Abstract This paper describes various scenes ,such as the exchange between Gittes and Cross, which takes over five minutes, much longer than today's standard scene length, particularly for a scene with nothing but conversation; however, the conflict between Cross and Gittes and their constant give-and-take fills the scene with tension. The author describes another scene in which Polanski trains the camera on Gittes's face as he looks down on Cross; Gittes appears hesitant, and the shot serves to highlight his injured nose. When Gittes takes his hat off and sits down, there is no doubt in the audience's mind who is in control of the situation. The paper concludes that "Chinatown" is a richly-layered movie in a classic 'film noir' tradition.
From the Paper "The scene is short and moves quickly. Roman Polanski reveals volumes about Jake Gittes by juxtaposing the detective with the client. Curly, dressed in work clothes, is sweating in the intense heat. He is crying and in his distress, he bites into the Venetian blinds. Gittes, on the other hand, is dressed in a crisp white suit. Despite the apparent heat -- the fan is on -- Gittes looks cool and, in contrast to his client, unperturbed. The detective calms his distraught client down with a joke ("You can't eat the Venetian blinds. I just had 'em installed on Wednesday"). Then he reaches into the liquor cabinet, quickly shuffles through the whiskey bottles and pulls out a cheaper bottle of bourbon and pours his client a drink."
Abstract An essay that analyzes the modes of representation and the different ways in which 'truth' is conveyed in three classic documentaries. The styles examined are poetic documentary, observational film, and reflexivity. The films are Vertov's reflexive "Man with a Movie Camera", Jennings's poetic "Listen to Britain". and Wises's observational "High School".
From the Paper "Although documentary as a cinematic form usually has an implicit claim of "truthfulness", it is generally recognised that documentary can never be entirely "realistic", in that it cannot represent real events in a manner that is indistinguishable from the events themselves (Bruzzi 2000: 68). This is partly because of theoretical and practical constraints, but also because of the ambiguous nature of the term "realism". Nick Lacey defines realism as a style which "just happens, at a particular time and place, to have more credibility in its representation of reality than other forms" (1998: 200) while Barthes sees it as a form which attempts to efface its own production (ibid: 132). Such diverse philosophies have given rise to a range of different modes of representation among documentary makers over the past hundred years, many of which have been the subject of classification attempts. Bill Nichols? six modes of representation provide a roughly chronological framework within which different methods and conventions used to encode reality in documentaries can be classified and analysed."
Abstract This paper discusses Abraham Maslow's hierarchy of needs, explaining his belief that human beings are motivated by unsatisfied needs and that certain lower needs must be satisfied before higher needs can be satisfied. The paper reviews Sam Mendes's movie, "American Beauty", describing it as a microscopic vignette of the American, white middle-class. The paper employs Maslow's theory of a hierarchy of needs to understand the underlying emotions of the film.
From the Paper "Abraham Maslow established the theory of a hierarchy of needs, believing that human beings are motivated by unsatisfied needs, and that certain lower needs must be satisfied before higher needs can be satisfied (Maslow's pp). Rather than studying the neurotic or mentally ill, Maslow studied exemplary people such as Albert Einstein, Eleanor Roosevelt, and Frederick Douglas to determine how they came to be successful (Maslow's pp). Unlike Skinner and Freud, he believed that people are "basically trustworthy, self-protecting, and self-governing"and that humans tend toward growth and love? (Maslow's pp).
Maslow felt that although there is a continuous cycle of negativity, such as wars, murder, and deceit, he believed that violence is not what human nature is meant to be like, and occurs only because of and when human needs are thwarted (Maslow's pp)."
This paper examines and compares some of the themes in Stanley Kubrick's "Dr. Strangelove" and compares them with real-life events during the Cold War.
Abstract Stanley Kubrick uses satire to provide a very different view of the Cold War. This paper shows Kubrick's overall critique of the Cold War and how some events in the movie are related to the events of the time. Also uses examples from the movie and other authors.
