Abstract This paper looks at several Disney films such as "Cinderella", "Snow White", "Little Mermaid", "Aladdin" and "Shrek" among others. The progression from strict adherence to prescribed gender roles, as in "Cinderella" or "Snow White", to the noticeably different messages about gender in "Shrek" and the films in between that provided a bridge between the differing messages regarding gender norms, are analyzed. Messages regarding sexuality in Disney films and arguably appropriate content are discussed as well. There is an emphasis on the depiction of female characters and the roles they play in Disney films.
From the Paper "When looking at female roles in Disney films, it is important to look at the inspiration behind those roles, Walt Disney. Walt Disney was a product of the 1940's and his patriarchal views of femininity most certainly reflect those ideals in the roles and manner in which his female characters are portrayed (O'Brien 157). In many of the Disney films children love to watch, the female characters are marginalized. The females are in unimportant or at least less important positions than are their male counterparts. Henke and others have this to say of Disney's female characters, "These alleged heroines are helpless ornaments in need of protection, and when it comes to the action of the film, they are omitted" (235). We see examples of this in the story of Cinderella when her gentleness and goodness is defined by her lack of resistance to the abuse she receives from her stepfamily (Henke 235). "
Abstract This paper discusses the parallel between Andy and Larry Wachowski's movie "The Matrix," in which there are two very different, yet very real worlds, and Book VII from Plato's "The Republic." The paper points out that through the allegory of the cave, Plato explained his theory of reality, proving that what mankind perceived were shadows, products of ideal figures that existed beyond everything. According to Plato, any knowledge gained from the world of senses was flawed and imperfect , while real knowledge was only accomplished via the world of ideas, by means of reason. Plato's allegory emphasizes the two distinct worlds, both outside and inside the cave. The paper asserts that the common thread between "The Matrix" and this cave allegory is that both examine the duality of knowledge and ignorance, of reality and perception. The paper claims that in the matrix allegory, our lives are like computerized programs, in which all that we have, think and possess does not exist. The paper concludes that true reality remains outside and, with the help of a good master, someday we might reach it.
From the Paper "According to Plato's perspective, in the beginning of life, the human soul lacks knowledge. When man is inside the cave, he is ignorant of passion, fear and prejudice. In the first phase, the shadows of the cave are the vague ideas that we have of ourselves. Neo, the principal character of "The Matrix," takes a pill that transports him inside the Matrix where he discovers the fictitious world in which he was living. Neo learns that the memories of his life were merely the vague ideas that he had of himself, and he questions what is real and unreal at one moment in time. For example, right before entering a restaurant that claimed it had the best pasta dishes, Neo ate a white pasta in the spacecraft that could have been any type of food. In this manner, the ideas that Neo had about this false fictitious world, the Matrix, echo that of the prisoners in the cave of The Republic. This place in which common people live--where human beings exist until they acquire knowledge--is difficult to comprehend. Even Neo could not fully grasp the nature of his false universe until Morfeo helped him to understand everything that was going on around him."
Abstract A brief examination of the movie "Pulp Fiction" from the aspect of language and its impact on culture.
From the Paper "However, the danger and sophistication that are ever-present in the poster can only really be appreciated when related to the third myth, that of 'cool'. Danger in itself is not a myth, it is a definite fact of life that, in real-life, is taken seriously as a truth. But when the danger is removed from the individual then the cool aspect of danger can be perceived as a myth. Ultimately we know that smoking is bad for one's health, but when one is separated from it, the act becomes cool, we also know guns are extremely dangerous yet again once we can take that step away and they are no immediate threat to us, they can be perceived as cool. This removal that is necessary in order to establish the element of cool is achieved in an interesting way in the poster. Rather than being just a poster, the edges have been made to look worn and there are stylised wrinkles in the paper. The purpose of this is to enhance the illusion of this image that makes up the poster as being the cover of a 'trash novel'. We realise that in actual fact these images that we have been examining are being portrayed by the film company as fiction. "
Tags: cool, dogs, reservoir, movies, myth, james, dean
Abstract This essay examines the relationship between the establishment of American films and American Ideas. It features the works of John Ford ("Birth of a Nation") and "The Iron Horse". In addition, the writer tackles the issue of the promotion of the American ideal in Europe and how this influenced immigration.
From the Paper "This new and exciting medium offered a new method of presenting ideas. While there were many movies concentrated around melodrama and the vaudeville tradition, the opportunity was there for film-makers to present their own vision of America. This relationship between film-makers and American history was compounded by the similarity of their development. As with America, film making began in the east. The major studios were to be found in New York with Chicago and its suburbs also being colonised by production companies. At first locating in the east had advantages. It was the centre of American civilisation and had access to labour and supplies and as such was perfect for studio based film making. However, at this time all but the most affluent studios were without adequate lighting systems and relied upon good light to film. This was a problem in the north and east due to seasonal changes in light conditions."
