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Michael Bay, 2006.
This paper discusses Michael Bay, as one of the most successful directors in the film industry today.
1,900 words (approx. 7.6 pages), 6 sources, MLA, $ 60.95
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Abstract
In this article, the writer looks at Michael Bay's rise to prominence in film from his background in music video. The writer looks at the different films directed by Bay and mentions the stars who appeared in them. Further, the writer looks at Bay's professional achievements. The writer studies Bay's directive style and characteristics of the direction in his films. Throughout the paper, the writer examines various criticism and discusses the reviews of Bay's work.
From the Paper
"Bay was a successful music video and commercial director when he was in his early twenties. His first feature film was 'Bad Boys', starring Will Smith and Martin Lawrence produced in 1995. This action comedy showed some the characteristics that made him well-known as a video producer. It is fast paced and slick with a rapid momentum. One of the hallmarks of the shorter video direction is the terse and "hyper-edited" quality of the film; where the viewer is not given time to ponder or take in the scene at length but propelled into a never-ending sequence of actions and events. This was to be an aspect of Bay's style which was to elicit a certain amount of criticism of films like 'Armageddon'."
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Albert Lamorisse's "The Red Balloon", 2005.
This paper reviews "The Red Balloon" ("Le Balloon Rouge" ), a 1956 award-winning French short film written and directed by Albert Lamorisse.
1,010 words (approx. 4.0 pages), 2 sources, MLA, $ 35.95
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Abstract
This paper explains that this classic short film "The Red Balloon" is about a lonely Parisian boy who is befriended by a large red balloon, which seems to have a will and mind of its own and basically refuses to be abandoned by the boy. The author points out that, although on the surface, this film may appear to be rather pointless, there is an underlying theme that is intended to inspire imagination and thought on a deeper level. This paper stresses that the film has no dialogue; thus, the actors' abilities especially the ability of the director's son, Pascal, is exceptionally good.
From the Paper
"Tom Keogh notes that as with Lamorisse's preceding short film, the 1952 "White Mane," the French director took home a grand prize from the Cannes Film Festival for "The Red Balloon," and also won an Academy Award for Best Original Screenplay. Through the years there have been both pro and con pieces of film criticism written concerning the aesthetics of this movie, however, there is no doubt that Lamorisse created a very sensitive allegorical film that never fails to spur dialogue among viewers of any age."
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Seven Samurai, 2006.
A review of the movie "Seven Samurai", thought by some to be the greatest Japanese film ever made.
917 words (approx. 3.7 pages), 6 sources, APA, $ 32.95
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Abstract
This paper reviews the movie "Seven Samurai" based on "Shichinin no Samurai", a 1954 black and white film by Akira Kurosawa. The paper takes a look at the structure of the movie, as well as the richness of the film and the cinematic technique.
From the Paper
"Seven Samurai," filmed in linear structure, is set in 16th century Japan, and is the story of a poor farming village that is regularly attacked by bandits, who steal their rice crops at harvest and take their women as well. Before harvest time approaches again, the villagers decide to hire a group of samurai to help defend their homes and crops for the price of lodging and food, a total of seven samurai are enlisted. The first half of the movie depicts how each samurai joins the group, and their journey to the village, where they teach the farmers how to fight and how to secure their village. The last part of the movie shows several skirmishes with the bandits, all of which lead up to the final battle scene.
As Gary Morris points out, this epic deals with "war, honor, courage, and yes, that homo subtext ever present in male bonding movies, punctuated by Toshiro Mifune's enthralling butt-baring performance."
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"The Man With a Movie Camera" - An Analysis, 2006.
This paper discusses Soviet film-maker Dziga Vertov's philosophy of film. This is done through an examination of his masterpiece "The Man with a Movie Camera."
2,300 words (approx. 9.2 pages), 8 sources, MLA, $ 70.95
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Abstract
Vertov's approach to film is explored in the various roles presented in his film "The Man with a Movie Camera." First, the author discusses the role of the cameraman in the film. Next, he describes the role of the editor, and finally the role of the viewer. Additionally, Vertov's political and artistic philosophies as intertwined with filmaking are examined.