From the Paper "The Cold War developed after World War II between the United States, with their allies, and the Soviet Union. It was a very tense time in American history marked by suspicion, distrust, paranoia, and most importantly misunderstanding. In Stanley Kubrick's film, "Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb", he takes shots at all of these different attitudes toward the Cold War. Kubrick's mind developed a very different view of this time in American history, one of sarcasm and ridiculous characters, but his film will go down as one of the first of its kind."
Abstract This paper examines Fannie Flagg's novel "Fried Green Tomatoes at the Whistle Stop Cafe" written in 1987 which contains many social issues like gender equality and racism and the 1991 film version of the same name. It connects the film to the novel by examining racism between whites and blacks with the thesis statement that Hollywood keeps perpetuating the stereotype of blacks and it doesn't show the treatments they really received in the early 1900's and before as the novel does.
From the Paper "The book shows Evelyn Couch, a mid-aged Alabama 80's woman who is unhappy and bored tries to 'transform' herself into, well, being happy and to add some excitement in her life. In the book, she has a daughter while in the movie she is childless. The book makes a funny reference about her smoking weed from her own daughter. While trying to transform, she takes advice from Ninny Threadgoode, an elderly woman that tells her a story about the Whistle Stop Cafe and thus Evelyn tries to become more like Idgie Threadgoode who is a very interesting character that does everything she wants, whenever she wants to. Evelyn, in order to get out of that current mental state she is in, will have to overcome her fears."
Abstract This paper examines how the movie, "The Runaway Jury," tells the story of a lawsuit for wrongful death made against a gun manufacturer and how, as the story unfolds, the viewer sees that both the defense attorney team and two people not directly related to this lawsuit are trying to manipulate the legal process in order to get the outcomes they prefer to see. In particular, it looks at how the movie suggests that our jury selection process, and hence our legal system, can be corrupted in a variety of ways.
From the Paper "The movie illustrates potential ways to corrupt the trial process in several ways. While the efforts of the jury expert hired by the plaintiff's lawyers seem to work within the guidelines of the law, the viewer is given many indications that he cares little for staying within legal boundaries. He has a list of potential jurors before the jury selection process has begun, and he and his subordinates put tremendous effort into finding out all they can about them prior to jury selection. While this may not be illegal, the character, Mr. Finch, says, "Trials are too important to be left up to juries," and "Everybody has a secret they don't want you to find." After the jury has been selected, his team begins to dig to try to find personal secrets they can use against the jurors to influence their votes."
Abstract This paper argues that "Spider-Man 2" portrays diversity in the media the way many films portray it, marginally at best. It shows that the only minority groups depicted in the film are stereotypical and used as "extras". The paper also argues that the film did not foster a better understanding of diversity and multiculturalism in American society.
From the Paper "The media often rely on stereotypes when depicting certain groups, and "Spider-Man 2" is no exception. The only black in the film is the editor who nags at the publisher and is always worried about deadlines. If there are other blacks or Asians in the film, they are extras, with no or very few lines. In addition, the Arab pizza storeowner is depicted as a short tempered, unreasonable boss, and the other "token" minorities have few if any lines. Even worse, the whites are the stereotypical heroes and good guys. Even the evil Doc. Ock turns good at the end, and destroys himself. Thus, the whites in the film are all good, which simply continues the stereotype that whites are good, and people of color are the "bad guys" or enemies."
Abstract This paper explains why the movie and the book, "Schindler's List," while not conforming to typical Hollywood formula films, is nonetheless a great work of art and why it so successfully delivers its intended message. The paper analyzes the main character, Oskar Schindler, and Liam Neeson's portrayal of that character and examines how they so effectively make viewers and readers question, not so much why Schindler acted in the moral and ethical manner that he did, but why the rest of the German citizens didn't.
