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"Nosferatu" and "Dracula", 2008.
A comparison of the films of "Dracula," based on Bram Stoker's novel and the 1992 film "Nosferatu," produced by German filmmaker F. W. Murnau.
2,983 words (approx. 11.9 pages), 6 sources, MLA, $ 88.95
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Abstract
This paper discusses Bram Stoker's horror novel, "Dracula." It describes the plot of the novel and its characters. The paper then looks at the play of "Dracula" that was produced on stage by Hamilton Dean and John Balderston and discusses its plot. It then discusses the 1931 film version of the novel. The paper finally analyzes the 1922 silent production entitled "Nosferatu," produced by German filmmaker F. W. Murnau and compares it to the films of "Dracula."
Table of Contents:
The Novel and the Play
The Plot
Dracula 1931
Nosferatu
Nosferatu and German Expressionism
From the Paper
"Expressionism focused and emphasized the subjective over the objective (Haney 2005). Its goal was to elicit the strongest possible emotional response. Nosferatu is not only the story of a vampire. It is also the story of plague and pestilence, of evil and greed, and of inequality and sexless marriage. It delved into sexual repression and revealed the vampires out of people in the state of the German soul after World War I in Germany. Bram Stoker's novel was a peek into the subconscious. Murnau brought it out and expressed it in the form of a film. He firmly drew from that awareness that everything present contains meaning and significance. The time of its production and other elements combined to make it an Expressionist film. Though not a completely traditional representation of Expressionism, Murnau made the film unique as compared with other films of its time. The most significant element is location filming, which gave it a strong realistic character. His talent puts his horrific dream teetering at the edge of reality. He meticulously chose the elements of his film and blended them carefully into a whole and single expression of a message (Haney)."
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"Meet the Parents", 2008.
A review of the production value and character relationships of the film, "Meet the Parents," directed by Jay Roach.
997 words (approx. 4.0 pages), 0 sources, $ 35.95
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Abstract
This paper introduces, discusses and reviews the film, "Meet the Parents," directed by Jay Roach. The paper discusses the characters, plot and storyline of the film. It looks briefly at the production value of the film, the cinematography, the relationship between the characters and the costumes used in the film. The writer concludes that he would recommend this film to people who are looking for a cute, romantic comedy.
From the Paper
"I would recommend this film to people who are in love, and want to see a cute, romantic comedy that would be appealing to them. I would also probably recommend it to anyone who was getting ready to "meet the parents" to show them what not to do during their visit. This isn't a film I would add to my permanent DVD collection, because I think once you've seen it once or twice, the gags are pretty much done, and you know how it ends, so what's the point? I think the acting is very good, and Robert De Niro is very convincing as the scary, retired CIA guy who can't leave his job behind. He's just controlling enough to be scary, and just human enough (with his obsession with the cat) to be human and sympathetic. I'd recommend this film to friends if they haven't seen it, and I might even watch it again, but I wouldn't sit through it more than once more, it's just not that kind of movie."
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Representations on Australian Masculinity in Film, 2008.
A comparison of the representation of Australian men in "Mad Max" directed by George Miller in 1979 and "The Adventures of Priscilla Queen of the Desert" directed by S. Elliott in 1994.
2,116 words (approx. 8.5 pages), 8 sources, APA, $ 66.95
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Abstract
This paper discusses two films which offer representations of Australian masculinities. It analyzes "Mad Max" directed by George Miller in 1979 and "The Adventures of Priscilla Queen of the Desert" directed by S. Elliott in 1994. It discusses how men are represented in the films and the relationship between this representation and questions of Australian identity.
Table of Contents:
Introduction
Mad Max (1979)
The Adventures of Priscilla, Queen of the Desert
Conclusion
From the Paper
"Both Mad Max and The Adventures of Priscilla, Queen of the Desert, are about expressing Australian male masculinity in ways that are uniquely Australian, because of Australia's unique history and geographical conditions. Both films uplift the male masculinity, even when it is masked in drag, by denigrating women in the film in ways described by Graeme Turner; that is relegating the woman to a role of sexual significance in relation to the role of the man, or to humiliate and denigrate in order to provide the uplift to the featured masculinity. Both films are geared towards a male audience, and their success lies in their representation of maleness, even though both films do it in a starkly different way."
