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Film: Andrei Tarkovsky's "The Mirror", 2007.
This paper reviews Andrei Tarkovsky's 1975 film "The Mirror" by citing two critics of this film.
950 words (approx. 3.8 pages), 2 sources, MLA, $ 33.95
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Abstract
This paper explains that, in his film "The Mirror", Andrei Tarkovsky provides his audience with a collection of his childhood memories. The author points out that Tarkovsky tries to remember his childhood home exactly as it was in his past but some of his memories are not as pleasant as he hoped; therefore, he relies on his imagination to create a new vision that will always be pleasant and desirable. The paper relates that the film is unconventional because of his use of a "creative relationship" to form the timeline. The author relates that critic Peter Green believes that Tarkovsky's intention when planning his film was to reflect his mother; therefore, his obsession with his mother is important to the film. The paper states that critic Ian Christie stresses the importance of the actual place where the filmmaker spent his childhood.
From the Paper
"When remembering his father the images reflect his emotions, "expressing hope and despair". In the establishing shot, a man is walking towards what Tarkovsky describes as his childhood home. Metaphorically, this could be the filmmaker seeing the father he was so desperate to see returning home. The very first shot is a young boy at the doctor's office. At first, he is unable to talk, but once he is cured, he is portrayed as perfect. This sequence could once again be translated as Tarkovsky sending a message to his father, that he wants his dad to be proud of him and see him as intelligent."
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Rule Utilitarianism and the State, 2008.
A review of the film, "Judgment at Nuremberg," directed by Stanley Kramer and the ethical or normative theories that affect construction of a desired society.
2,036 words (approx. 8.1 pages), 4 sources, MLA, $ 64.95
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Abstract
This paper discusses four major ethical or normative theories to the problem of the construction of a desired society. It looks at the significance of realism in normative analysis. The paper analyzes the film, "Judgment at Nuremberg," directed by Stanley Kramer in order to illustrate the challenges of devising a normative ethical viewpoint given the ethical complexity inherent in modern society.
From the Paper
"While Nazi Germany is an extreme example it is, unfortunately, representative of many tyrannies in human history in which a minority has seen its rights stripped, and claims of justice and community values/virtue dismissed, to supply the happiness or greater utility of the majority. The system of slavery in the American South prior to the Civil War represents precisely a model of precisely such a challenge."
"In this regard, a normative analysis would suggest that rule utilitarianism offers a stronger and more viable principle of utility than pure utilitarianism. Modern rule utilitarians, for example, "place heavy emphasis on human rights and freedoms" (Dwyer 163) which can be incorporated in this normative theory in a way they cannot be in pure utilitarianism."
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Film: "Judgment at Nuremberg", 2007.
This paper argues the broader implications of Stanley Kramer's 1961 film "Judgment at Nuremberg" not only in the context of its original release at the height of the Cold War but also in the milieu of the 21st century War on Terror.
1,965 words (approx. 7.9 pages), 3 sources, MLA, $ 62.95
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Abstract
The paper explains that "Judgment at Nuremberg" is remarkable for its willingness to consider the collective guilt of the German people and, even more troubling, of people from other countries. The author points out that the power of this film lies in the complexity with which it represents such issues as responsibility, accountability and guilt in the context of a Hollywood social problem film and within the conventions of courtroom drama. The paper concludes that the film also reflected the events of the early 1960s, at the time "Judgment at Nuremberg" was made, which included the trial of Eichmann in Jerusalem and the enduring injustices in the United States that would become the Civil Rights struggles. The author believes that this film still has implications in the 21st century social, legal and political debates over the treatment of terror suspects in the War on Terror and the extent to which elected representatives should be held accountable.
From the Paper
"From a theatrical perspective, the casting of prominent Hollywood stars on both sides of this question is significant. It can be cynically said, as critic Pauline Kael quoted in her review, that this film is "an All-Star Concentration Camp Drama" given the number of stars involved. However, the casting of such an "heroic" leading man as Burt Lancaster as a prominent German leader can be read as a theatrical "sign" to the audience from the outset of the drama that "judgment" in this film will be more complex than if the Germans were stereotypical villains."
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A Comparison of "Pleasantville" and "The Zoo Story", 2007.
An discussion of the similarities and differences between the film "Pleasantville" written and directed by Gary Ross and Edward Albee's play "The Zoo Story".
