Abstract This paper examines the Hollywood western in Hollywood's modern period. To illustrate the changing nature of cinema and how the western reflected this, two films are shown to be exemplary of the times: "Cat Ballou" and "The Wild Bunch." The two movies are analyzed based on the trends that they set and by how far they broke away from the mold set by classical Hollywood cinema.
From the Paper "In Hollywood's modernist period, filmmakers were finding that the western was becoming something of an anachronsim. The dichotomous view of good and evil, savage minority characters, insistence upon high moral standards, and strict codes of conduct are just a few elements that typified the genre but didn't help its cause in the face of a society in flux. In the face of the Vietnam war and revolutions in both sexuality and civil rights, could people really identify with the genre anymore? Hollywood's solution to the western problem was one that typified the modernist period: they experimented, taking the genre in directions that it had never gone before. What we see in two exemplary modernist westerns, Cat Ballou and The Wild Bunch, is intense experimentation within the myth, conventions, and iconography of its predecessors. By doing so, the two films allow their viewers to gain uncanny insights into both how grounded the classical and post classical westerns were in terms of genre, and to what degree the modern period was able to successfully able to break away."
Abstract In this article, the writer discusses that although the revolutionary film "The Wild Bunch" portrays some plot elements of a traditional Western, Peckinpah's film aims to show the reality of dealing with a dying age. The writer maintains that through the violent truth, Peckinpah's film portrays the bloody reality of the Wild West that was so disguised in traditional films. The writer notes that rather than the typical nostalgic bliss seen in many other traditional films, Peckinpah really aimed at making his film as realistic as possible in his attempt to explore the dying age of the Wild West. The writer concludes that, as a result, this film ends up shocking audiences with the differences between observed fact and relative fiction, all while in the framework of the traditional Western setting.
From the Paper "This idea harkens back to the traditional theme of conquering the uncivilized in the name and honor of the law. There are several instances where it seems that the law will not even succeed in its necessary victory of evil. On several occasions, the righteous lawmakers are shown in dire situations. Deke barely gets out of the last gun battle. Yet, the group's ties to the deceptive Mexican war lord represent a crucial downfall. They then find themselves in a war on several fronts, which ultimately leads to the gang's demise.
"Codes of conduct within every Western film are central to why events occur later in the film. Many traditional Western pieces show the heroes as bound to a code of honor that makes them act the way they do. Honor has always been a prevailing moral in traditional plot themes."
Abstract This paper explores director Alfred Hitchcock's stylistic signature through a compare/contrast of two of his films: "Rear Window" and "The Birds". The author explores some of Hitchcock's themes, such as marriage and voyeurism, that are common to both films.
From the Paper "He has been called the Master of Suspense. Alfred Hitchcock would probably say that this tagline was merely invented to sell more cinema tickets, but many of his films contain elements that back up this formidable title. In Rear Window and The Birds, Hitchcock explores several different themes. However, each of these films still carries the true flavor of a Hitchcock film."
Abstract The paper shows that since the end of World War II, the American people have seen an extraordinary change in the economic, social and moral priorities of the nation and its people. It discusses the three generations which have grown up since the war, each positively and negatively influenced by their parents and social change. It explores the choices made by each generation in raising their children which have had an enormous effect on how the following generations turned out.
From the Paper "But the parents of baby boomers tended to encourage their children to occupy their free time by doing constructive things. Baby boomers were an extracurricular group in school, participating in many activities, including band, track, basketball, choir and dance. Children were also encouraged to get after school jobs, like paper routes or baby-sitting. By the 1980's most afternoon papers had disappeared. While many children continued to get after school jobs, less did. Interest in after school activities declined during this time, as well, and malls and parking lots became popular after school hangouts."
Abstract This paper explains that the feminist article by Charlotte is simply written and effective in its clarity. The author states the reader is encouraged to know that feminist theoretical material is not just philosophical but should promote greater interest and knowledge of the exterior world including varieties of women's experience and problems, which otherwise might not be known or considered..
Abstract This paper offers an in-depth review of how the family has been depicted in TV sit-coms and the like over the past 50 years. It examines dozens of shows and discusses how the roles of the husband and wife, and the values within the family has evolved. Also looks at racial issues.