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Australian Film, 2008.
Looks at the depiction of masculinity in Australian films.
2,115 words (approx. 8.5 pages), 8 sources, APA, $ 66.95
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Abstract
This paper explores the representation of masculinity in Australian film by examining two films: "Mad Max" (1979), and "The Adventures of Priscilla, Queen of the Desert" (Elliott (dir), 1994). The author points out that both "Mad Max" and "The Adventures of Priscilla, Queen of the Desert" express Australian male masculinity in ways that are uniquely Australian because of Australia's distinctive history and geographical conditions. The paper describes both films and concludes that they both uplift male masculinity, even when it is masked in drag, by denigrating and humiliating women by relegating their roles to only sexual significance or to provide an uplift to the featured masculinity.
Introduction
"Mad Max" (1979)
"The Adventures of Priscilla, Queen of the Desert"
Conclusion
From the Paper
"This is a violent film, not gratuitous violence, but the real focus of the action is on the super fast cars and motorcycles and, of course Mel Gibson. Dressed in black leather pants and jacket, Mel Gibson was young and very handsome when this film. The film had the two elements that ensured its success: the fast cars and motorcycles and Gibson. However, it probably caught everyone involved off guard when the film turned into a cult classic, especially in the United States, and was the start of a long and accomplished acting career for Gibson and two more installments of the Mad Max futuristic character."
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"Monster's Inc.", 2008.
An analysis of cultural concepts in the film "Monster's Inc."
898 words (approx. 3.6 pages), 1 source, MLA, $ 31.95
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Abstract
This paper discusses how "Monster's Inc."(2001) is a children's film that uses the common childhood fear of monsters lurking in the closet and turns this conceit right on its head. The film depicts monsters as terrified of children and how they wait for children at night, but not to eat them--but to collect the screams of these small humans. The screams power the monster's society of Monstropolis with Scream Heat. The paper concludes that, because of their need to stimulate fear in the hearts of children, the monster's world more and more resembles in its images and structure, the society beyond the closet door.
Outline:
Introduction
Definition of a Principle or Cultural Theory That Is Present In the Film
Identify the Cultural Climate within the Film
Explain How You Would React If You Had To Exist In That Culture
Provide Analysis of What Could Be Done To Improve the Culture
Outline:
From the Paper
"The fact that people who are 'different' are often called monsters in real life creates an immediate resonance between Monstropolis and our own society. The cultural theory is the theory stressed by the film is of the dangerous potential fear of the 'other'--an entire society can be powered by a fear of difference and culturally structured around a fear of difference. But fearing something only makes what you fear all the more a part of your own culture. Because children look different from the monsters, and because the children's screams power Monstropolis, the monster's entire society must be devoted keeping the children 'out' as well as keeping children in a state of fear to generate screams. Without fear, the monster's culture and the society cannot exist. "
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The Benefits and Dangers of Solitude, 2008.
This paper analyzes the experience of solitary confinement in May Sarton's "Journal of a Solitude" and "The Rewards of Living a Solitary Life" and in the 2000 film "Castaway," directed by Robert Zemeckis.
1,319 words (approx. 5.3 pages), 3 sources, MLA, $ 44.95
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Abstract
The paper explores how solitary confinement proves a challenge to the author and poet May Sarton, as well as the protagonist Chuck Noland of "Castaway," the 2000 film based upon the real-life experiences of a FedEx employee tragically stranded on a desert island. The paper examines the profoundly different responses of the two characters to solitude. The paper explains that Noland is a man trapped against his will on an island with only a volleyball, while Sarton has recourse to friends and simply chooses to live alone, in relatively comfortable circumstances.
From the Paper
"Both works suggest that human beings are fundamentally social animals to some degree, and need companionship as a way of remaining mentally stable, emotionally centered, and sane. However, because Sarton's solitude is occasionally broken with some visits from other people, it does not have the soul-destroying character that Noland's solitude has. Because Sarton's solitude is chosen, she can take delight in the spiritual rewards provided by a life apart from the hustle, bustle, and time constraints of the rest of the social world. And perhaps most importantly of all, even though Hanks learns a great deal during his time on the island, because Sarton embarked upon her solitary life with a purpose, to pursue a fruitful writing career and to avoid the distractions of too much society, she enjoys her time alone"
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"Bold and Beautiful", 2008.