From the Paper
"In motion picture terminology, a montage (literally "putting together") is a form of movie collage consisting of a series of short shots which are edited into a coherent sequence. Viewers infer meaning based on context; Lev Kuleshov, in his Kuleshov Experiment established that montage is one way of leading the viewer to reach certain conclusions about the action in a film. David Griffith was one of the early proponents of montage, introducing cross-cutting to show parallel action in different locations, and codifying film grammar in other ways as well."
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"The Lion King", 2006.
This paper discusses the much acclaimed "The Lion King", which originated from an original script as an animated Disney film followed by a Broadway play based on the movie.
2,235 words (approx. 8.9 pages), 12 sources, MLA, $ 69.95
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Abstract
This paper explains that the story of "The Lion King" is a serious drama with comic moments containing "real issues" of guilt, despair, alienation, and the need to take responsibility, which is similar to "Hamlet" by William Shakespeare, both of which are based on archetypal myth. The author points out that, whereas the animated film was tremendously popular and profitable, "The Lion King" stage play forever changed children's theater, stretching the boundaries of children's theater so that children's plays are now often very rich in content and in stage-craft and a little scary in places. The paper concludes that the success of "The Lion King" is that it not only entertains children but also leaves them with a moral template of loyalty, social responsibility and spirituality, which are pro-social values precious to society.
From the Paper
"Myths contain archetypal characters who speak to human beings at a deep level of consciousness. Simba and Hamlet are archetypes of the mythical child in exile. An archetype is an image that appears over and over in literature and myths and so is familiar to us all. The stories of Jesus, Moses, Buddha and Perseus (as well as Simba and Hamlet) all are about the mythical child in exile. Myths may not be literally true, but they contain essential truths, which resonate in the hearts of human beings. Myths always involve the "world of mystery and imagination, of feeling, participation and transformation...in the creation of order and of a secure reality out of darkness of the unknown.""
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The Bridges Family, 2006.
This article looks at the Bridges family, of which three members are famous in the entertainment industry.
900 words (approx. 3.6 pages), 4 sources, MLA, $ 31.95
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Abstract
This paper gives a brief biographical view of the works of Lloyd, Jeff and Beau Bridges. The writer summarizes the life of each of the three famous members of the family. The article mentions dates and places of birth outlines the career of each of the different actors. In the paper, the writer refers to various movies and television programs in which each of the Mr. Bridges became famous or starred. The article looks at milestones and memorable moments in the lives of these famous people.
From the Paper
"Although Lloyd and Beau have both had illustrious careers, Jeff seems to have surpassed both his father and older brother. And not only has his career been more successful, it is said that no one who has ever worked with Jeff has a bad word to say about him (Jeff pp). Peter Bogdanovich, who directed him in the 1971 movie, "The Last Picture Show," has said, "I've never, ever heard of him pulling a star turn or showing ego," and John Goodman, who co-starred with Jeff in "The Big Lebowski," said, "It's like watching a diamond cutter...When you look at the diamond, you don't think of the work, you just notice there's no flaws" (Jeff pp)"
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D. W. Griffith's "Way Down East", 2006.
A summary and analysis of D.W. Griffith's 1920's era film "Way Down East".
1,726 words (approx. 6.9 pages), 3 sources, APA, $ 55.95
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Abstract
This paper describes the characters and plot of D.W. Griffith's film "Way Down East" and explains that, in order to identify with the characters, it is necessary to first understand what their lives were like and what it was like to live at that time. The paper describes the societal morals and standards of the era in which the film was written and the sexual double standards that existed at that time and explains that the message that Griffith wanted to convey in the movie was that these double standards were unfair and unjustifiable.
