Abstract This paper analyzes the film, comparing and contrasting it to the written play. The main body of the paper is composed of the differences between the play and the film. The paper refers to Internet research and to professional reviews of the film and play. It includes a brief overview of the plot, a character analysis, and a look at the dominant motifs in the film. It concludes by evaluating the effectiveness of both the play and the film.
From the Paper "Pasolini's film merges the ancient Greek myths of "Oedipus Rex," and "Oedipus at Colonus." The original play by Sophocles, "Oedipus the King," is still studied worldwide. In the Sophocles version, Jocasta sends Oedipus away from his home as a baby, presumably to be abandoned in the mountains because of a prophecy that he will bring ruin on the kingdom of Thebes. However, he does not die in the mountains, as everyone expected. He grows up in another kingdom, where he hears the prophecy he will kill his father and marry his mother. He leaves the kingdom so the prophecy will not come true."
Abstract The paper reviews the plot details, the intense violence and its psychological significance. The paper discusses that men and women handle their anger differently: Men, in a more physical way and women, by talk about problems with friends. The author concludes that "Fight Club" showed that fighting might be men's only way to release stress if society does not say it is all right to seek other forms of help.
From the Paper "The most talked about feature of Fight Club is its approach towards graphic depiction of violence. Even before the film's official premiere, voices were raised that maintained that the movie worships violence by its depiction as something positive. This was the grievance leveled against A Clockwork Orange, which, less than three decades after its contentious release, is universally regarded as a classic. There is no refuting that Fight Club is a violent movie."
Tags: plot, women, physical, talk, problems, friends, release, fighting, society
Abstract This paper explores the depiction of seduction, passion and female costuming in the Hollywood Production Code of the 1930 era. It suggests that although the code prohibited most sexy behaviour from women, the studios continued to fluant sex in their pictures. It also pinpoints many of the causes of the Production Code of 1934 administration, and discusses the history of the code from it's beginnings in the 1920s to its end in the 1960s.
From the Paper "?The complete spectrum of vice, not sex alone, infested the films ? an epicurean spirit of enthusiastic indulgence in activities illegal, forbidden, and stimulating,? meant that by 1930 Hollywood was in desperate need of regulation (Doherty 103). State and City censors passed legislation against certain films, beginning with Chicago in 1907, in response to public protests (Bernstein 1). Censorship boards were established to review and license moral and decent films; by 1922 six states had organized censorship boards (Jowett 25). Hollywood's self-regulation policies functioned as a middle ground between the industry and their enemies, reform groups and state regulatory agencies (Jacobs 87). The result of self-regulation was the Production Code of 1930; a document loosely outlining the principles filmmakers should follow in order to produce moral films. Sklar writes, that the Code was written with "the precise aim of uniting religious morality with box-office necessity" (173). This document was based on the "Don"ts and Be Carefuls? of 1927, an earlier attempt at influencing Hollywood to include less sex and violence in their features (Vasey 104). The Code was divided into two parts; one outlining the moral vision films should contain, and the other a precise listing of forbidden material (Doherty 7). The Production Code could not have arrived at a worse possible time for Hollywood. In 1930 the studios were still making money, despite the depression, but by 1932 theatre attendance had dropped, dragging down the industry's profits (Black 73). Their initial efforts were mainly motivated by a fear of a boycott during the worst years of the Depression, but once they realized what the audience wanted to see, they could no longer afford to censor potential box-office stars like Mae West (Cook 283)."
Abstract This paper discusses the role of the Italian-American women in American cinema and the functions that they fulfill within the Italian-American community and draws a comparison between Italian-American female roles and the parts played by American actresses. It examines some of the more famous Italian-American female characters in films such as cinematic masterpieces such as ?The Godfather" and "True Love" and how they are usually portrayed as working class and victims of violence. It shows how both Italian-American and American female characters in movies are challenged by a patriarchal society. The only difference is that the American character is free to do something about it even if all odds are against her whereas the Italian-American female characters on the other hand do not possess that luxury because their cultural norms do not allow such liberties.
From the Paper "Then there are directors such as Martin Scorsese and Francis Ford Coppola who have made powerful Mafia movies "Goodfellas" and "The Godfather" respectively. Even though the main theme of their movies is the havoc that the mafia wrecks in the lives of Italian-American immigrants there always exists a strong underlying theme that relates the role of the mothers, daughters and wives of these mafia members. In short the role of the "family". For example in a comic scene in the "Goodfellas" Scorsese makes a connection between food and death when Tommy's mother serves them a mouth-watering meal just after her son and his friends have returned from trying to commit murder."