An analysis of the genre and the narrative structure of soap operas, focusing on the "Bold and Beautiful", March 24, 2008, Episode #5274.
2,393 words (approx. 9.6 pages), 7 sources, APA, $ 73.95
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Abstract
This paper discusses soap operas and focuses specifically on "Bold and Beautiful." It describes the generic features of the soap opera format and then looks at their narrative structure. Finally, the paper discusses the relationship between the narrative structure and the genre or soap operas. The paper presents examples from "Bold and Beautiful" from March 24, 2008, Episode #5274.
Table of Contents:
Step #1: Generic Features of Soap Opera Format
March 24, 2008, Episode #5274
Step #2: Narrative Structure of the Soap Opera Format
Step #3 Relationship between Genre and Narrative
From the Paper
"In John Fiske's essay ("The Codes of Television") he is talking about the CBS documentary with General Westmorland (Vietnam era general running the war for the U.S.) in which extreme close-ups are used for emphasis. Writing in the New York Times (and quoted by Fiske) Alex Jones explains "the extreme close-up can be especially damaging when an interview is carefully scripted and the cameraman is instructed to focus tightly on the person's face at the point when the toughest question is to be asked."
"The same genre of camera close up is used in soap narrative, albeit there is noting damaging about the result. In fact, it plays into the hands of the director and writers to have the camera zoom in tightly on Brooke's face as she is making her stand against Taylor. Immediately after Brooke makes her strongest protestation, the camera goes very tight on Taylor, whose head is nodding slightly but not in agreement; she nods because she understands where Brooke is coming from, and what she (Taylor) can expect to be confronted with for at least this episode, and likely one or more - or dozens - in the foreseeable future."
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"In the Mood for Love", 2008.
An examination of the style and use of music within the film, "In the Mood for Love," directed by Wong Kar-wai.
1,711 words (approx. 6.8 pages), 1 source, MLA, $ 55.95
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Abstract
This paper analyzes and reviews the film, "In the Mood for Love," directed by Wong Kar-wai. It describes the plot of the film and the characters who are involved. The paper then looks at the style of the film, the music used to create moods in the film and how tension is portrayed. It also discusses how the camera follows the characters and what this portrays in terms of mood.
Table of Contents:
Summary of the Film
Essay
From the Paper
"The music used to create moods in this film is perfectly suited to the buildup of desire and the melancholy that surrounds these two unrequited lovers. This movie is about desire, for certain, but it's also about restraint and sadness. And the main musical theme may drive some viewers crazy. The theme music is "Yumeji's Theme" - a waltz with stringed instruments that plays when the two characters are passing in the hall, or when they meet outside in the rain, or ride in slow motion in the back of a cab. It seems to always nearby."
"Also, several songs by Nat "King" Cole are used frequently by the director. One of them is "Aquellos Ojos Verdes" (Green eyes) which may denote jealousy. All three Nat "King" Cole songs are sung in Spanish, a strange mix of language and culture in a movie that is supposedly taking place in Hong Kong, 1962, and that features both Cantonese and Shanghai subtitles."
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Film: Federico Fellini's "8 1/2", 2008.
Examines Federico Fellini's "8 1/2" as a film noir.
1,015 words (approx. 4.1 pages), 1 source, APA, $ 35.95
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Abstract
This paper explains that film noir tends to bend time and to alter the normal chronology of a story as part of the thematic requirements suggesting connections between past and present and strengthening the idea of fate determining the course of events, as if those events were already set in time before they transpire. The post-modern approach to time infused much film making in the 1960s, making time a key element in the structure of the film. The author points out that Federico Fellini's film "81/2 "is autobiographical to a great degree, presented as a surreal meditation through the eyes of the film director, Guido, who dresses in the style of Fellini.