From the Paper "In the novel Schindler's List by Thomas Kenneally, the story of the Holocaust is told from a dual point of view--that of the Jewish people who are downtrodden, rounded up and taken to camps, murdered and degraded by the Nazis, and that of the German industrialist who takes it upon himself to save a large number of Jewish people from their fate. The question raised by the book is not as much why does he do this as why does everyone else not. Some of the reasons have been given before--many of the most culpable, the Nazi bureaucrats who assisted directly in the deportation and murder of millions of people, argued that they were under orders and had no choice, and they pleaded during their trials that they had all acted under orders. The novel and the film both tell the story of a man who did not leave it to others and who saw it as a personal need to do what he could to alleviate if not change the situation. Much of the critical response to the film has centered on issues related to this central character and to why he acted as he did."
Abstract This paper presents a critique of the movie, "Grumpy Old Men," directed by Donald Petrie. The paper takes a look at the main characters in their roles as children, teens, adults, and elders. The paper examines the engagement theory and the continuity theory using the main characters as examples. The role of seniors in America is described through this movie.
From the Paper "At the beginning of the movie, John and Max are practicing the disengagement theory of life for elders (Hiller pg. 69, 70 textbook). Both are shown as grumpy old hermits. The bait seller Chuck and Ariel practice the activity theory (Hiller pg. 67, 68 textbook). Ariel kind of drags Max and John into the activity theory way of life and makes them remember feeling they had when they were young. This feeling and desire shows their need for intimacy and romantic love (Hiller pg 124, 111 textbook). It is shown by the way John and Max got ready for a date with Ariel. The movie illustrated the fact that desire for love does not go away with age (Hiller pg 124, 111 textbook). It made me think of my first date using dad's aftershave and feeling joy and fear all at one time. I think John and Max showed this first date theme very well in the movie."
This paper analyzes the film "Amadeus", directed by Milo Forman, from the perspective of an historian especially as it portrays the Age of Enlightenment.
Abstract This paper explains that the film "Amadeus", a fictionalized accounting of the life of Mozart, is set in the Enlightenment period in the late eighteenth century and depicts the higher urban, social class in Austria concentrating on rulers rather than commoners. The author points out that Salieri's telling the "Amadeus" story from a mental hospital is his penance, or his position in the Enlightenment purgatory. The paper relates that Mozart, viewed as an Enlightenment hero, is able to push some boundaries, such as composing the "Marriage of Figaro", because the Enlightenment was basically about shaking up the social structure.
Table of Contents
Introduction
Main Question
Conclusion
From the Paper "The characters in Forman's "Amadeus" are not fictional, but they are
fictionalized. They are based on real people who lived and died in Enlightenment Europe, but since no one was around to write down every word they said before they died, the director had to take liberties with dialog and action in a way that fictionalizes the story. The death of Mozart is already the stuff of legend and fiction, and this movie takes it further. The characters therefore represent actual historical figures, but they are still fictionalized. Forman's film was made in 1984, and this doesn't appear to have much impact on the story it is telling. The film was a Broadway musical before it was a movie."
This paper discusses the use of symbolism to portray the stereotype of the American male hero in Steven Spielberg's "Indiana Jones" trilogy, especially "Raiders of the Lost Ark" (1981).
Abstract This paper explains that not only are there actual symbols present in Steven Spielberg's "Indiana Jones" trilogy, especially "Raiders of the Lost Ark", such as Indiana's most feared enemy, the snake, but also the movies themselves serve as a symbol of American pop through the Hollywood's glorification and stylization. The author points out the symbolism in the main character Indiana Jones, played by Harrison Ford, who is a young, powerful educated man, coming from a civilized background with a catchy nickname "Indy", which all heroes must, and dressed in his classic American archaeologist attire of leather jacket and bullwhip. The paper concludes that the Indiana Jones trilogy continues to be an incredible success because it is so easy for the American population to relate to Indy, a hero who never failed, and because it reflects American pop culture of adventure, power and heroism.