An application of Jung's various archetypes to the personality of Lt. John Dunbar in the film "Dances With Wolves", in order to follow him on his journey of individuation.
2,325 words (approx. 9.3 pages), 6 sources, 1999, $ 71.95
From the Paper "The opening Civil War battlefield scene, in this movie, gives the first insight into one of Dunbar's personality Archetypes. He has been so severely, rounded, facing possible amputation of his foot, that he wants to die. Dunbar finds himself in a desperate situation that he has little control over causing him to experience feelings of misery and impotence. With great agony, he finds his way back to the front lines and makes a suicidal ride in front of the Confederate soldiers. "
Abstract This paper is an analysis of middle adulthood and midlife crises that are commonly exhibited today. The primary example used is the character Lester from the film "American Beauty". The paper discusses, in detail, the components of marital relationships, sex deprivation, identity, dreams, motivation, goals, stress, and physical/emotional/cognitive changes and development.
From the Paper "The Bride of Frankenstein, however, is also a very serious film that discusses various social issues of the 1930's concerning the representations of sex and gender. The most obvious sexual issue in the film is the use of the literary motif of the ?lover's triangle,? usually depicted as two male protagonists in a constant, romantic battle for the affections of a woman with the outcome in favor of the emotionally strongest suitor."
Abstract This paper looks at comedians from the silent era such as Buster Keaton and Charlie Chaplin, the early talkies such as Mae West and the Marx Brothers, as compared to actors such as Jim Carrey in "Dumb and Dumber" and Kevin Spacey in "American Beauty" and attempts to analyze why comedies from a long time ago may not be considered as funny by modern audiences.
From the Paper "In the past hundred years, the comedic motion picture industry has gone through a drastic change in the way movies are written, acted and structured. What began as silent black and white shorts has turned into colored films with sound, lasting up to three hours. While most of these changes came about with improved technology, changes in the way these films have been written have come about with a change in society as a whole. What people found to be funny and comedic in the past has dramatically changed from what people find funny today. Despite this, comedic critics today still consider works of Chaplin and Keaton and such to be masterpieces, even though the majority of "general" audiences today wouldn"t find them as funny as a Jim Carrey. Alas we come across the question of why people have been finding different things funny as the times go by, and the main answer to this is that society's idea of what is funny has changed. However, the critics" idea of "good comedy" has not changed, and thus critics still consider the older silent films masterpieces."
Abstract This paper discusses "Midsummer Night's Dream" as the author believes Shakespeare intended the play to be - as a delightful, fun frolic, and contrasts it to Moshinsky's film version which emphasizes the darker elements of the script and loses much of the comic elements of the story.
From the Paper "This sentence would be a perfect introduction to Elijah Moshinsky's film adaptation of Shakespeare's "Midsummer Night's Dream", since it is not delightful, but instead stresses the tragic elements of the play. Shakespeare's language, rich of colourful images, creates a flower-scent and magical atmosphere. ?The descriptions breathe a sweetness like odours thrown from beds of flowers.? Though Moshinsky adapts Shakespeare's original text, the language loses nevertheless a part of its imaginative power. He focuses rather on the tragic elements of the play and renders it thus more serious and less bland."
"?We do not come, as minding to content you, our true intent is. All for your delight, we are not here. That you should here repent you, the actors are at hand; and, by their show you shall know all, that you are like to know (p.57).?
This sentence would be a perfect introduction to Elijah Moshinsky's film adaptation of Shakespeare's "Midsummer Night's Dream", since it is not delightful, but instead stresses the tragic elements of the play.
Shakespeare's language, rich of colourful images, creates a flower-scent and magical atmosphere. ?The descriptions breathe a sweetness like odours thrown from beds of flowers.? Though Moshinsky adapts Shakespeare's original text, the language loses nevertheless a part of its imaginative power. He focuses rather on the tragic elements of the play and renders it thus more serious and less bland."
Abstract This paper describes the disadvantaged position of young African Americans who are discriminated against and live in a reality of restricted options, making growing up and moving beyond their youthful condition an incredible feat. The writer describes the documentary "Hoop Dreams" that provides young African American males with some hope and opportunities through the game of basketball.
From the Paper "In the documentary "Hoop Dreams", our society gives a promising hope of social mobility, while maintaining a very difficult barrier to overcome. It is highly encouraged, and rarely done. Basketball was seemingly the way to rise above that barrier by providing the chance to become something greater. For most, the hope was out of reach, while others held onto their dreams."
Abstract A comparison of three honored films from the seventies, "Easy Rider", "Five Easy Pieces", and "The Godfather" and two films from the the year 2000, "The Gladiator" and "Erin Brokovich". The paper considers how they differ in the realm of providing distracting entertainment versus probing consideration of timely issues, concluding that seventies films left a more lasting vision.
