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My Darling Clementine, 2007.
This paper discusses the western movie "My Darling Clementine".
1,203 words (approx. 4.8 pages), 2 sources, MLA, $ 41.95
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Abstract
In this article, the writer analyzes the classic film "My Darling Clementine". The writer discusses the way in whcih the elements of style are used in the film to elucidate its central themes. The writer looks at the themes of the settlers' civilization of the West, the character of the lone cowboy or fugitive who doesn't fit into the developing social community, and the violent clash between the Clantons and the Earps that exemplify these disparities.
From the Paper
"In the first scene each of the Earp brothers on the cattle drive is introduced by a low-angle medium shot profiled on horseback against the sky. Somehow the short take, the brief isolation of each one, exposes a premonition of mortality, which is heightened by the ominous arrival of Old Man Clanton and his son Ike hunched over on their buckboard, in a medium shot seen from the back. They, their rig, and their horses are dark figures in the gathering dusk of the hills as Wyatt Earp rides up from the daylight plain to speak to them in low-angled closeup."
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The Qin Dynasty, 2007.
This paper explores ideas of space and time that are intertwined in the Qin period in China.
2,171 words (approx. 8.7 pages), 6 sources, MLA, $ 67.95
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Abstract
The paper examines the film, "Hero," set in the Warring States period in China. The paper describes the Qin effort to unify the warring principalities that the character "Nameless" defeats, towards the rise of what came to be a Chinese nation-state. The paper highlights Chinese ideas of place and belonging, of how the world should be, the usual insignificance of persons and the strong chance of bad order as only the heroic can offset it and put in place new systems of order that will fit with both human need and the will of the cosmos.
Outline:
Introduction
A Southern Epic
Later, Historians and History
Qin Rule and Dissent
Conclusion - On Heroic and Other Myths
From the Paper
"East Asian pre-modern ideas of time offer more than one conception of Time, and discussion of it, as evidenced in the 2002 film, Hero, set in the Warring States period. The principal character, "Nameless" is presented to the reader as not just a mercenary of the Qin state but as a kind of divine appointee. As an English subtitle explains "this land does not know a real hero - yet." (2004) All characters within this epic story seem to know they are part of a still unknown momentous outcome, part of a far longer epic of China's history, in the Qin effort to unify the warring principalities that Nameless defeats, one by one, towards the rise of what came to be a Chinese nation-state. Nameless, an orphan, had no family name to live up to, so devoted years to mastering the sword, aware of some particular purpose, a time in which he would serve a noble cause. Once competent, he presented himself to the Qin court with the swords of the Qin's adversaries. As Stephen Owen commented of very old Chinese ideas of the self and its purpose, "the ancients tell us that there are three kinds of achievement by which a person may hope to endure - moral power, deeds, and words." (p.72)"
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Richard III, 2007.
This paper compares and contrasts five dramatic and historical interpretations of Richard III.
1,482 words (approx. 5.9 pages), 5 sources, APA, $ 48.95
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Abstract
The paper examines four productions and one biography of Richard III.
The paper explains that a controversial historical figure like Richard III, whose flawed character and life was filled with intrigue, betrayals, confrontations and battle has provided ample opportunities for playwrights, biographers, novelists, and filmmakers to interpret him and the events of his life in a variety of ways. The paper shows how some interpretations rely upon an understanding of the historical Richard III, others rely upon the characterization of him in William Shakespeare's famous play, while others have chosen to rely less upon traditions and more upon innovative approaches.
From the Paper
"Carefully examining the 1954 and 1995 films, both entitled Richard III; as well as Shakespeare's Richard III, Al Pacino's Looking for Richard, and historical and biographical accounts of Richard III provides many opportunities to compare and contrast these various interpretations. William Shakespeare's play is the best known of these productions, and justifiably so, for it created a memorable and lasting image of Richard III that renders the historical figure virtually irrelevant to most people. Shakespeare's interpretation of Richard is so powerful, vivid, and overwhelming that no biography or historical account can even begin to compare."
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Maurice Bishop and the United States, 2007.
This paper explores the 1983 film, "Grenada P.M. Maurice Bishop, Speaker at Hunter College".
