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"Wal-mart: The High Cost of Low Price", 2008.
A critical review of the film "Wal-mart: The High Cost of Low Price" directed by Robert Greenwald.
1,603 words (approx. 6.4 pages), 5 sources, APA, $ 52.95
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Abstract
The paper describes the film "Wal-Mart: The High Cost of Low Price" as an effective, eye-opening account of the Wal-Mart legacy of exploitation, lies, deceit and snuffing out competition, all in the name of low prices for consumers. The paper discusses how the film illustrates how Wal-Mart takes over retail in communities, exploits its workers both in the United States and abroad and gleefully watches small retailers fail when they move into town. The paper posits that it is a mesmerizing look into the world of big business in America that will make any viewer stop and think about what, where and how they purchase the commodities they use every day.
From the Paper
"There are so many main points to this film it is hard to narrow them down, but ultimately, the theme is that Wal-Mart is a deceptive, unethical, and disreputable corporation. They use illegal and highly questionable business practices for the sole reason of making a huge profit, and ensuring the happiness of their shareholders. They exploit their workers both in the United States and around the world, they cost taxpayers billions of dollars in welfare and health benefits, and they gleefully run small business owners out of their long held, family-owned enterprises. And yet, they are one of the most successful retailers in history, and the largest retailer in the world."
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Mary Shelley's Frankenstein, 2008.
This paper studies the work "Frankenstein, or the Modern Prometheus" by Mary Wollstonecraft Shelley.
937 words (approx. 3.7 pages), 5 sources, MLA, $ 33.95
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Abstract
In this article, the writer introduces, discusses and analyzes the book "Frankenstein, or the Modern Prometheus" by Mary Wollstonecraft Shelley. Specifically, the writer discusses the book's origins and landmark significance. The writer notes that "Frankenstein" is such a memorable book that it has been retold in film and myth time after time. The writer also points out that Shelley's novel lives on today in the many films, from comedy to horror, that have retold her story in one form or another. The writer maintains that Shelley's book is significant because it really helped bring the horror genre into world focus and attention, and because it has been retold so many times in so many different ways.
From the Paper
"Frankenstein was not mad; he was simply possessed with a great and consuming desire to know everything about science and the creation of living matter. He becomes obsessed with his creation, and horrified to discover that he cannot control it or its violent tendencies.
"The book is also significant because of its exploration of science and knowledge, especially by a young woman, at the time it was written. It became an immediate success because the characters and their interests were so engaging, and it has never really stopped influencing other novels and films."
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Semiotics, 2008.
A study of semiotics as applicable to the movie "Donnie Darko".
860 words (approx. 3.4 pages), 2 sources, APA, $ 30.95
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Abstract
The paper discusses the subject of "semiotics" and explains that it is the study of signs involving words, sounds, and body language or mannerisms and involves the examination of the roles that signs play as components to social life. The paper states that semiotics investigates the nature of signs and the underlying laws that may govern them. The paper then applies semiotics to the study of the film "Donnie Darko", explaining that a semiotic analysis of certain components of this film could focus in on particular characters, relationships, or sequences of events.
From the Paper
"Donnie's relationship with Gretchen in the film is very simple and straight forward. This relationship grounds Donnie in the conventional reality, and provides balance between the parallel universes he is able to tap into. Balance between good and evil, dark and light is symbolized through out the film through sequences of events. Examples of these sequences are when Donnie's teacher fight for creative freedom (good) results in her termination by the school (evil), and when Donnie's act of vandalism involving burning down the motivational speaker's house (evil) results in the discovery of the child pornography ring. "
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"Star Wars", 2008.
A review of the plot, characters and technology used in the film, "Star Wars," directed by George Lucas.
1,529 words (approx. 6.1 pages), 3 sources, MLA, $ 50.95
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Abstract
This paper discusses the 1977 film, "Star Wars," directed by George Lucas. It discusses the plot of the film and the characters as well as why "Star Wars" fits into the modern blockbuster category. The paper also focuses on directorial control in the film and the innovative technology that was used to produce the special effects in the film.