From the Paper "It is very possible for even one trailer that is a mere one minute and fifty seconds long, to encompass so many different symbols, that have significance all throughout the movie. The clip that portrays the most symbolism in the shortest amount of time is definitely the part of the movie when Indiana Jones finds himself fighting a town full of Arabs in the middle of a marketplace in Cairo, all in order to rescue Marion. First and foremost, this entire sequence is filmed to fully capture the role of having a damsel in distress, as Indy is fighting in attempt to save Marion. Secondly, a very apparent form of symbolism appears in the background of the shot, where the entire marketplace is full of Arabs who are all wearing turbans and sandals, a very stereotypical image of the people of the eastern culture living in that region. The most noticeable glorification of the American culture becomes very evident when Indy is facing a large Arab man with a sword, who is prepared to fight him."
Abstract This paper reviews and offers a critique of "Media Culture," by Douglas Kellner. The paper discusses the main theme of the book, which is the role of culture in shaping individuals by dominating everyday life, and several minor themes running throughout the book. The paper also discusses Kellner's belief that it is important for audiences to learn how to understand and interpret the meanings and messages of TV shows and other media such as film. In addition, the paper notes Kellner's credentials for writing such a book and briefly discusses some of the book's weaknesses as well as it strengths.
From the Paper "Douglas Kellner has provided a serious scholarly work on contemporary media, culture, TV, film and music in Media Culture. Cultural studies identity and politics between the modern and the postmodern first published in Blending theory and popular images of ..."
Abstract This paper applies psychological theory to the analysis of Michael Corleone's personality as depicted in the film saga, "The Godfather". The paper applies Sigmund Freud's theory of personality to the character as well as Erik Erikson's approach to personality analysis. The paper explains how these two approaches lead to an understanding of Michael Corleone's character and behavior.
From the Paper "The character of Michael Corleone in "The Godfather" is a good candidate for a detailed character analysis of the self-conscious, making him a good example of Freud's so-called structural hypothesis which posits a theory of personality built on three principal components plus an ancillary feature the ego, superego and id plus the libido. Freud says that personality emerges in three states of being; the pre-conscious (PCS), the unconscious (UCS) and the conscious (CS). The push-pull dynamic is elaborated in Freud's distinction between the ego, id and superego. The Ucs however is the..."
Tags: Godfather, saga, Freud, Erikson, personality, theory
Abstract In this article, the writer applies two psychological concepts that coincide with the movie 'Good Will Hunting'. The writer discusses the selected concepts of giftedness and creative thinking that appear in the movie. The writer looks at Will's early psychological trauma. Will's potential as a gifted individual is also examined in the paper.
From the Paper "Will is a young man gifted with a photographic memory and a genius IQ, but he prefers to hang out with his blue collar South Boston friends rather than to use his talents. This is likely the result of deep psychological trauma he suffered by first being orphaned and then being physically abused in a series of foster homes. Will works as a janitor at MIT where he anonymously solves math theorems posted on a bulletin board to stump graduate students. A math professor ... "
Tags: gifted, creative thinking, movie plot, Good Will Hunting
Abstract This paper discusses the clear yet intense psychodynamic between Fisher's conscious and unconscious reactions to events in his past. The paper further discusses how in many ways the early part of the film marks a serious form of unconscious reactions relating to violence and abusive behaviors. When the movie begins to become more enmeshed in Davenport's discussions with Fisher, the layers of memories become more profuse when understanding why he behaves this way in the present tense.
From the Paper "Who was Antwone Fisher? Was he cured or healed? If yes Why? If no Why? What are the Curative factors in the film? What was said, what was done? Antwone Fisher (Derek Luke) is a navy man that is troubled with violent outbursts and is uncooperative on the base in which he is stationed. In the beginning of the film, Dr. Jerome Davenport (Denzel Washington) cures Fisher through his psychoanalytical approach towards Fisher's repressed childhood memories. In many ways, working through the horrific events of Fisher's childhood ultimately helps him to realize why he behaves so violently toward others. Sigmund Freud's--a famous psychologist--theories on repressed memories is the foundation for Davenport's cure, as he gets the young navy man to realize how he can resolve these abusive memories (Bloom 134). "