From the Paper
"Anna Moore is a model of "true womanhood" in the Victorian sense (Welter, 1983). Purity and constancy are considered prime virtues, and she is portrayed as this type of woman. Griffith sees the ideal Victorian woman as delicate, sweet, innocent, very domestic, and sheltered from evil and the corruption of the real world. Anna, when she comes to Boston, is exactly like this. Ironically, it is precisely because of these virtues that idle, rich Lennox Sanderson, a sly, conniving womanizer, is attracted to her and determined he will have his way with her. He sees seducing her as an adventure and doesn't care that trusting him will ruin her. He tricks her by arranging for a fake wedding ceremony, and because she is infatuated by him and impressed with his sophisticated ways, she consents to marry him."
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The British Film Industry and Thatcherism, 2005.
This in-depth paper examines the British film industry during the 1980s while also focusing on the political climate in England during this same period in which the country was led by Prime Minister Margaret Thatcher.
4,954 words (approx. 19.8 pages), 21 sources, APA, $ 125.95
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Abstract
This well-researched paper delves into the history of Britain's film industry which, according to the writer of this paper, was considered second rate in comparison to other countries including Germany, France and the U.S. This paper discusses the film industry's apparent lack of focus primarily during the 1980s, which was a direct result due to the political climate during this particular era. The writer reviews and analyzes British author John Hill's book "British Cinema in the 1980s" which provides in-depth insight to this specific topic. The writer contends and explains why British filmmakers were essentially apathetic and uncaring about Thatcherism and went on to challenge many of the country's values. This paper examines the impact of various films made in England during the 1980s including "Gandhi," "Room With a View" and "Chariots of Fire." This paper also focuses on the cultural conflicts between the older and younger generations in England which greatly impacted the types of films that were produced during at that time. The writer stresses that during the 1980s the older generation stuck by the traditional and old fashioned Victorian morality system which still exists today while the younger generation chose to adhere to a more free-flowing Edwardian type value system.
From the Paper
"There were several opportunistic policies that had been passed, and there was also a growing lack of satisfaction in manual labor. Therefore, it was very evident that in Britain, even at the end of the 1960's and the beginning of the 1970's, there was indeed a large amount of class differences in English society, and society in general was divided into there major classes, which were the upper classes, the middle classes, and the working classes. The divisions were in fact brought about by the differences in wealth, power, and the types of work, the ideologies, the status, and the opportunities that were available. At the same time, this period saw a vast change in the people's attitudes towards traditions, old values, taboos, customs, and the all-pervasive parochialism, and this was the very attitude that was reflected in all the New Age films that were made during that time."
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Anime, 2006.
The article discusses the Japanese art form of "anime". The writer looks at its popularity and its distribution world-wide.
3,100 words (approx. 12.4 pages), 14 sources, MLA, $ 90.95
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Abstract
The paper describes that anime is, in essence, the Japanese form of animation. The writer explains that in general, anime is characterized by extremely stylized and colorful graphics and the use of vivacious and vibrant colors. The graphics used depict energetic and effervescent characters that are set in a large number of scenes and settings. Numerous story lines are used that are aimed at a variety of different types of audiences. The paper discusses that in English, the word 'anime' actually transliterates a Japanese term, and its history of origin can be traced back to the abbreviation of the transliteration of the English word 'animation', into Japanese.
From the Paper
"Why has anime been so very successful? How has it become globalized today? A major part of the reason for the popularity of anime is that it has managed to spread all throughout the world, and everyone knows what it is. As in the general case where something that spreads all over the world quite naturally becomes a global phenomenon, global recognition and fame means that anime has now become a global occurrence and it is well loved by people other than from whose nation it originally was created. One must study the extent of the globalization of anime based on the amount of permeation or penetration into other societies that it has managed to achieve in recent times. This also means that one must look carefully at and analyze the numerous factors involved in why exactly anime became a global phenomenon, and this would in turn mean that one would be able to comprehend how it became so very popular among a large variety of people, all over the world."
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"The Time Machine", 2006.
This paper compares the film version of H.G. Wells' "The Time Machine" with the original book.