From the Paper
"There is a "dark side" to the film's unexpected success, its technological innovation, and the conviction of a director who believed in his product (Sibley, 2007). "'Star Wars' also spawned a massive merchandising empire that includes everything from books and comics to toys, models and several television series. By 2005, according to Forbes magazine, the 'Star Wars' franchise, including movies, television programs, toys, comics, books and other merchandise had earned nearly $20 billion" (Sibley, 2007). From then on, merchandising and the potential for sequels, rather than artistic quality of the film product, or even the storyline of a popular product was the primary interest of studios. Selling toys rather than crafting storylines became more important--and one might say that 'coming to a toy store near you' has become just as important to a movie's bottom line as showing a strong opening in the theaters."
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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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Hitchcock and Techniques, 2008.
This paper looks at movie maker Alfred Hitchcock's techniques and achievements.
2,609 words (approx. 10.4 pages), 8 sources, MLA, $ 78.95
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Abstract
In this article, the writer notes that Alfred Hitchcock is one of America's most revered directors and creative talents. He left behind him some of the most memorable movie thrillers in history and defined an entire genre of artistic direction. The writer points out that since he started work in films in 1919, Hitchcock directed more than fifty feature length films in a career that lasted almost six decades. From the silent movie genre to the color era, he was always one of the foremost creative talents and directors the world had ever seen. In this analysis, the writer looks into Hitchcock's life and his major influences. Further, the writer looks at the techniques that Hitchcock helped to pioneer into one of Hollywood's most established genres, thrillers and suspense.
From the Paper
" Hitchcock explains that his early childhood and exposure to cinema were his greatest influences. As a child, his overbearing mother would constantly make him wait on her, and this became his inspiration for exploring the relationship between family members and dysfunctional families as evidenced in Psycho. Furthermore, much of his work was influenced by the expressionist techniques that he witnessed firsthand in Germany while making his first film. German expressionism would blend with much of Hitchcock's work to become part of the signature experience of Hitchcocian cinema. German filmmakers, because of the lack of funds in the post-world war I era, could not compete with large productions from the United States. Therefore, they developed a style of using symbolism and "mise en scene" to add mood and deeper meaning to their movie. Hitchcock was inspired by this technique and style to incorporate deeper meaning and shades of meaning within his movies. This can be evidenced by long drawn out scenes that focus on objects, such as staircases rather than specific dialogue or action. "
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"Glory Road", 2008.
A review of the movie "Glory Road".
3,631 words (approx. 14.5 pages), 9 sources, MLA, $ 101.95
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Abstract
This paper discusses how the story of Don Haskins, the long time and Hall of Fame college basketball coach from Texas Western/UTEP had been largely uncelebrated until the 2006 release of "Glory Road". Directed by James Gartner and staring Josh Lucas as Coach Haskins, the movie depicts his 1966 National Championship run as the barrier breaking coach who was the first to start all black players and win the National Championship. The paper relates that the movie show how, by defeating perennial power and all white Kentucky, Haskins helped break down the racial barrier in sports, particularly in the South. The paper contends that the story told in "Glory Road" is truly an important event in not only American sports history, but also a story which sheds light on and highlights much of the racial issues which are prevalent in sports.
From the Paper
"Glory Road takes place in the 1960s, primarily in Texas and in the general atmosphere of the racial tensions existing in the American South during the time period. In the movie, the African-Americans who Don Haskin's recruited are given little opportunity to play collegiate basketball and although they have a love for the game, they do not see it as a viable alternative. They are well aware of the limited opportunities afforded to black athletes and to African-Americans in general. However, it seems Don Haskin's is oblivious to this as he cares only about winning and thus is willing to defy the established norms of NCAA Division I basketball in the South and play his men regardless of color. It is not until later as the season develops that he begins to realize the social implications of his actions as head coach as Haskins and his team become something more than just a basketball team, but a team that is playing for something more than just basketball. "
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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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Throne of Death, 2008.
This paper studies Akira Kurosawa's film 'Throne of Blood', focusing on the theme of symbolism.