1,353 words (approx. 5.4 pages), 3 sources, MLA, $ 45.95
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Abstract
This paper compares Edward Albee's 1959 play "The Zoo Story" and the 1998 film "Pleasantville", written and directed by Gary Ross. The paper explains that though it is fairly obvious that they were created in different forms, one as a stage play and the other as a film, both began life as different forms of the written word, and both manage to handle and deal with various angles of human life and behavior, but they do it in two very different periods: one in the 1950s, the other in the late 1990s. The paper looks at how "Pleasantville", in an ironic way, tends to undermine and examine some of the social and personal realities of the 1950s, whereas "The Zoo Story" examines these realities in a more subtle way appropriate to a comedy/fantasy aimed at a mass audience. The paper also compares the actions, reactions and attitudes of the two protagonists, Jerry in "The Zoo Story" and David in "Pleasantville".
From the Paper
"The Zoo Story holds a mirror up to the culture of the late 1950s, with its well known constraints in the political, social and cultural spheres of life - constraints most ironically illustrated in 1950s television series such as "Leave it to Beaver," "I Love Lucy," etc. It is some of these constraints that the play works against, for instance, in its criticism of middle class life and the ordinary, conformist lifestyle as typified by the character of Peter. Notice how Jerry asks him where the dividing line is between "upper middle middle class" and "lower upper middle class," for example, showing that Jerry is very aware of these fine class differences."
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Violence in the Media and the Effect on Children and Adolescents, 2006.
An examination of the relationship between exposure to violent television and video games and the development of aggression in children and adolescents.
2,878 words (approx. 11.5 pages), 8 sources, APA, $ 85.95
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Abstract
This paper examines the amount and types of violence children and adolescents are exposed to, and whether there is a relationship between this exposure and the development of aggression in children and adolescents. The paper explains that thousands of research studies have demonstrated that exposure to violent television and video games tends to lead to the development of aggression in some children and adolescents, however there is no simple causal relationship, i.e. we cannot say for sure that exposure to such violence will lead to aggressive behavior. The paper notes that multiple variables have an impact, such as age and gender of the child, and level of mediation done by parents, and that different media have different effects. In conclusion, the paper shows that research has established that exposure to television and video game violence can lead to the development of aggression in children and adolescents and such exposure tends to desensitize them to violence, and dis-inhibit them from committing acts of violence.
From the Paper
"Violence on television is the most commonly experienced exposure to violence in the lives of most children. While it is common knowledge that there is a great deal of violence on television, it is important to bear in mind that there are many different kinds of violence on television. For example, some shows feature human actors, acting out brutally violent acts, such as murder, rape and torture. While these may not be intended for young children, the reality is that many such children have access to them. At the other extreme, even cartoons usually portray at least some violence. Often this is extreme violence, such as pianos dropping on heads. However, the characters usually do not bleed or die, and they are in any event clearly fictional, so one might expect that the impact is not as great as graphic violence with human actors."
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British Film Industry, 2008.
This paper provides a critique of the processes of British film in
respect to the influence of American film.
1,783 words (approx. 7.1 pages), 5 sources, MLA, $ 57.95
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Abstract
In this article, the writer maintains that the British film industry often frames itself in respect to its counterpart, the American film industry. The writer notes that movies made in the United States typically gross larger sums than British films, a point that has long motivated the British film industry to identify American movie-making as a more profitable model. The writer argues, however, that the emulation of American films by British studios has typically fallen short of projections: the British film-going audience, which hungrily devours American blockbusters, is surprisingly hesitant to engage in films that are made in Britain and utilize American-style plots, cinematography, acting, and special effects.
Outline:
Introduction
British Film Media
Issues of Consideration in British Film
British Film and American Film
Summary
From the Paper
"When this process occurs, the value of a film made by a British film studio is challenged. The outcome is problematic, as the film itself may contribute to the British film industry as a composition with significant artistic merit, but the lack of financial incentives indicates that there is a strong potential for the film to get "lost" in the cinematic archives. Films that have permanency within an audience are not necessarily those with the greatest intrinsic merit but are instead those that have had backing through a strong studio and have created a market identity through advertising, widespread distribution, and so on. A film that communicates a strong message or has profound artistic composition will not necessarily become a permanent achievement in the film industry, and for most investors and studios an obscure picture might as well have never been made."
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Family Dynamics, 2008.
This paper explores the dynamics of familial interactions and characterization in National Lampoon's film "Christmas Vacation."