1,185 words (approx. 4.7 pages), 6 sources, APA, $ 40.95
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Abstract
This paper explains that both H.G. Wells' classic 1895 novel "The Time Machine" and the 1960 film version, directed by George Pal, focuses on what could happen if the war between the classes was allowed to develop and intensify with the consequences being the growth of human cruelty and the development of the human race into something inhuman, unsympathetic and overwhelmingly powerful. The author points out that George Pal's adaptation of "The Time Machine" centers on a plot line that is easily recognizable in the novel; the unnamed "Time Traveller" in the novel (portrayed in the film by Rod Taylor, presumably as H.G. Wells himself) is a Victorian scientist who constructs a contraption with the capability of sending him into the far distant future, specifically to the year 802,701 A.D.. The paper suggests that the film version of "The Time Machine", despite its visual effects and superb acting, cannot be an improvement on the original novel, due to Wells' extraordinary ability to take the reader into the unknown without the advantage of pure visual imagery as provided by the cinema.
From the Paper
"As a character, Weena represents the opposite of the horrible Morlocks, yet she also symbolizes the world of the future as a young girl without any knowledge of the past or any inclination to know what lies ahead in the future. In the novel and in the film, this device tells the reader and the viewer that the world of the far distant future will be made up of white and black, presumably good and evil, yet is also symbolizes the disparity between the social classes which was very evident in Great Britain when "The Time Machine" was first published in 1895."
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Technological Dystopia in Film and Fiction, 2006.
This well-researched paper analyzes the relevance of robots and robotic technology in both film and various written works of fiction.
2,566 words (approx. 10.3 pages), 12 sources, MLA, $ 77.95
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Abstract
The writer of this paper examines the issue of technological dystopia by highlighting the negative aspects surrounding the inclusion of fictional robots in both film and written works of fiction. The writer discusses why the characters or images portrayed by robots cause either admiration or resentment to the audience. This paper also explores the underlying issues that authors and filmmaker are trying to convey in using robots as central characters in their stories. This paper looks at the human-like robots in author Isaac Asimov's science fiction novels. This paper analyzes the impact of robots and advanced technology in films such as "Terminator" and "I, Robot." This paper discusses the common theme prevalent in numerous films and novels pertaining to the perfection of robots and the imperfection of human beings. This paper also analyzes the relationship between the fictional robot and man.
From the Paper
"Like any other machine invented by man, robots are shown to have the capacity to malfunction. Unlike a malfunctioning watch, car, or any other machine, robots are portrayed to have superior intelligence and consciousness. This makes the "malfunction" even more dangerous, since they can manifest harm with superior intent and capability. A robot defect is magnified because it can create an "intelligent" danger that humans may not be able to handle. There's also the factor of consciousness. Robots can become self-aware and realize that they are superior to humans. The implications of this are vast and debatable. Perhaps they will cooperate with humans and regard us as their creator, or realize that they are the superior beings and enslave humanity. Regardless of the result, authors always highlight this possibility. Something that has the superior capability to do good also has the same capability to do harm, so fail-safe devices should be put in place."
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"Boiler Room", 2006.
A look at why the main character of the film "Boiler Room" decides to cross the line and engage in a series of white collar crimes.
1,540 words (approx. 6.2 pages), 1 source, MLA, $ 50.95
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Abstract
This paper discusses and explains the key causal and motivational factors, at a macro and micro-level alike, that help fuel the main economic and psychological motivations of Seth Davis, the main character in "Boiler Room", to break the law.
From the Paper
"However, (at the macro level) Seth actually considers himself quite successful in his illegal casino endeavor. After all, at the macro level money is his main (actually his only) motivation. Still, as he later admits to himself when he is alone again, with his girlfriend, it hurts him deeply that his father disapproves so strongly of all he has done in life. Seth's macro-level and micro-level motivations are at war; on one hand, at the micro level, he yearns for his father to be proud of him. But on the other, at the macro level, Seth does not want to work hard for a living, or to wait for the spoils of life until he has really earned them, which his father has done. Seth's macro-level motivation, for quick, easy money, even if dishonestly obtained, eventually wins out over his desire to make his father proud."
