Critically discuss the intertwining of mobilities and immobilities in chega de fiu fiu

Pageof 3ZoomSPA2132 – Configurations of the Brazilian City
ASSESSMENT BRIEFING – SECOND ASSIGNMENT
WEIGHTING: 70% of module mark
TYPE OF ASSESSMENT: essay
WORD LIMIT: 2000 words
SUBMISSION DEADLINE: Monday 9 December 2024 by 11:59am (Week 13) via Canvas, following
the instructions to be provided by your tutor, and using your anonymous code.
Choose ONE of the following questions (to be reproduced at the top of your submission with
anything in square brackets omitted, and only the aspects selected to be included in the case of
questions that include an ‘either/or’ or ‘and/or’ choice):
1. Critically discuss the intertwining of mobilities and immobilities in EITHER Era o Hotel
Cambridge/The Cambridge Squatter OR Chega de Fiu Fiu/Enough With Catcalling.
2. Critically discuss the portrayal of refugees and the refugee experience in Brazil in Era o Hotel
Cambridge/The Cambridge Squatter with reference to the concept of mobilities.
3. Critically discuss how the foregrounding of forms of communication in Era o Hotel
Cambridge/The Cambridge Squatter, including through the use of ‘frames within frames’, allows
the film to convey multiple perspectives on the topic(s) of housing AND/OR immigration in urban
Brazil.
4. Critically discuss the relevance of the concept of mobilities to an understanding of women’s
experience of urban life in Brazil, as portrayed in Chega de Fiu Fiu / Enough With Catcalling, with
reference to Peter Adey’s assertion that ‘although we may be always on the move, we are also
always differently mobile’.
5. Critically compare the experience of foreign refugees in São Paulo, as portrayed in Era o Hotel
Cambridge/The Cambridge Squatter, and the experience of Brazilian migrants in Gort, Ireland, as
portrayed in the videos studied as part of the course.
6. Critically assess the significance of mobilities relating to the food sector in the experience of
Brazilian immigrants in the UK and/or Ireland.
7. A question of your choice. This must be discussed and developed in consultation with your tutor
and is subject to her approval. Comparative questions are also welcome under this route.YOU SHOULD CONSULT YOUR TUTOR IN GOOD TIME IF YOU HAVE ANY QUESTIONS ABOUT THE
ESSAY!
GENERAL PRINCIPLES:
• N.B.: The use of generative AI tools is not permitted in this assignment. Unauthorised use
of AI is ALWAYS considered a MAJOR offence. ANY repeat AI offence will automatically be
referred to the Central Academic Offences Committee, which has the right to suspend or
expel a student.
• Students must ensure that they adhere to the word limit set by the Module Convenor for
any piece of assessed work and should indicate word length of the title page. The word
count in assignments is inclusive of ALL in-text references (meaning any footnote or
endnote) but NOT the bibliography or any material included in appendix or appendices.
• Each assessment will have a specified word length which may be exceeded by 10% without
incurring a penalty. Work which exceeds the required length by more than 10% will be
penalised by 10%; work which is shorter than the required length penalises itself by failing
to cover all points in sufficient detail.
• In preparing this piece of work and presenting your ideas you should draw on and make
reference to core module readings/viewings and secondary bibliography (starting with the
bibliography available on Canvas!) as well as presenting and analyzing specific aspects of
the topic you have selected as your focus.
• Your essay must include detailed analysis of your chosen film or films (or videos) as well as
engagement with the theoretical work on mobilities studied at the start of the second part
of the module.
• In discussing examples of mobilities from the films/videos that we have studied, you will
obviously need to be selective and to choose a few areas to explore in depth, rather than
trying to cover all possible examples in a given film or video!
• All sources consulted in the preparation of the piece of work must be referenced in
bibliographical footnotes and a bibliography in MHRA format. Please ensure you are
familiar with the university’s guidance on plagiarism and check the guidance available on
Canvas and on the Learning Development Service website about referencing.
• As the MHRA Style Guide notes, “Material published online, whether at news websites, as
part of electronic journals, or found only on personal web pages, should be cited as
carefully as material published in print form. Similarly, authors should exercise the same
discretion in considering the quality and value of material published on the Internet as they
would for material published by more traditional means.”1 If referencing online material
please this standard model which should work for most types of sources: Author of Article,
‘Title of Article’, in Title of Website/Resource, date [date
accessed].
1 Modern Humanities Research Association, Style Guide (London: Modern Humanities Research Association, 2013), p.71.• If making direct reference to a sequence or dialogue/voiceover from one of the films in
your essay you should add a reference to it in a footnote and ensure it is in your
bibliography.
• Students on a pathway with Portuguese should quote from the films in Portuguese (unless
original dialogue is in another language). If you experience difficulty in doing this, please
consult your tutor. Other students may quote in English.
• When referencing films or videos, ensure the title of the film is always in italics and follow
the guidance from the MHRA Style Guide: “For films, the reference should include, as a
minimum, title, director, distributor, date, e.g.: The Grapes of Wrath, dir. by John Ford (20th
Century Fox, 1940).”2 See some additional guidance here:
http://libguides.swansea.ac.uk/MhraFull/a/v/film.
• Additional resources are available on Canvas about referencing and support for academic
writing.
• You are reminded that there are penalties for late submission of coursework.
• Information is available on Canvas regarding how to proceed in the case of Exceptional
Circumstances or Individual Student Support Agreements allowing flexibility with
deadlines.
TIMELINE AND PREPARATION:
• Briefing on Canvas / in class
• Revision and review in class in week 11, to be informed by student input – TBC
• Individual consultation meetings – timing TBC
• Feedback on assessed work will normally be released following internal moderation 15
working days after submission.
2 Modern Humanities Research Association, Style Guide, p.75.