987 words (approx. 3.9 pages), 4 sources, MLA, $ 35.95
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Abstract
This paper describes the personal reaction of the writer to the film "Grenada P.M. Maurice Bishop, Speaker at Hunter College". The writer is of the opinion that this is a fairly provocative film that portrays Bishop as an aggressive leader of some ability but with a questionable background. The writer also learns how U.S. foreign policy is often misguided, aiming to punish unpopular regimes but also punishing innocent peoples.
From the Paper
"To begin with, my reaction was a mixed one. In the opening minutes of Grenada P.M. Maurice Bishop, Speaker at Hunter College, Mr. Bishop urges Americans to engage in a more productive "dialogue" with their Grenadian counterparts; he also implores Americans to engage in a mutually trusting and "normal" relationship with a Grenadian nation that had been wracked by a number of political uprisings and disturbances in recent years. Not to be overlooked, Bishop points out to listeners that Grenadian trade, social services and the economy more generally has been debilitated by the U.S. reluctance to trade with the tiny nation. To bolster his claims that Grenada is a great place to invest, he reports on how capital investment is gaining momentum in Grenada and how government policies are finally pushing the country in the right direction despite various obstacles."
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"The Black Dahlia", 2007.
An analysis of the application of Laura Mulvey's theory of the gaze to Brian De Palma's 2006 film, "The Black Dahlia".
1,267 words (approx. 5.1 pages), 4 sources, MLA, $ 42.95
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Abstract
This paper discusses Brian De Palma's 2006 film, "The Black Dahlia". The paper also discusses Laura Mulvey's theory of the gaze and the application of her theory to classical Hollywood cinema. The paper then discusses the application of the same theoretical apparatus to a contemporary Hollywood retro-noir (a contemporary film that references classical Hollywood film noir texts within a modern context), particularly "The Black Dahlia", and shows how it opens new avenues for understanding the operation of the gaze in film.
From the Paper
"In conclusion, our application of Laura Mulvey's theory of the gaze to De Palma's The Black Dahlia reveals not only gaps in the theoretical model - notably its insufficient exploration of the castrating feminine power of the film noir femme fatale - but also how a modern film can compel us to open the theory to encompass homoerotic and lesbian aspects. While De Palma's use of "screen tests" in the movie represents an almost perfect example of the male gaze in operation - it may be speculated whether De Palma has read Mulvey, and deliberately crafts the scene with this theoretical model in mind? - in its broader frame the film compels us to open the heterosexual male/female binary implied by the model to take into consideration differently gendered approaches to the representation of sexuality, power and domination in cinema."
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"Farewell My Concubine", 2007.
A review of the film "Farewell My Concubine".
793 words (approx. 3.2 pages), 1 source, MLA, $ 28.95
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Abstract
This paper discusses the 1994 Chinese film "Farewell My Concubine", which is set against a violent background of political upheavals. Beginning during China's warlord era of the 1920s, the film spans 50 years, and includes the Japanese occupation and the Cultural Revolution. In particular, the paper argues that despite its background, the central theme of the film is the love affair between the two central male characters, Duan Xiaolou and Cheng Dieyi.
From the Paper
"It might be argued that the film is not so much about a love story as about Chinese history. After all, the film is one of the first to be bold enough to expose the "Cultural Revolution" for the fascist rampage that it really was. It also gives insight into what it was like to be an ordinary citizen during the most important historical event of the era - the establishment of the Peoples' Republic of China by Mao Zedong and his Chinese Communist Party in 1949. The film is certainly flooded with politics and traumatic events such as the Japanese occupation, and all of these events have a profound impact on the lives of the characters. However, it is argued that to the viewer the political details are much less important than the love story that takes centre stage."
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"Gladiator" by Ridley Scott, 2007.
This paper discusses the epic film, "Gladiator" by Ridley Scott.
1,718 words (approx. 6.9 pages), 7 sources, MLA, $ 55.95
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Abstract
The paper looks at the main character of Maximus in the film "Gladiator". The paper examines the reception of Maximus in three different nations; Canada, Great Britain and Australia and discusses how the respective cultures of each land embraced or rejected him according to their tastes. The paper shows how trans-national responses to Hollywood productions are culturally-determined responses that offer a great insight into the political economy of nations.