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The CSI Effect, 2006.
An analysis of the impact of the CSI Effect on the judicial system.
3,891 words (approx. 15.6 pages), 8 sources, MLA, $ 106.95
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Abstract
It is often said that art imitates life, but the onslaught of televisions shows that deal with crime scene investigation have jurors expecting for life to imitate art. This is described as the CSI Effect named after a popular CBS television series. This paper explores the impact that the CSI effect has had upon jurors and the judicial system and also investigates the impact of the CSI effect on prosecutors. It also explores the some of the positive factors that have come about as a result of the CSI Effect.
Outline
Introduction
CSI Effect
Pressure Placed On Labs and Forensic Experts from Jurors Suffering From the CSI Effect
Positive Impact of the CSI Effect
Coping with the CSI Effect
Conclusion
From the Paper
"Although the creator of CSI asserts that the technology and types of forensic evidence shown on the television program are not realistic, there are many who disagree. In fact some experts that have worked on the show and other similar shows have quit because they believe that the shows are detrimental to the judicial system and may influence potential jurors in a negative way (Botluk & Mitchell (2005). In addition, some experts believe that the shows can unknowingly be teaching criminals how to get away with crimes (Botluk & Mitchell (2005). For instance, a criminal may watch the show and learn how crime scene investigators find perpetrators."
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"Groundhog Day", 2006.
A look at some of the psychological issues in this film starring Bill Murray.
1,118 words (approx. 4.5 pages), 4 sources, MLA, $ 38.95
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Abstract
"Groundhog Day," directed by Harold Ramis, is a humorous look at how the main character relives the same day over and over again until he gets it "right". This paper examines how this character, played by Bill Murray, deals with stress and stressors in the move. This paper approaches the film from a psychological perspective.
From the Paper
"One of the coping mechanisms Phil used was suicide as a way out of his problem. That did not work so he had to find another way to deal with his dilemma and his stress. He also uses manipulation as he tries to get to know Rita and make her fall in love with him. He manipulates her day after day to learn everything about her and become the "perfect" man for her. However, he finds that finally this does not work anyway, and he becomes the perfect man by altering his own personality and his own way of thinking."
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"Judgement at Nuremberg", 2006.
An historical review of the 1961 film "Judgement at Nuremberg".
2,900 words (approx. 11.6 pages), 4 sources, APA, $ 85.95
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Abstract
This paper discusses the historical veracity of the 1961 movie "Judgment at Nuremberg", a fictionalized account of the post-World War II Nuremberg Trials. The film focuses on an actual trial of judges who carried out the laws promulgated by the Nazi State. The paper provides an extremely detailed outline of the movie's plot development, delving into an analysis of the characters and their actions and motivations. The paper concludes by examining how the movie parallels -- and deviates from -- history.
From the Paper
"Assigned to the trial as Chief Judge is Dan Haywood (Spencer Tracy), a low profile justice, who by his own admission, was not the original or subsequent choice. The prosecutor is Col. Tad Lansing (Richard Widmark) an "army man" who vows to convict the four ex-German Judges. Defending the accused is Hans Rolfe (Maximilian Schell) who must convince the court that the defendants were acting only for the love of their country. Among the defendants are respected Judge Ernst Janning (Burt Lancaster) who has written several books on law accepted the world over. Lawson accuses the defendants of signing orders for the sterilization of innocent men and the execution of those who opposed to the Reich and the extermination of the Jews. He puts Rudolph Peterson (Montgomery Clift) on the stand as a victim of sterilization. Rolfe manages to expose the pitiful Peterson as mentally challenged. Later Irene Hoffman (Judy Garland) is put on the stand to explain her alleged affair at the age of 16 with an elderly Jew. As his coup de grace, Lawson shows a film depicting the horrors of German concentration camps.