2,281 words (approx. 9.1 pages), 4 sources, APA, $ 70.95
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Abstract
The paper addresses the family dynamics of the Griswold family in National Lampoon's classic parody of Christmas films, "Christmas Vacation," using Dorthea Orem's model of universal self-care. The paper provides an experiment into the functionality of a fictional family through exploring the characters of Clark Griswold (husband and father), Ellen Griswold (wife and mother), Audrey Griswold (teenage daughter), Rusty Griswold (son in early adolescence) and Eddie Johnson (cousin-in-law).
Outline:
Introduction
Cultural Assessment of Family Structure
Universal Self-Care Requisites
Developmental Self-Care Requisites
Nursing Systems Used to Meet These Issues
Conclusion
From the Paper
"The Griswold family is a traditional nuclear family consisting of father, mother, and two siblings (male and female). Typically, all interaction within this family is expressed between the four primary members. In the film, circumstances are altered so that the immediate family is changed and multiple members of the extended family are brought into stay within the same household. This affects the dynamics of the immediate family and impedes normal behavior. According to Orem's theories, it is now no longer possible for the Griswold family to engage in their conventional stable roles within this setting. However, the actions of the immediate Griswold family indicate that their roles are highly defined and that they are attempting to conform to them. This is especially evident in the actions of Clark and Ellen."
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Martin Scorsese's "Gangs of New York", 2006.
An examination of how Martin Scorsese's film "Gangs of New York", can be seen as an elegy for an earlier, "pastoral", version of America.
1,378 words (approx. 5.5 pages), 6 sources, MLA, $ 46.95
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Abstract
The paper looks ar Martin Scorsese's "Gangs of New York" and discusses a number of themes which emerge therein. It explains that Martin Scorsese's "Gangs of New York" is a elegy which tells of the passing of an age of innocence and the emergence of a new epoch in America which will be characterized by violence, upheaval and - ultimately - by breathtaking industrial and technological innovation. The paper discusses how the film illustrates the pull of atavistic collectivity against the counter-tug of individuality. The writer argues that the film's most dramatic and impressive feature lies in its exposition of the dangers of the gang mentality. The writer concludes that "Gangs of New York" is perhaps not Scorsese's best work, but the motion picture will endure simply because it probes the dark psychology of gang life with a vividness that is unforgettable.
From the Paper
"Suffice it to say, the elegiac overtones are accentuated by the terrific human loss and waste which typify the film - a rather brutal cinematic tour de force which may not be suitable for many audiences. Additionally, the elegiac components of the film are brought into sharp relief by the desire on the part of the main protagonist, Amsterdam Vallon (played passably well by Leonardo Di Caprio), to avenge the savage murder of his father (Scorsese, Gangs of New York). The tragedy at the heart of all of this is that what appears to be a passably bright, charming young man with a promising future ahead of him is now being marred by events from the long-ago past which compel him to rush forward to seek vengeance; in that sense, the film echoes some of the tropes found in Shakespeare's Hamlet - as Nev Pierce of the British Broadcasting Corporation points out (para.5)."
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Orson Welles: His Art as it Manifests itself in "Citizen Kane", 2006.
A review of Orson Welles' epic film "Citizen Kane".
1,515 words (approx. 6.1 pages), 1 source, MLA, $ 49.95
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Abstract
This paper examines the signature film in Orson Welles' directorial career - "Citizen Kane". The paper explores how Welles constructs his narrative, how his fairly elegant style as a director is on full display in the film and how he builds the character of Charles Foster Kane via introducing the recollections of others (by using superbly-rendered visual images). The paper also discusses how Citizen Kane shows Welles' ability to take the film-making art of his time and elevate it to a new level of sophistication never before seen in American cinema, by making images on the screen act with a metaphorical power and vividness. The paper looks at Gregg Toland's (cinematographer of "Citizen Cane") artful use of cinematographic tools that were far more advanced than anything which had been attempted up to that time.
From the Paper
"In Citizen Kane, Welles' extraordinary ability to create a storyline that is simultaneously complex yet (fairly) easy-to-follow is on display. The noted American film critic Roger Ebert has written that the film is circular, adding more depth each and every time it returns to the life of the Kane character. Ebert also adds that the decision on the part of Welles' to open his 1941 opus with a scene featuring newsreel obituary footage is intended to be both portentous (obviously) and is also meant to serve as an anchor that will keep the thoughtful audience member oriented as the screenplay moves seemingly haphazardly from one memory to another of the man as recalled by those who knew him."