From the Paper "What do we want from our movies? Do we seek simple escape or deeper understanding of our lives? Can a movie be both probing and entertaining? Are entertainment, eye candy and special effects enough, or do we seek something deeper? Do we want to look inside ourselves and ask questions, or to merely stay on the surface, distract ourselves, and deny that there is anything more to be considered? These questions arise when comparing three movies from the 1970s with two films nominated for Academy Awards in the 2000. The films considered are: from the seventies, Easy Rider, Five Easy Pieces, and The Godfather, and from 2000, Gladiator and, Erin Brokovich. Pauline Kael, the well-know New Yorker film critic, commenting on how she got hooked on films, agrees another critic, Paul Coates, that in its ideal form, "Cinema is the dream of an afterlife from which to comprehend this one" (Kael 63). In light of this quote, the films from the seventies embody elements which through the focused vision of the director offer mythic qualities that provide not only entertainment but an opportunity for viewers to examine their lives. That in accomplishing this, they provide images that remain in the mind's eye could be considered the tradition of the seventies. In contrast, recent films Gladiator and Erin Brokovich are entertaining distractions, providing no lasting vision."
Literary analysis and criticism of the movie "Fight Club" and a comparison of the leading character to the character of Zarathustra in Friedrich Nietzsche's "Thus Spoke Zarathustra".
1,270 words (approx. 5.1 pages), 1 source, 2001, $ 43.95
Abstract A literary analysis and criticism of the movie "Fight Club". The author compares the leading character, Jack to the leading character in Friedrich Nietzsche's "Thus Spoke Zarathustra", Zarathustra. The author discusses their similarities how they both overcome themselves, they both develop a following, and how they both progress through the metamorphoses of the spirit. "Jack" is the modern day embodiment of the Zarathustria.
From the Paper "In Friedrich Nietzsche's Thus Spoke Zarathustra, Zarathustra is presented as a wise prophet, a knowledgeable philosopher, and a man who continually overcomes himself. He abandons popular beliefs and dogmas and makes no apologies about doing so. He is his own person, not the person that the "herd" wants him to be. In David Fincher's Fight Club, "Jack" embodies Zarathustra's progression from a member of the herd to an independent, confident, individual. Like Zarathustra, Jack evolves into the person that he wants to be, not the person he should be according to society."
Abstract This paper is on the Peter Brook production of the "Mahabharata", the Indian epic. The author contends that the process of de-contextualization of characters, plot elements and pieces of narration out of the Mahabharata's original context and into a Western mode of performance, plot construction and interpretation exhibits the latent Orientalism of the Brook production, and represents the profound and perverse commodification of the India classic. The author further explains how it was Brook's perspective and alteration of this epic that reached a broader Western audience.
From the Paper "As a world defined by over 200 nations, and thousands of cultures, an incredibly rich history and set of traditions exists. The last century has marked a turning point in our planet's history. As never before, the distance and separation of cultures is becoming ever smaller, due to better transportation and communications infrastructures, and a desire to conduct business on a global scale. There is also an interesting and concerning adoption and synthesis of cultural practices and traditions. One could debate rather academically the merits of cultural encounter and interaction, and to say that perhaps with a synthesis of different cultural practices, a new culture is born. That may be, however the focus of this essay is to critically investigate and discuss the adoption or representation of other cultural traditions, without comprehending their meaning or significance. This is demonstrated through the Western commodification of cultures, the notion of Orientalism, and specifically focusing on the Brooks/ Carri?re production of the Mahabharata."
Abstract This paper covers extensively the creation and reception of John Carpenter's ""The Thing", a largely unknown, but highly influential science-fiction film from 1982. The paper talks about the origins of the story, pre-production, the negative critical and commercial reception of the film, and the re-interpretation of it years later by audiences. Also, it discusses the metaphorical aspects of the film, like its parables to the McCarthy era.
From the Paper " ?Antarctica, Winter 1982,? a title card reads. A pulsing beat can be heard as a helicopter flies over a snowcapped cliff and down into an endless and bleak white valley. We see two men in the chopper, one flying the aircraft, the other scanning the landscape through a pair of binoculars Soon it is apparent what the men are pursuing: a sled dog, running quickly across the ice. The man in the passenger's side of the helicopter puts down the binoculars, and leans out the side, a large rifle in his hands. He begins squeezing off rounds madly at the sprinting husky, like a crazed Ahab after the great white whale. This hectically confusing scene is the opening of John Carpenter's 1982 film, The Thing, a chilling story about a research team at an Antarctic outpost, who suddenly find themselves at the mercy of a malevolent shape-shifting, body-absorbing alien. The Thing was a landmark science-fiction film that has inspired countless other movies and TV shows, and yet was totally unappreciated in its time, and has since yet to be given the proper respect it deserves."