From the Paper
"Ridley Scott's "Gladiator" was one film that endured anything but an uneventful production and filming process. For one thing, veteran actor Oliver Reed died before he completed all of his scenes; for another, the elaborate battle scenes which are one of the chief attractions of the film were frequently logistical and artistic "nightmares". Additionally, the live tigers used in the making of those unforgettable scenes occasionally got "too close for comfort" - at least for Scott. Finally, the film was expensive, with the eventual production cost running to US$103 million (Mantz, para.5). With regard to other features of the filming and creation of the motion picture, it must be noted that the overall cost of not only making the film but also promoting it eventually ran to US$145.7 million. A pricey thing, to be sure, but the movie grossed $187 million in U.S. theatres and a further $269 million overseas ("Gladiator," sec.2), thereby suggesting that the film's main character of Maximus enjoyed an international following."
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Introducing Ballroom Dance to Children, 2007.
This paper compares the movies "Mad Hot Ballroom" and "Take The Lead".
1,214 words (approx. 4.9 pages), 2 sources, MLA, $ 41.95
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Abstract
The paper compares and contrasts two movies "Mad Hot Ballroom" and "Take The Lead", which deal with the ballroom dance school program and its impact on the children. The paper examines the importance that is placed on the voices of the children in both films. The paper relates that both films show how a short dance class can impact children and teenagers. The paper argues, however, that in "Mad Hot Ballroom" the voices of the children are better represented and the experiences and agendas of childhood are more realistically portrayed.
From the Paper
"Both films deal with the same topic: introducing ballroom dancing to children and the impact that this exposure has on the childern. However, there are many differences between the two films in how this is done. One of the biggest differences is in the age of the children. While the students of the documentary are 4th and 5th graders and thus 10-12 years of age, those of the "Take the lead" are older teenagers in high school. The children in "Mad hot ballroom" are from different social, economic, religious and cultural groups, while the children in "Take the lead" are "ghetto" children (at least "ghetto" in the Hollywood sense), mostly black, from lower social and economic groups."
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Film-Making College Application, 2007.
The paper concerns a college application regarding studies in film-making.
926 words (approx. 3.7 pages), 0 sources, MLA, $ 32.95
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Abstract
This article concerns a personal statement in which the writer states a life-long desire to be a film-maker. This article serves as a college application in the field of film-making. The writer states a belief that everyone has the potential never to stop growing until the day one dies and that is a reason why film appeals to the writer so. The application is concluded stating the writer's sincerity and great love for the art of making films, which resonate long after the final credits have rolled and the lights have dimmed.
From the Paper
"As a film-maker, I want to be able to resurrect a great figure, pull back the veil of mystery surrounding a famous crime, or capture the spirit of a by-gone era. For reasons such as those, I am especially interested in cinematography and in editing - but I am eager to explore and to learn about all aspects of the film-making process."
"As a citizen, my goal is constant personal evolution. I believe that each of us has the potential to never stop growing until the day we die and that is one other reason why film appeals to me so: at its core, it is the most dynamic of all the creative arts - it gives life and motion to words on a page, after all - and I want to experience the pleasure of constantly molding and crafting a living, breathing, growing film until I am finally satisfied that it has been "done right"."
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The Right to Die, 2007.
This paper explores the concepts of physician assisted suicide, euthanasia and voluntary death in the United States.
1,418 words (approx. 5.7 pages), 4 sources, MLA, $ 47.95
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Abstract
The paper discusses the film "The Sea Inside", which explores one man's struggle to end his own life after becoming a quadriplegic at the age of 26. The paper looks at how the character, Ramon Sampedro, fights for years for what he believes is a right that all human beings have to stop living when the conditions of life become unbearable. The paper then explores the controversial issue of physician-assisted suicide and euthanasia. The paper includes appended resource material.
From the Paper
"The issue of physician assisted suicide and euthanasia has been a growing debate throughout the country for many years. Emanuel (1997) states that the concept of the right to die, or euthanasia began in 1870 with a man named Samuel Williams (p. 73). Williams proposed that there euthanasia be considered "in all cases of hopeless and painful illness to bring about a quick and painless death" (Emanual, 1997, p. 73). Over time the concept that Williams voiced was considered by many, especially the press. However, when the idea was placed into proposed legislation in Ohio in 1906, the bill was defeated (Emanual, 1997, p. 73)."