1,349 words (approx. 5.4 pages), 2 sources, MLA, $ 45.95
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Abstract
In this article, the writer notes that Akira Kurosawa's 'Throne of Blood' is more than just an adaptation of Shakespeare's Macbeth. The film is a visual feast with riddled rich symbolism. The writer maintains that it is that symbolism that makes 'Throne of Blood' so memorable. The writer notes that 'Throne of Blood' has a somewhat misogynistic tone that portrays females as socially subservient and spiritually evil. Crescent moon symbols combined with frequent intrusions from the natural world imbue 'Throne of Blood' with pagan symbolism and supernatural elements. The writer maintains that Kurosawa succeeds in solidifying this eerie atmosphere by transforming one of Shakespeare's most disturbing tragedies into high cinema.
From the Paper
"Filming in black and white also suggests the moral choices between good and evil. Washizu seems incapable of distinguishing between good and evil, symbolized by the mist that clouds his vision at several points in the film. He had once remained loyal to his best friend and to his Lord. Until Asaji poisons his mind and suggests that Miki is plotting against him, Washizu's moral choices are sound. Later his choices are clouded by delusional thoughts and the central character descends into a spiral of murder, madness, and mayhem. Ironically, the witch and Asaji are both shrouded in white, which is usually a color symbolizing purity and goodness. Asaji is the most directly evil character in Throne of Blood. Her white face and clothing do not symbolize purity as much as they signify the thematic connection between her character and the witch. The witch appears bathed in white light, which emphasizes her otherworldliness. Neither good nor evil, the witch simply tells Washizu what she sees. It is Asaji who tells Washizu how he should act. Both the witch and Asaji influence Washizu and sway him from one moral pole to the other."
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National Socialism, 2008.
A review of national socialism in the cinema and putting the unspeakable into cinematic language.
1,664 words (approx. 6.7 pages), 3 sources, MLA, $ 54.95
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Abstract
The paper states that one of the problems of depicting complex historical phenomena like the Holocaust in cinema is that film is the art of the particular, rather than the general. The paper discusses that, films can only show a part of life, and cast light onto a small sliver of history. The paper discusses that at best, films can only show a part of life, and cast light onto a small sliver of history. The paper then relates that the German films "Germany, Pale Mother" (1979) and "The Murderers are Among Us" (1946) do this successfully, raising questions about how Germany's horrific past haunts the souls of Germans in the present, while the film "Jakob the Liar" (1999) merely generalizes the historical tragedy, and takes it out of a meaningful historical context.
From the Paper
"Susanne agues and eventually convinces Mertens that Bruckner should not be subject to private justice, but be punished publicly. The film deals with the real existence of former Nazi Captains like Bruckner, who were prospering after the war by keeping their former crimes a secret. Although the film is concerned specifically with World War II, it is still just as important for contemporary audiences to see as it deals with the ongoing debate of how war crimes should be handled after a nation has committed genocide."
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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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Dynamics of Marriage and Family Systems, 2008.
Looks at three theories used in marriage and family therapy.
1,975 words (approx. 7.9 pages), 4 sources, APA, $ 62.95
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Abstract
This paper describes and compares three theories, which serve as the basis for successful intervention and therapy in the treatment of marriage and family systems: strategic communications (systemic), solution focused (constructivist) and object relations (psychodynamic) theories. The author uses the film "When a Man Loves a Woman", directed by Luis Mandoki (1994) as the case study. The paper analyzes this case study by means of the three theories.
Table of Contents:
Introduction
The Theories
Strategic Communications Theory
Solutions Focused Therapy
Object Relations
The Case Study
From the Paper
"The dynamics of Alice's rehabilitation are those as experienced by families in the real world in the sense that it has a tendency to create a new social circle for the patient, separate and apart from the family co-counseling aspect of treatment. When the patient, the family, enters this new social realm of therapy and support within a group therapeutic setting, it leaves Alice's husband, Michael, feeling left out, inadequate because he cannot be the source of her healing, and jealous of Alice's trust and confidence in the group that she has by virtue of her disease now become a part of."
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