In between the sessions, Judge Haywood strikes up a friendship with Madame Bertholt (Marlene Dietrich) the widow of a former German general, in whose former home the judge is staying. In spite of their differences they begin to grow fond of each other."
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The Motion Picture "Catwoman", 2006.
A paper on the reasons why "Catwoman" was not a successful film.
3,850 words (approx. 15.4 pages), 11 sources, MLA, $ 105.95
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Abstract
This paper examines the reasons that in an age of wildly successful comic-book based movies, such as "Batman" and "Spiderman," "Catwoman" was not a successful movie. The author examines such issues as the writing of the movie, technical editing issues, and special effects. The paper contends that the movie is a cinematic disaster despite an all-star cast, a high budget, and good subject matter.
Table of Contents:
Executive Summary
I. Introduction
II. Situational Analysis
A.SWOT External
1. Economy
2. Society
3. Technology
4. Industry
B.SWOT Internal
1. Capital
2. Personal
3. Product
III. The 4Ps of Marketing
IV. Recommendations
From the Paper
"Catwoman, directed by the French Director Pitof, makes a climbs-down with the audience to the point of starting when Joel Schumacher puts rubber nipples on the bat suit and treated his fetish for neon-lit sets. Catwoman is Batman and Robin once again excitedly crapping over all the well-treasured achievement of 'serious' comic book movies and approaching with full vigor. Taking into account the marketing aspect, it is an easy thing to put the blame on the actress on Halle Berry due to the awesome debacle of a film. This is due to the fact that she is the one who is running around the 'nameless computer-generated city" draped in an ill fitting leather attire and doing the role of embarrassing scenes in whish she gulps down 6 cans of Tuna fish or at times she is crazy for a catnip. To discharge this role, Berry was paid millions. The audience rightly was not prepared to accept this rubbish. The true wedgie in the crotch of Catwomen is director Pitof, who had experience with special effects and Hollywood hack, who has a difficult time in feeling confident with the obsolete filmmaking devices such as "acting, "drama", & self-control for a long period to really make a movie out of this Bob Kane created character. (Catwoman: www.filmfodder.com)"
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Darkness in War, 2006.
A review and comparison of the movie "Apocalypse Now Redux" and the Joseph Conrad book "Heart of Darkness".
1,020 words (approx. 4.1 pages), 2 sources, APA, $ 36.95
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Abstract
This paper examines the shared central theme of both Joseph Conrad's book, "Heart of Darkness", and Francis Ford Coppola's film, "Apocalypse Now Redux". The paper studies the Kurtz character, who comes to be criticized for continuing to do what he had done previously under army control, but now on his own authority. The paper studies how the other characters react to Kurtz and his ensuing madness. In both the book and the movie, there are numerous possibilities for an endless abuse of power by foreigners in a primitive jungle setting. The paper demonstrates how this setting tends to bend their minds and release their dormant savage energies. For example, the paper shows how in "Heart of Darkness", gun-crazy members of the company are depicted firing wildly upon anything and everything as they progress up the river. Likewise, the paper analyzes how the men in the patrol boat rigid (PBR) in "Apocalypse Now Redux", act even more brutally, due to the circumstances of the Vietnam War.
From the Paper
"The dominant theme of Heart of Darkness is man's vulnerability to his own darker nature and the various ways in which this terrible, savage, proto-man can be unleashed; power, the jungle, "the Company," all serve as catalysts for the emergence of this hidden, voracious id-thing within us all, most realized in Kurtz. In Apocalypse Now Redux, Coppola is right on target in exploring this theme, his choice of Viet Nam in the sixties providing all the requisite elements: madness, power, the jungle, and "the Company" are all present, the latter being represented by the United States (US) Army, or perhaps the USA as a whole. This last touch is ingenious, as it calls up a whole series of speculations regarding the various forms of imperialism. In Conrad, set at the turn of the century, the imperialism is traditional, overt. In Coppola, the US presence is just as overt, yet the pretense upon which it is based is more ideological, geopolitical."
