a main conflict that the protagonist must deal with and hopefully solve by the film’s conclusion. Although a protagonist might be driven by either external conflict (i.e. somebody is trying to kill him) or internal conflict (i.e. he can’t form lasting relationships), sometimes the external and internal overlap in a character. Discuss one protagonist’s overlapping external and internal conflicts in any one of the films shown in the course.2.Phil Basset, the long-suffering London cabbie in Mike Leigh’sAll or Nothing, strikes us as lazy, dim, and uninteresting when we first meet him on the screen. By the end of the film, however, we’ve come to see him with new eyes. In your view, what are the qualities that emerged in Phil’s character throughout the film that made him finally sympathetic to us at the film’s conclusion?3.Isn’t life disappointing?” Kyoko says to Noriko toward the end of Yasujiro Ozu’sTokyo Story. “Yes, it is!” Noriko replies, but with a big cheerful grin on her face. What do you think Ozu was trying to say by including such an odd response to such a serious question in his film? In other words, what would you say the theme of the filmmight be? Relate your answer to specific incidents or motifs in the film that would support your viewpoint.4.If when we make film choices we only see films that feature heroes based on comic book characters, by the same standard should we also only read comic books when it comes to our reading choices? Or should we have lesser expectations of film than we do of literature or the other arts to begin with?5. 5.What are some of the qualities by which we might recognize a Realist film, in relation to how these qualities were first laid out in Cesare Zavattinni’s post-war Neo-Realist manifesto?