Abstract The Star Wars movies, especially the first three, are clearly a type of myth written to demonstrate archetypal personalities. The characters are driven by their behavior, which can be used to analyze their characters in terms of Jungian and Freudian theories. Theories regarding "self", Type A and Type B personalities. and "persona" are related to the characters of Lando, Luke, Han, Darth Vader and Jedi Knights.
From the Paper "In the Empire Strikes Back, many of the characters are acting out of great personal need or personal striving, and many of them fit fairly well into Jung's theory or archetype personalities.
The "Self" is the highest form a personality can take, well integrated and centered. To become a self-actualized Self is Luke Skywalker's goal and the final achievement of his mentor, Obi-Wan Kenobe. In an interesting twist, Darth Vader also sees himself that way. He believes self-actualization can be either good or evil, and finds evil more powerful and rewarding."
Abstract This paper evaluates how the images of women depicted in movies can be excellent indicators of a society's view of women in that time period and how a look at some of Disney's well-known characters can give us insight into the expectations of women at the time each movie was produced. It analyzes the female lead characters from 13 different Disney films, including "Snow White and the Seven Dwarfs," "Cinderella," "The Little Mermaid," "Pocahontas," and "Mulan." It explores the themes of rescue, romantic attraction and reaction in times of adversity and shows how the disparity between the Disney heroines prior to 1960 and after 1989 could not be more obvious. The earlier female leads are weak and passive. They depend entirely on others to help save them when in trouble and their major priorities are cooking, cleaning, looking beautiful and waiting for their princes to come. The later female leads are strong and active. They actually play the role of hero and rescuer more frequently than the men.
From the Paper "Snow White never for a moment considers defying the Evil Queen. She never refuses the chores that are forced upon her, never thinks of running away, and is innocent to the point of naivet?. She completely trusts the huntsman who leads her into the woods to kill her, as well as the old woman who gives her the poisoned apple. It is her beauty alone that saves her, compelling the Prince to fall in love with her and kiss her. We have no evidence that she possesses any intelligence, wit, courage, or personal strength, but if she does, they are of no use to her. She is completely dependent on the help of others, and she is very childlike. Her voice is extremely high-pitched, and she runs after the Dwarfs? approval like a small child seeking the approval of her parents."
From the Paper ""The Deer Hunter" and "Apocalypse Now" were the Vietnam War films that first dealt seriously with the Southeast Asian conflict and that first received critical attention. Michael Cimono's "The Deer Hunter" won many Oscars in 1979 because the public was ready to accept a vision of the war that had brought the United States to the brink of a civil war in a clash of sympathies. Francis Ford Coppola's "Apocalypse Now" was his major follow-up to the enormous success of "The Godfather II," and the director was able to create a surreal statement about the destructive effects of the war. It is the purpose of this paper to fully analyze all the important aspects of the films, and include how society's attitude toward Vietnam was portrayed in both films."
Discusses John Ford from the perspective of auteur theory. Focuses on how Ford worked with a regular coterie of writers and analyzes the films "Stagecoach", "Searchers", "She Wore a Yellow Ribbon", Fort "Apache", "The Quiet Man" and others.
2,250 words (approx. 9 pages), 3 sources, 1990, $ 79.95
From the Paper "The auteur theory developed by French film critics beginning in the 1950s is partly a convenient way of categorizing and analyzing films, collecting titles as the body of work of the director. More than this, though, the theory holds that it is the director more than anyone else who is responsible for the completed film, since he or she is the one who determines visual style and other matters in the course of production. The theory finds that the director expresses meaning through visual style and that analyzing the visual style of a given director reveals consistent thematic concerns, similarities in character development, and other repeated and recognizable signs of a single intelligence at work. At the same time, though, film remains a collaborative medium, and it would seem that directors would be influenced by their..."
This paper discusses the Vietnam War and the anti-war film: Successful & unsuccessful efforts to portray war as mistake in "The Deerhunter", "Go Tell the Spartans", "Apocalypse Now" and "Full Metal Jacket".