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Big Business in the Media, 2007.
A discussion of the merit of the portrayal of big business in the mass media.
2,078 words (approx. 8.3 pages), 13 sources, MLA, $ 65.95
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Abstract
This paper discusses the portrayal of big business in the mass media. It discusses why films and books about big business are gaining widespread attention, when they appear to have less entertainment value than traditional films and novels. The paper argues that popular media that attack big businesses are making a valid point and serving a useful purpose as globalization spreads.
From the Paper
"Unfortunately, another aspect of all this is that many fast food companies actively promote unhealthy eating habits, despite the fact that there is a growing obesity epidemic in North America. This was highlighted by another movie that enjoyed widespread viewing, Super Size Me. This film made the point that McDonald's penchant for encouraging us to super size our meals is contributing to gluttony, and to an epidemic of obesity and ill health - but it is making McDonald's shareholders very, very wealthy. Independent US filmmaker Morgan Spurlock proved the point by eating nothing but McDonald's food for thirty days. The film records how his health deteriorated under this regime - he put on 25 pounds of fat, he became moody and sexually inadequate, and he almost destroyed his liver. This film performs a very valuable function in highlighting the selfish greed of corporations such as McDonald's, which makes its money by aggressively encouraging people to become unhealthy."
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Classicism and Art Cinema, 2007.
A comparison of Hollywood classicism and art cinema using the films "Singin' in the Rain," directed by Gene Kelly and Stanley Donen and "My Life to Live" (Vivre Sa Vie) directed by Jean-Luc Godard.
2,114 words (approx. 8.5 pages), 6 sources, MLA, $ 66.95
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Abstract
This essay attempts to broadly define the characteristics and underlying principles of both Hollywood classicism and the art cinema. It references one film from each category - "Singin' in the Rain," directed by Gene Kelly and Stanley Donen and "My Life to Live" (Vivre Sa Vie) directed by Jean-Luc Godard, respectively. The paper argues that the predominant stylistic distinction between the two modes lies in the art cinema's subversion of logical causality.
Table of Contents:
Introduction
Hollywood Classicism
The Art Cinema
Conclusion
From the Paper
"Moreover, Godard is also situating his work in the context of New Wave cinema for his audience. This is evident towards the end of My Life to Live in which - in one of the moving, documentary-like boulevard-scanning shots that are commonplace in the film - Godard shows and has his characters comment upon a line-up of movie patrons to see Truffaut's Jules et Jim; a work by his New Wave rival. Within the broader span of cinematic history Godard situates his protagonist, Nana, in a mirror relationship to the protagonist of La Passion de Jeanne d'Arc. As Nana watches her cinematic predecessor crying in closeup there is a closeup of a tear running down Nana's face as well; a referential cinematic relationship that Godard's audience would both expect and understand."
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Masculinity in "Jane Eyre.", 2007.
This paper analyzes Franco Zefferelli's 1996 production of Charlotte Bronte's "Jane Eyre."
846 words (approx. 3.4 pages), 1 source, MLA, $ 30.95
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Abstract
The paper examines the characters of Jane and Rochester as portrayed in Franco Zefferelli's 1996 production of "Jane Eyre." The paper contrasts Rochester's power with that of Jane Eyre. The paper explains that the fact that being a man in the 19th century was sufficient to give Rochester the power to define rationality and sanity, while at the same time allow him to behave abominably towards women.
From the Paper
"Charlotte Bronte published her novel Jane Eyre in 1847. Men in this time period had complete control of all aspects of society, including money, education, commerce, politics, and inheritance. The character Edward Rochester, after a difficult start, has become the epitome of this kind of powerful man, and indeed he may be said to embody the kind of rationality and power we associate with Enlightenment era men. Yet of course this power and rationality was a product of the intensely patriarchal society that shaped it. Rochester's power, and his ability to define what is rational and sane, may thus be said to be at the expense of women such as Jane Eyre, who are eminently rational, yet who lack power."
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The Female Beauty Myth, 2007.
This paper explores the motives behind the way women are portrayed in the popular media.