From the Paper
"In the next several sequence in the film, Guido interacts with his wife, his mistress, the writer of his film, the producer of the film, and a number of actors wanting to curry favor on the one hand and to get direction from Guido on the other. Guido's response in many of these encounters might be seen as distracted, and indeed he is considering his options, regretting the responsibility placed upon him by all of these people, and reconsidering his relationships one at a time."
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The Sound of Music, 2008.
This paper studies the film 'The Sound of Music', focusing on the them and music featured in the movie.
1,200 words (approx. 4.8 pages), 4 sources, MLA, $ 41.95
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Abstract
In this article, the writer introduces, discusses and analyzes the film 'The Sound of Music'. Specifically it discusses the music and theme of the film. The writer notes that 'The Sound of Music' is one of classic Hollywood's classic musicals and is still a family favorite today, even though it was first released in 1965 to movie theaters. The writer explains that it is a heartwarming story that tells the story of the rise of Nazi power in Austria in the 1930s, and how one family coped with the historic and frightening events swirling around them. The writer looks at the storyline and notes that the story is essentially true, but the film took fictional license with much of the truth involved. The writer discusses that the story would not be the same without all the music, and this indicates that it works in the film, making it more magical and charming than it would have been without all the wonderful songs.
From the Paper
"The overarching film theme is the theme of love transforming a dysfunctional family, something that is purely an invention for the film. While the Captain was strict, he was not as strict as the film portrays, and in reality, Maria went to the family home to act as a nurse, more than a governess. The couple did fall in love, however, and did marry. In the film, Maria is the catalyst that brings the family together and helps the Captain see how much he loves his family. She nurtures the children and gets the Captain to open up and be much more loving and open with his family, and brings the entire family together. The family in the film is dysfunctional, because the Captain is so strict and so unable to warm up to his children, and they need a woman's touch to get past this feeling of domination and fear that permeates the children. They are not allowed to just be "children" until Maria comes, and that transforms the family and turns it into a "real" loving and caring unit."
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How Camp Culture Changed "The Sound of Music", 2008.
This paper discusses the unique stylistic elements of "The Sound of Music" cinematography and genre, as well as its subject matter.
1,450 words (approx. 5.8 pages), 8 sources, MLA, $ 48.95
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Abstract
This article analyzes the success of the musical film "The Sound of Music" from its introduction in 1965 to its high popularity in modern times. The author concludes that the continued popularity of the film has been largely determined by a small and enthusiastically devout alternative audience's demands, rather than by the sustained appeal of the factors which made for its dramatic commercial success in 1965.
From the Paper
"According to Rohrer's BBC News article, Joe Heaney (arts editor of the Gay Times) believes that "Maria's transformation is key to the story's enduring popularity" (Heaney, cited in Rohrer "BBC News Magazine"). Heaney adds that the film is "about someone who is a complete outsider, she has been living in a convent and is very afraid to live in the real world and yet she is able to conquer her fears" (Heany, cited in Rohrer "BBC News Magazine"). "
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Three Films about Education, 2008.
This paper examines how three films, "Dead Poet Society", "Renaissance Man" and "Dangerous Minds", reflect the American belief in individualism.
1,415 words (approx. 5.7 pages), 3 sources, APA, $ 47.95
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Abstract
This paper explains that the Hollywood films "Dead Poets Society" (1989), "Renaissance Man" (1994) and "Dangerous Minds" (1995) represent distinct educational environments with different cultures in different eras. The author points out that, despite these differences, a common assumption of all three films is that education, whether in the 1950s or in the 1990s and in any society, is radically flawed. The paper argues that, while this assumption may be shaped primarily by the narrative need of all films for a dramatic "protagonist" whose intervention propels the plot, the fact that all three films depict cultures of teaching to be flawed and excessively institutionalized is reflective of the American belief in individualism.
From the Paper
"As such, it is not surprising to note a very similar structural motif in "Renaissance Man". The flawed educational institution in this film is the U.S. army, which is shown to have failed in teaching a group of recruits who are placed in the charge of outside teacher Bill Rago. This is evident in the scene when the teacher learns of the nickname his students have been given: "The whole fort calls us Double Ds. Dumb as dog shit." In many ways, the educational strategies in "Renaissance Man" are a midpoint between "Dead Poets Society" and "Dangerous Minds".