From the Paper "In the fifty years between the first season of I Love Lucy to the first season of The Osbournes, the ethics, mores and socio-economic configuration of the TV-viewing audience has changed greatly. Closely aligned to the revaluated morals of contemporary society have been the representations of family on television. Of particular significance is the way in which the sitcom family is depicted on American TV. Throughout the history of the sitcom, the mother and father and children have adhered to a consistent and perpetuated set of stereotypes informing the way they act. Largely, these representations are dictated by the social class and economic situation of the characters. From their beginnings in a pleasant romp in suburban middle class existence, the members of the sitcom family have become edgier and more prone to throw insults at each other. Conflict has always threatened the family, but with a new age comes transformed values and new forms of danger to the family unit. Issues of sexuality, violence and substance abuse have increasingly played a major role in the lives of TV families over the past three decades. Though the troubles they face may be more serious than the fifties sitcom predicament, and they have changed greatly from the respectable ideals of the fifties sitcom, the family, as will be demonstrated, is perhaps as strong, if not stronger than ever."
Abstract This paper examines how a bunch of former fisherman, tax collectors, and otherwise disconnected young men became willing to give their lives in order to spread the message of the Gospel after the death of Jesus. It debates that the truth of the Gospel is something that must be addressed as it is believed by the Church and how, if is not true, if Jesus did not rise from the dead, then the conclusions that result from believing these alternate interpretations create unrealistic situations, which cannot be accepted by reasonable individuals.
From the Paper "Paul was opposed by those who believed in the Jewish law; just as believers today are opposed by those who bow at the altar of New Age self deification, Secular Humanism, or more recently postmodern self-determinism. Those who want to guide their lives by their own efforts do not want to hear about One who sets guidelines and standards to which we are accountable. In today's marketplace, the cultural war cry of "separation of church and state" carries with it the same political force as those who called "we have no king but Caesar" during Christ's conviction before Pilate. Similarly, Christians today have to engage the world on its own turf in order to protect our right, and responsibility to present the gospel."
An analysis of the power plays and power struggles that are depicted in William Shakespeare's play "Antony and Cleopatra" and William Golding's novel "Lord of the Flies".
Abstract This paper examines how Shakespeare's "Antony and Cleopatra" and William Golding's "Lord of the Flies" explore the interrelationships of different types of power and its effects on society and individuals. It looks at how although the two texts are written 250 years apart and the plots are in no way similar, they do share particular types of power. While one is about the interaction of three historic Roman figures and the other is about the results of a bunch of students who are thrust on an isolated island with no law. It analyzes how the similar powers are the power of the imagination and political power and how the most important difference between the two texts is the result of these power plays.
From the Paper "As power of the imagination is the key power of Antony and Cleopatra, as is political power the main power of Lord of the Flies. Many different political systems are exhibited throughout the novel, and many characters are representations of the ideals of those political systems. The novel begins with an element of militaristic power as a group of choir boys is marched in by Jack, who personifies anarchy and savagery, but soon that is overwhelmed by democratic power. A vote is taken to vote Ralph in as the leader of the group. He is the embodiment of democracy and order. Soon, however, primal instincts gradually begin to take over, and rule and order are destroyed in the way. Slow at first, the boys start testing the borders of the law."
Abstract This paper deals with women and work and uses liberal feminism and socialist feminism to explain three aspects of female labour participation. It also attempts to answer how John Stuart Mill and Charlotte Bunch might each respond to the recent legalization of same-sex marriages in Canada.
From the Paper "More than half of all women are in the labour force. Yet, women form the majority of the part-time and temporary workforce. In the last fifty years in particular, there has been considerable change in our ideology that has enabled women to be more present in the workforce. Our view of gender roles has somewhat change, thanks the women's movement, especially liberal feminism and to more female representation in all walks of life (politics, business, media, etc). But the participation of women in the workforce has also become an economic necessity, because there are less secure full-time jobs and many families today need the dual income. The liberal feminist movement has been largely ..."
Abstract Juarez is the setting for a series of murders of women--femicides--which has plagued the city for almost two decades. Until recently there wasn't wide spread knowledge of these events. This paper uses Charlotte Bunch's four point model for the application of theory to practice to analyze the problem, and attempt to discover a way to affect change in Juarez. A proposal for how to raise funds and use that money to create a unification between feminist organizations is included. Several different types of feminism are also addressed and their application to the analysis of this situation is discussed.
Outline:
Description
Analysis
Vision
Strategy
From the Paper "Multicultural Feminism views oppression, not as just one system, but as multiple systems, which operate together to oppress women around the globe. Through the lens of multicultural feminism one can see that the women of Juarez are not only being oppressed through class structure and working conditions, but also because of their culture. This oppression is different than any other factory worker in the United States because US corporations who do not utilize NAFTA's border allowances are subjected to US regulations, whereas these women, who are actually employed within the United States, are not privileged to US regulations. "