2,492 words (approx. 10.0 pages), 10 sources, MLA, $ 75.95
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Abstract
The paper discusses the views of Naomi Wolf in her book "The Beauty Myth" that the enforced version of female beauty helps to maintain male economic and political power. The paper also discusses Noam Chomsky's argument that the powerful elite of our society deliberately manipulate the media they control in order to maintain the current status quo. The paper examines current popular media, especially television and film, to investigate whether these allegations appear to be valid. The paper concludes that the beauty ideal is indeed a myth that the elite of our society convey to us via the popular media in order to keep women in their inferior place.
From the Paper
"In her book The Beauty Myth, Naomi Wolf argues that the ideal of female beauty that is projected in modern mass media is simply the latest method of keeping women in a subservient role within the patriarchal system. Wolf sees the aggressive pushing of a particular form of beauty as an important part of a backlash against the successes that have been achieved by the feminist movement. She believes that this enforced version of female beauty helps to maintain male economic and political power, by keeping women busy with diet and exercise, or keeping them so consumed by anxiety that they are unable to act effectively in the worlds of business and politics. Wolf argues this point with reference to many aspects of the popular media, noting that they all send the message that it is vitally important for women to be beautiful; and that in order to beautiful, women must be thin (and preferably also young, white and blonde). In considering these allegations, we also need to keep in mind that theorists such as Noam Chomsky have argued persuasively that the media is controlled by the powerful elite of our society, who deliberately manipulate the media they control in order to maintain the current status quo."
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African-Americans in Film, 2007.
An analysis of Eddy Murphy's representation of African-Americans in the film, "48 Hours."
1,259 words (approx. 5.0 pages), 1 source, MLA, $ 42.95
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Abstract
This paper examines the representation of African-Americans in film, focusing specifically on the 1982 comedy, "48 Hours," starring Eddie Murphy. The paper explains the storyline of the film and how Murphy is presented as a character in the film. The paper also looks at the light in which African-Americans are presented in general through films and in this film in particular.
From the Paper
"Although the film gives Murphy equal billing, and the film undoubtedly would be impossible without a talent like Murphy to hold his own against Nick Nolte, ultimately it is not a step forward in representing African Americans in their complexity. If it is funny, it requires audiences to know, understand, and to a certain extent accept stereotypes of African-Americans as lawless, funny, and ultimately under the control of Whites in everything but their language, not with their political or physical strength. Murphy is always foul-mouthed and overly sexualized and a "brother" in contrast to Nolte's "country boy" cop. Nolte's own strident masculinity within the context of the law and even infidelity is validated without condemning his character, while it marks Murphy as a criminal. Murphy's apparent freedom and force of personality, like the transitory freedom of the character during the "48 Hours" is no real freedom of expression at all. It is a sad continuation of a long tradition of representing African-Americans in crime films as criminals, sidekicks, and powerless. According to the stereotype sadly embodied by Murphy, Blacks in this genre are only apparently powerful with weapons, information or menace, and this power is transitory."
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Chaplin's Vision of Compassion and Success, 2007.
This paper discusses Charlie Chaplin's vision of compassion and success, while looking at the films "The Kid" (1921) and "The Gold Rush" (1925).
942 words (approx. 3.8 pages), 5 sources, MLA, $ 33.95
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Abstract
In this article, the writer notes that Charlie Chaplin was one of the most successful performers of the silent era of film. The writer discusses that two of Chaplin's most famous film comedies show that wealth does not always equal success. The writer notes that even when his famous character, The Little Tramp was poor, he still had great compassion for others, and a sense of humor that enabled him to survive against all odds. The writer concludes that both of Chaplin's films show that when people are poor, cold, and hungry, they are always thinking about becoming wealthy, comfortable, and well-fed, but that does not mean that money and success are as necessary as love. The writer maintains that the films demonstrate that without love, happiness is impossible.
From the Paper
"Amongst the discarded trash that no one else wants except poor people like the Tramp, Chaplin finds a treasure--a baby. The baby has been thrown in the alley by thieves, who value an expensive car more than a human life. The baby's wealthy but unwed mother left the child in her car with a note pleading to take care of the child. She went off to commit suicide, but could not bear to do it. When she returned to where she left her baby, the child was gone. The image of Chaplin's character finding the baby in the alley shows that the Tramp has found real, human riches that have been discarded like garbage because he is always able to spot treasure amongst trash, like good cast-off gloves. Afterwards, everyone mistakes the baby for the Tramp's child, and the boy and the Tramp become inseparable."