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"Citizen Kane", 2008.
An analysis of the techniques used in the film "Citizen Kane" by Orson Welles
1,128 words (approx. 4.5 pages), 5 sources, MLA, $ 39.95
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Abstract
The paper discusses the film "Citizen Kane" by Orson Welles and analyzes its style and structure. The paper shows how the various elements used in telling this story contribute to its symbolism while centering on the mystery of the nature of Kane's character.
From the Paper
"Citizen Kane is a rich film in which one can find a wide variety of American values reflected or subverted in the actions of Kane and others in the film. The film also reflects a sense of the history of this country in the first four decades of this century, a period of change in the economic and political realms embodied in the changes in Charles Foster Kane himself. He begins as an idealist in the American mold, a man who wants his newspaper not merely to report the news but to provide a forum for the truth. However, this entails the accumulation of a good deal of power, and the growth of this power becomes a rationale for trying not merely to report the news but to make it."
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"A Time to Kill", 2008.
This paper discusses the social implications of John Grisham's movie "A Time to Kill".
985 words (approx. 3.9 pages), 9 sources, APA, $ 34.95
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Abstract
The paper explores how the movie "A Time to Kill" addresses the issues that surround the rape and murder of a young African-American girl, the justice dealt to her white rapist-killers and how the revenge meted out by her father is dealt with. The paper highlights how, with the characters acting as realistic representatives of life in the American South, the movie shows how racist socialization is both widespread and inevitable.
From the Paper
"The plot of the movie "A Time to Kill" contains several social implications. Each one of these social factors plays a role in how the movie addresses the issues that surround the rape and murder of a young African American girl, the idea of "justice" being dealt to her rapist-killers, and with how the vigilante justices meted out by her father is dealt. While the protagonist, portrayed by Samuel L. Jackson has clearly committed the act of which he has been accused, his character is more sympathetic than the men that he has killed. The sympathy that his story creates in the minds of both the jury--and the audience--is such that it transcends the actual demands of the justice system."
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A Character Analysis of "Blood Diamond". (2006), 2008.
A film review of "Blood Diamond" directed by Edward Zwick.
2,456 words (approx. 9.8 pages), 1 source, MLA, $ 74.95
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Abstract
This study analyzes and evaluates three central characters in the film, "Blood Diamond" (2006) by director Edward Zwick. It also provides a synopsis of the film's plot and the moral and ethical issues that arise.
From the Paper
"I.The ends and means of each character builds bridges into the central character, Danny Archer, as he is enveloped in the illegal conflict diamonds that are brought into Europe through smuggling as a result of the Sierra Leone civil war. The means of Archer's greed his one unethical standard that drives him toward making profits off the horror and destruction of whole communities in Africa during internal military conflict. He is willing to go to any means to rationalize his involvement with RUF, as he is directly linked to Europeans that are creating civil wars in Africa to exploit Africans and their natural resources. When Danny talks about his immoral perspective on the world with Maddy Bowen, an American journalist writing a story about the war, his means to an end as a businessman is made clear:"
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"Platoon", 2008.
An analysis of the war film genre of "Platoon" by Oliver Stone.
755 words (approx. 3.0 pages), 3 sources, MLA, $ 26.95
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Abstract
This paper attempts to understand the plot, characters, and the biographical background of Oliver Stone's film "Platoon". By realizing the intensive mix of history and personal accounts of Stone's own involvement in the war, the paper discusses how Stone provides a crucial moral controversy about the nature of warfare. It also examines how Stone defines central moral problems with American imperialism, and how the lower class soldiers fighting the war were equally doomed as their equally poor Vietnamese enemies whom they fought. It contends that Stone brings forth a conglomeration of themes into this film, creating much fictionally portrayed drama and how he also defines the majority of issues that arose in Vietnam during the 1960s.