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American Gothic Conventions, 2008.
This paper analyzes the use and development of American gothic in John Bunyan's "Pilgrim's Progress," Richard Wright's "Native Son" and the Charles Laughton directed film, "The Night of the Hunter."
1,922 words (approx. 7.7 pages), 5 sources, MLA, $ 61.95
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Abstract
The paper looks at the use of American Gothic in three works, John Bunyan's "Pilgrim's Progress," Richard Wright's "Native Son" and the Charles Laughton directed film, "The Night of the Hunter". The paper shows how gothic elements such as terror, heightened emotionalism, foreboding, dreamscapes and the supernatural are all used to broaden the reading or viewing experience of the audience. The paper also explains the underlying concept of "inescapability". The paper concludes that these works are all among the finest of the American Gothic tradition.
From the Paper
"In Pilgrim's Progress, at least three elements of American Gothic - the use of foreshadowing, emotional tension, and the use of the supernatural ("Typical Elements of American Gothic Fiction," no.5 and no.8) - are immediately apparent. For one thing, the opening scene of the text depicts the narrator in a dream-like state wherein he envisions a man, clothed in rags with a "great burden" upon his shoulders, reading what is (ostensibly) the Bible and weeping with trepidation; it is shortly thereafter that we discover the man's city is about to be destroyed by heavenly fire and that he sees no escape for his family and for himself (Bunyan, "Part I," para.1-2). Not long thereafter, the spectral Evangelist appears to the distraught Pilgrim and tells him to proceed towards a spot of light (the pilgrim is standing in a great field) which will guide him to a wicket-gate at which he will find all the answers he seeks (Bunyan, "Part I," para.8). The dramatic introduction of this inscrutable figure is wholly in keeping with the supernaturalist elements of the gothic tradition ("Typical Elements of American Gothic Fiction," no.6) and it helps also to make Bunyan's protagonist likeable inasmuch as it emphasizes how the pilgrim is at the inescapable mercy of forces beyond his control."
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Western Film Genre, 2008.
An analysis of Andre Bazin's "The Western: Or the American Film Par Excellence" in which he analyzes the western filmmaking genre.
777 words (approx. 3.1 pages), 1 source, MLA, $ 27.95
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Abstract
This paper discusses the evolution and success of the western genre of filmmaking. It discusses Andre Bazin's "The Western: Or the American Film Par Excellence" in which he analyzes this genre. It describes Bazin's arguments, as well as his comparison of the western to the courtly romances of the medieval era in their focus on the chaste woman and his comparison of them to the Russian revolutionary genre.
From the Paper
"To Bazin, the only other modern epic cinema was the Russian revolutionary genre, which had some parallels to the western: both showed a new society undergoing its tumultuous birth pangs, imposing a new order and morality upon a vast canvas of human activity during a fleeting historical moment. Bazin concludes that, like the mythologized history of the Russian revolution, the story of the American west would have been relegated to much lesser international prominence were it not for the power of the moving image to universalize human experience."
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Violence Against Women, 2008.
An analysis of the perceptions relating to violence against women, as portrayed in the film, "Sling Blade," directed by Billy Bob Thornton.
1,565 words (approx. 6.3 pages), 8 sources, APA, $ 51.95
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Abstract
This paper discusses the perceptions and cultural context in which violence against women can occur. It analyzes the 1996 film, "Sling Blade," directed by Billy Bob Thornton and describes how the perceptions relating to violence against women are portrayed in the film. The paper discusses the plot and the characters and their roles in this issue.
From the Paper
"Schwartz and DeKeseredy (94) concluded that violence in general and violence against women are regarded as the norm and as perfectly acceptable. Other institutions not only accept the idea of violence but also promote aggression and competition for young males, but not for females who are seen as being in submissive roles. This cultural context that supports violence against women is precisely what caused Karl's confusion. As well, while the violence is often acceptable, interference to end it can result in serious problems for the person who intervenes. Karl's story is one of moral development and of success in making distinctions and knowing when to take appropriate action against violence. Given the complex cultural context that supports violence, Karl's achievement is truly momentous."
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"Fight Club", 2008.
An analysis of the filming techniques used to portray a culture of violence within the film "Fight Club," directed by David Fincher.