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"Raging Bull" and "Full Metal Jacket", 2007.
This paper analyzes, compares and discusses the films "Raging Bull" and "Full Metal Jacket."
2,820 words (approx. 11.3 pages), 13 sources, MLA, $ 83.95
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Abstract
The paper discusses how the purpose of the film "Full Metal Jacket" is different than that of the film "Raging Bull." The paper explains that in "Full Metal Jacket" the creation of an atmosphere is essentially more important then the narrative or story itself, while in "Raging Bull" the narrative structure and the story of an individual's life is at the artistic center of concern. In this light, the paper highlights the differences between the films, such as the usage of background and support elements and different approaches to technical issues such as lighting, camera angles and editing.
Outline:
Introduction
Full Metal Jacket
Raging Bull
From the Paper
"An analysis of these two films reveals that there are obvious differences in terms of their usage of background and support elements, such as setting and decor, as well as different approaches to technical issues such as lighting and camera angles and editing. These aspects of cinematic art are inextricably related to the style of the director as well as to the aims and intentions of the film. In any successful film aspects such as setting and environment are artistically linked to the various thematic and ideological undercurrents in the film. Background and set for example can be as important as script and acting in conveying certain moment of insight and perception in a film like Full Metal Jacket, for example. Therefore various aspects such as scenic environment, decor and sound should be borne in mind. A comprehsive analysis of a film cannot neglect these aspects and they are often integral to the shape and narrative trajectory of the film as a whole."
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Thelma & Louise and Scarecrow, 2007.
This paper discusses two different films 'Thelma & Louise' and 'Scarecrow'.
1,003 words (approx. 4.0 pages), 4 sources, MLA, $ 35.95
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Abstract
In this article the writer discusses the two films "Thelma & Louise" and "Scarecrow". The writer points out that these films involve entirely different characters, settings, and outcomes, but notes that they have several themes that connect them in meaningful ways. The writer looks at the similarities and connecting themes. The writer then discusses ways in which the films are dissimilar.
Outline:
Picaresque Theme
Search for a Dream
Episodic 'Road Movie' Theme
Dissimilar Aspects of the Movies
Conclusion
From the Paper
"In 'Thelma & Louise', the women start out searching for some enlightenment, seeking some fresh moments that will change their boring existences from stale to fresh, from dreary to exciting. When the only thing you have in life that is enjoyable is the company of another woman, going away with her for a spontaneous and impulsive journey is wonderful, even dream like (although that dream turns into a nightmare).
In Scarecrow, the two drifters have a dream of opening up a car wash that actually has real nylon brushes."
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Jacques Demy's Film "The Umbrellas of Cherbourg" (1964), 2007.
This paper describes Jacques Demy's film "The Umbrellas of Cherbourg" and compares it to the film "Moulin Rouge" directed by Baz Luhrmann.
945 words (approx. 3.8 pages), 3 sources, APA, $ 33.95
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Abstract
This paper explains that, because the film's dialogue is sung rather than spoken, which suggests a romantic comedy or Hollywood musical, French director Jacques Demy's film, "The Umbrellas of Cherbourg", (1964), a tale of thwarted young love set to music, is more heart-wrenchingly realistic and bittersweet than the fantastic presentation more typical of this genre. The author points out that this film's most obvious contemporary parallel would be Baz Lurman's "Moulin Rouge" (2001) in that it, too, is largely sung rather than spoken and has a cast of largely poor young people and a heroine who must choose between a poor man she loves and a rich man who can provide her with worldly comforts. The paper relates that the greatest difference between the plot of "The Umbrellas of Cherbourg" and "Moulin Rouge" is the portrayal of the 'other' love interests.
From the Paper
"At the beginning of the film, at first, Genevieve believes that love can conquer all. She only alters her point of view after she receives a few spare letters from Guy when he is away, and she wonders if she will be left pregnant and alone. Again, the theme of Guy and Genevieve as star-crossed lovers, a la Romeo and Juliet, is suggested by the plot. The viewer is called to wonder, if only Guy had not been drafted, if only Genevieve had not become pregnant and thus would have felt more secure waiting, if only her mother had not pressured her daughter for so long..."
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