From the Paper
"The critical aspects of this type war film genre garner more to a sensationalized conglomeration of various personal experiences and the way that the war was fought in regards to atrocities committed by American imperialism. Stone often brings forth the lack of morality or ethical considerations that American commander held against their men in the filed of battle, and how the war was often mismanaged and not efficiently run in the best interest of American troops. Furthermore, the issue of American imperialism and its massive destructive power is represented due to the harshness and severity of atrocities done to soldiers, Vietnamese civilians, and the aggressive stance the American government had begun to take against communism in Asia. "
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"To Kill a Mockingbird", 2008.
A critical analysis of the theme of racism in the 1962 film "To Kill a Mockingbird" directed by Robert Mulligan.
808 words (approx. 3.2 pages), 2 sources, APA, $ 28.95
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Abstract
This paper analyzes the critical elements of racism that arise as they pertain to Robert Mulligan's film "To Kill a Mockingbird". It looks at how in many scenes within the film, Mulligan effectively captures the spirit of Atticus Finch (Gregory Peck) and his desire to defend a black man from being wrongfully charged with raping a white woman. The paper also discusses how, by acknowledging the problems of racism in the South in the 1930s, Mulligan provides cultural and community based examples of racism that are realistic and poignant.
From the Paper
"The major issue in Mulligan's civil rights era film To Kill a Mockingbird is how racism is prevalent between families within the town. The Radley's are the racist faction that seeks to have the black boy hung for supposedly raping a white girl, and it is the Finch's that help to bring about justice to seek a legal means to try the case. Mulligan brings this conflict into focus, which is a major reason why the film depicts racism effectively as a cultural issue that divided communities in the 1930s. In Mulligan's characterization of the families, Nathan (Richard Hale) is very similar to Boo's dad, as he is racist and does not care for outsiders to interfere with the events that occur inside the Radley home."
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"Hero" by Zhang Yimou, 2008.
A review of cinematography and martial arts stylization brought forth by director Zhang Yimou in the film, "Hero."
706 words (approx. 2.8 pages), 2 sources, APA, $ 25.95
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Abstract
This paper analyzes the film, "Hero" directed by Zhang Yimou. It describes the plot structure of the film and discusses the cinematography and martial arts stylization brought forth by Zhang Yimou. The paper concludes that the film offers a high level of martial arts entertainment that rises far above other films that have come forth in this genre in the past decade.
From the Paper
"In conclusion, Hero, by director Zhang Yimou, offers a high level of martial arts entertainment that rises far above other films that have come forth in this genre in the past decade. Although Yimou had not put a great deal of innovation into the normative "assassin's" plot in this genre he invariably provides a deeper visual representation by showing more details and interactive special effects in the fighting scenes. Jet Li and the other martial artists in the film are high caliber martial artists that provide incredibly mythic choreographed acrobatics and fighting scenes that rise far above the competition. Hero is a film that demands more storytelling innovation, but certainly, the martial arts and special effects in the film make greater advances in this style of Asian filmmaking."
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Accurate Portrayals in the Film Industry, 2008.
This paper illustrates the realistic portrayal of teens in the film "Rebel without a Cause," directed by Nicholas Ray.
1,268 words (approx. 5.1 pages), 1 source, MLA, $ 43.95
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Abstract
The paper asserts that the portrayal of various groups in the entertainment industry can sometimes be realistic. The paper then analyzes, as an example, how teens are depicted in the film "Rebel without a Cause" and highlights how these young people exhibit all the angst and pain one finds in wayward, drifting youth. The paper is of the opinion that the film accurately conveys many timeless themes and challenges inherent in growing up and offers unusual clarity to the subtle dynamics that can rend families apart.
From the Paper
"To start with, the portrayal of teens in Rebel without a Cause is realistic. The film itself focuses chiefly upon the character of young Jim Stark (James Dean) and his difficult passage to adulthood. In the opening scenes of the film, as the three adolescent protagonists - Jim Stark, Judy (played by Natalie Wood) and Plato (Sal Mineo) - come into contact with one another at the local police station, the audience is made aware of the painfully dysfunctional nature of their respective home lives. To wit, Jim's father is a weak man clearly hen-pecked by a wife who seems to care more about "appearances" than she does about her children - or maybe even her spouse. For her part, Judy seems saddled with a father who views her as a tramp and has become cold and aloof now that his daughter is about to become an adult. "
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