1,419 words (approx. 5.7 pages), 3 sources, MLA, $ 47.95
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Abstract
This paper analyzes the film techniques that express America's culture of violence in the 1999 film, "Fight Club," directed by David Fincher. It analyzes the film technique concepts of close framing, rapid editing and the free-ranging camera. The paper examines a series of scenes from the film and shows a sense of aggressive filming technique that portrays a culture of violence within the film.
From the Paper
"In conclusion, the techniques of close framing, rapid editing, and ranging cameras, are the basis of David Bordwell's filming styles that define a modern "culture of violence" in American film. In this manner, the film Fight Club, directed by David Fincher, helps to convey these exact techniques, which help to bring forth an intensified continuity that includes rapid editing and other quick-fire filming techniques to imply the various facets of conflict and violence. Through the various scenes of Jack's intensifying insanity, one can realize the depth and scope of the portrayal of insanity through the use of the camera. In this manner, the shooting techniques of modern film create the intensified continuity for a culture of violence in the film Fight Club."
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Hollywood's View of Germany, 2007.
This paper analyzes how Hollywood movies depicted Germany during World Wars I and II.
1,175 words (approx. 4.7 pages), 11 sources, MLA, $ 40.95
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Abstract
This paper explains that Hollywood's interpretation of Germany's participation in World Wars I and II fluctuated between politics and concern for profits but did not engage in propaganda as commonly charged. The author points out that independent movie producers, surged into the international market during World War I, which provided them with one of its greatest sources of plots and profits, such as D.W. Griffith's "Hearts of the World" (1918). The paper relates that the majority of the films were anti-war and action/war adventures made after the war, such as "The Four Horseman of the Apocalypse" (1924). The author relates that Hollywood films of the 1960s and 1970s revisited the anti-German theme and highlighted American heroism, such as "The Dirty Dozen" (1967); however, the the most outstanding film was Stanley Kramer's black and white "Judgment at Nuremberg" (1961). The paper cites many films and includes many quotations.
From the Paper
"There was one firm that did: Warner Bros. They shut down their German operations in 1933, three years before Hitler limited the release of American films. By 1939, the European market was closed off. In 1940 Will Hays, the dour President of the Motion Picture Production and Distribution Association (MPPDA), lifted the ban on anti-Nazi films that he had imposed after "Confessions of a Nazi Spy", and the cameras began to roll against Nazi Germany and for the defense of the United States. "Sergeant York" (1941) actually harked back to Tennessee farmer Alvin York's heroics in World War I."
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Film: "Malice" (1993), 2007.
This paper is a psychoanalytic analysis of the film "Malice" (1993), directed by Harold Becker.
1,200 words (approx. 4.8 pages), 2 sources, MLA, $ 41.95
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Abstract
This paper explains that, in the 1993 film "Malice", although everything appears to be normal, the audience soon finds that not far beneath the superficially polite exterior of all the main characters there exists an unconscious and barely controlled subsurface of jealousy, anxiety, sexual insecurity and narcissistic greed, all common plot elements of the generic suspense thriller. The author points out that the thriller genre deals quite blatantly, with what Freud referred to as the resurgence of the repressed id, over and against the demands of society in the form of the externally imposed superego. The paper relates that, when the ego of repressed characters such as Andy, becomes threatened by loss of control, especially in the sexual sphere, it utilizes what Freud called defense mechanisms in an increasingly desperate effort to protect itself from the ever-increasing demands of the id.
From the Paper
'The two main male characters do not escape censure in the film, however. About midway in the film, Dr. Hill is described by another character as possessing a "God complex," which is not a psychoanalytic term in itself but which, in this context, implies someone possessed with an exceedingly strong form of narcissism, an individual trapped to some extent in an infantile phase of development and thus subject of his own libidinal impulses. In the film, this complex is narratively depicted as being not only self-destructive, but destructive of the other characters around Dr. Hill."
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"Time After Time", 2008.
An analysis of the film "Time After Time," directed by Nicholas Meyer, through a Marxist interpretation.
1,471 words (approx. 5.9 pages), 4 sources, MLA, $ 48.95
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Abstract
This paper explores the ways in which the popular 1979 science fiction film "Time After Time," directed by Nicholas Meyer, can be interpreted from a Marxist perspective. It discusses the definition and parameters of classic Marxism as outlined in "A Handbook to Literature and Film Studies: Critical Approaches" by William Harmon and Hugh Holman. It then relates these definitions to the film.