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Alfred Hitchcock, 2006.
This in-depth paper analyzes the film techniques of one of America's greatest filmmakers and directors, Alfred Hitchcock.
3,058 words (approx. 12.2 pages), 6 sources, MLA, $ 89.95
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Abstract
This paper details Hitchcock's unique talent for drawing the audience into his characters' thoughts, actions and emotions. This paper focuses primarily on three of the director's films, "Rear Window," "Notorious" and "Vertigo." The writer of this paper delves into Hitchcock's use of the subjective approach which when done correctly lets the viewing audience see into the minds of the characters on the screen. The writer contends and explains how Hitchcock's subjective storytelling and proper camera angles allow the viewer to see the point of view of the characters. This paper analyzes the director's use of subjective cinema which presents an idea in the mind of the character without the need for dialogue while at the same time using a point-of-view shot camera sequence resulting in a build-up of suspense. This paper contends that Hitchcock's use of the subjective approach is a powerful method of filmmaking, even more so than the actual acting. This paper details how the subjective approach along with specific camera angles in "Vertigo" allow the viewers to identify with the protagonist Scottie while the cinematography gives the audience a true sense of the dizziness and fear of falling felt by the character.
From the Paper
"The poison scene with its sequences of Alicia knowing what is happening is another example of the subjective techniques used by Hitchcock. As noted above, the audience has information that even the protagonist does not have. At the start of the scene, the audience knows that Alicia is being poisoned by Sebastian and his mother, because they know she is working for the Americans. The scene also shows the different type of actual camera shots: The establishing shot opens the sequence, frequently an exterior and sets the scene. The long shot (LS), which shows all or most of a fairly large subject (for example, a person) and usually much of the surroundings and extreme long shot where the camera is at its furthest distance from the subject, emphasizing the background."
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Monsters in Literature, 2006.
This in-depth paper analyzes various works of Western literature in which the authors utilize monsters or images of evil to symbolically represent the dark side of humanity.
4,151 words (approx. 16.6 pages), 11 sources, MLA, $ 111.95
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Abstract
The writer of this well-researched paper contends and explains the manner in which the theme of monsters in classic Western literature originates from religious, cultural and linguistic sources. This paper focuses primarily on Mary Shelley's "Frankenstein" and Victor Hugo's "The Hunchback of Notre Dame," both classic romantic novels which clearly depict dark and gothic images. This paper explores Shelley's writing style which illustrates how evil can emerge from the human psyche literally as well as symbolically. The writer discusses and details the similarities in both novels. This paper analyzes Hugo's intention when describing Quasimodo who is slightly more appealing than Frankenstein, albeit Quasimodo's appearance does convey a certain amount of fear. This paper contains several selected portions of text from both novels which are relevant to the specific topic detailed in this paper. The writer also discusses how this particular style of dark writing has evolved in more contemporary and up-to-date works by authors such as Stephen King as well as in films such as "Fatal Attraction" and "Silence of the Lambs."
Table of Contents:
Introduction
Frankenstein: Who Was the Real Monster?
Victor Hugo's Hunchback: An Illustrative Device
Allegory or Entertainment?
Modern Monsters: The Theme Continued
Conclusions
Works Cited
From the Paper
"There is little question that Hugo fully intended Quasimodo to evoke horror in his readers. He creates Quasimodo as a grotesquely deformed, almost non-verbal, and deaf. Interestingly, Hugo assigns the character a friend, if not a creator as in Frankenstein, but as a protector--one who supposedly has the best interests of the monster at heart. This friend, Dom Claude Frollo, ironically on some levels represents the "best" of humanity as is exemplified by his devotion to the Church and a life of God. However, the reader soon sees the irony, as well as the inherent evil of the human heart not in the monster, but in the supposedly "good" human man. This, the reader sees most clearly in the following passage, perhaps one of the most striking in the novel, when Frollo, a supposed beacon of hope and mercy, passes by Quasimodo being tortured by a terrible mob."
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