From the Paper
"In conclusion, the filmmakers of Time After Time have, consciously or not, presented a science fiction fable with certain Marxist ideology in the way their work addresses such issues as history, technology, and gender, and how these human elements change or fail to change over time. The greatest irony may be that though the historical H.G. Wells was indeed a lifelong socialist utopian, he was also for the most part anti-Marxist in his thought, and generally elitist in his view of human governance. If anything, the view of the film, which after all accurately depicts the events that took place during the 20th century and life as it is lived in the modern day, stands as a critique of Marxist (and socialist) expectations for a world state and utopian revolution."
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Film: "Purgatory" (1999), 2008.
This paper explores the concept of a clockwork orange in the film "Purgatory" (1999).
880 words (approx. 3.5 pages), 2 sources, MLA, $ 31.95
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Abstract
This paper explains that the movie "Purgatory" proves that it is better to possess free will, even if it is the will to sin, rather than to be made into a clockwork orange as a paradigm of virtue. The author relates that Blackjack Britton gang fleeing a posse rides into Refuge, a town of second chances where the people make every effort to be virtuous. The paper points out that Refuge is a clockwork orange in reverse because moral choice has been taken away. The paper concludes that Alex's brainwashed paradigm of virtue and the Refuge paradigm were broken apart by the free will choice to do something for oneself.
From the Paper
"It is only when Sonny, who is in love with Rose and sacrifices himself for her, makes them realize their identities, that they in turn realize they do have a choice and take action. Sonny is surprised to find Hickok with his gun belt on coming out to stand with him in the classic gunfight scene: "What the hell," he says." "That's exactly what it is," Forest replies, "Hope you're ready to meet it." Alex's self-realization, even in the midst of his performance after the Ludovico Technique, is the same slow sign that there is still a spark of free will there."
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Mythic Critical Analysis of "Time After Time", 2008.
This paper presents a mythic critical analysis of the film "Time After Time" (1979), directed by Nicholas Meyer and written by Karl Alexander and Steve Hayes.
1,059 words (approx. 4.2 pages), 4 sources, MLA, $ 37.95
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Abstract
The paper explores some of the ways in which the popular science fiction movie "Time After Time" (1979) expresses and unfolds its narrative in mythic terms. The paper defines the expressions "mythic criticism" and "the archetype" and shows how the film reveals more of a mythic substratum than its makers may even have intended. The paper concludes that the filmmakers of "Time After Time" have followed the lead of much science fiction by their innovative utilization of fact, fiction and fantasy to create a new myth for the scientific age.
From the Paper
"According to A Handbook to Literature, the critical perspective known as mythic criticism is defined as that "which explores the nature and significance of the archetypes and archetypal patterns in the work" (Harmon and Holman 136). In this context, myth can be defined as that which portrays "a projection of social patterns upward onto a superhuman level that sanctions and stabilizes the secular ideology" (338). The same definition goes on to explain that myths, among their other functions, "attempt to explain creation, divinity, and religion; to probe the meaning of existence and death; to account for natural phenomena; and to chronicle the adventures of cultural heroes" (338). In reference to the archetype, the same handbook defines this term as a "primordial image" which draws upon the "prelogical mentality" (subconscious) of the reader / viewer and is frequently encountered in myth and folklore (41)."
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"Postcards from the Edge", 2008.
This paper compares and contrasts the novel and movie "Postcards from the Edge".
1,076 words (approx. 4.3 pages), 3 sources, APA, $ 37.95
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Abstract
The paper examines the similarities and the differences between the novel and film "Postcards from the Edge," both as artistic expressions and as representatives of their historical period. The paper discusses how the novel is told in brittle, episodic fashion in contrast to the more linear storyline of the film. The paper shows how both forms of the story "Postcards from the Edge" have merit.
Outline:
The Novel as History
The Novel as Literature
The Film as Art
Comparing the Novel and the Film
The Film as History
Conclusion
From the Paper
"Postcards from the Edge is an examination of the Hollywood culture from the point of view from someone who has survived it and who has suffered some of its vagaries. This perspective makes the novel semi-autobiographical, although it is a work of fiction. Through Fisher's eyes, and through the eyes of her protagonist, the reader glimpses the life of an insider. Although it can be difficult to read due to its disjointed nature, Postcards is well worth the effort to attempt."
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