2,250 words (approx. 9 pages), 10 sources, 1990, $ 79.95
From the Paper "This paper will be concerned with the Vietnam War and the anti-war film. Most critics have agreed that true antiwar films are virtually impossible to achieve. Many films which have been defined as anti-war films actually end up justifying or even glorifying the idea of warfare. In the early 1960s, ... claimed that the first criteria of an anti-war film is that it "not do positive harm by predisposing its audience toward war". ... most so-called anti-war films fail in meeting this criteria because they tend to glorify violence rather than condemn it. ... points out that "the images of senseless violence, horror, and waste that are usually employed in the commercially successful 'anti-war' films without doubt have a pornographic effect and remain in the soul as excitants and further incitements" . Such anti-war films do not ... "
From the Paper "This paper will be concerned with the artistry of Charlie Chaplin. Specifically, it will analyze Chaplin's contribution to the art of film as seen in his treatment of the roles of actor, artist and director. Charlie Chaplin was born on April 16, 1889 in London. He became involved in theatrical acting at an early age, and in this capacity he came to the United States when he was only twenty-one. However, once he arrived in America his interests soon changed from the theater to the new film industry which was being established at the time. Chaplin's first work in film was as an actor under the comedy director Mack Sennett. Sennett was known for his slapstick comedies which featured the Keystone Kops and various other characters. After familiarizing himself with the art of comic film acting in a series of Sennett shorts, Chaplin moved on to work for a variety of other ... "
This paper reviews the film "The Sound of Music", directed by Robert Wise, starred Julie Andrews and Christopher Plummer: Theme, imagery, shot composition, camera techniques, editing, sound, acting and directing of the 1965 film.
900 words (approx. 3.6 pages), 1 source, 1991, $ 31.95
From the Paper ""The Sound of Music" was directed by Robert Wise, and it starred Julie Andrews and Christopher Plummer. The movie won the Academy Award in 1965 for Best Picture. By examining the key theme of the Von Trapp family being re-integrated through the healing force of love (as seen in the Julie Andrews character), it is possible to see why the film has such a satisfying momentum.
This theme is brought out in eight different areas: The director uses each area to develop Plummer's character as the head of the Von Trapp family, who finds new love in Andrews' governess. This theme is set against the backdrop of the advent of World War II, the Nazis' entry into Austria, and the Von Trapps' escape from the German evil.
1. There is recurring imagery that suggests that Father Von ... "
From the Paper ""Do The Right Thing"
When Spike Lee released his film "Do the Right Thing" in the summer of 1989, he concluded it with two quotes: one from Dr. Martin Luther King, Jr. and the other from Malcolm X. The two different opinions on the "right thing" in terms of violent or non-violent action showed that Lee himself was torn between what the correct response was.
The purpose of this paper is to come to grips with a number of divergent opinions on racial equality and how people can (or can't) live together in peace. The THESIS here is that, while "Do the Right Thing" is a motion picture that does show behavior without apparently drawing any moral value judgments, at the core of Lee's film are several questionable attitudes.
One could ask the question: who, if anyone, does the right..."
Alice Walker's The Color Purple was published in 1982, and it immediately became both a best-selling novel and a statement that helped to define black women in America. It was inevitable that Hollywood would decide to make the movie version of the book, so in 1985, Steven Spielberg directed "The Color Purple," which won an Academy Award for its star, Whoopi Goldberg. The purpose of this paper is to construct a comparative analysis of the differences between the novel and the movie.
Perhaps it is very indicative of the difference between the two versions of Celie's story that each one has a very distinctive beginning. These openings set the tone for the overall work that is to follow. In Alice Walker's novel, the..."
From the Paper "The United States, movie industry possesses tremendous social power. This power is not acquired through the industry's huge economic assets but through its very distinctive ability to create images. These images are not limited to individuals or even groups of individuals; entire races and segments of society can be characterized and caricatured. What makes the images so powerful is their depth and scope. Hollywood is an international industry with global distribution, and frequently the images fabricated by the industry are accepted by much of society as indisputable fact. Through society's acceptance of Hollywood images as accurate reflections of reality, false conceptions of racial groups, gender groups, and ethnic groups are created. This paper will focus on issues involving negative racial imagery, i.e., racial stereotyping. To facilitate a deeper ..."
From the Paper "Akira Kurosawa's Throne of Blood is a version of Shakespeare's Macbeth, and the film follows the play in general terms until the end. An examination of the opening scenes and the last scene shows how the filmmaker has approached the material and what changes he has made to achieve a somewhat different effect from the original play while remaining true to its spirit.
The opening scenes in Macbeth set the stage with a sense of doom and foreboding as well as an overlay of the supernatural. In the first scene, the three witches appear amid thunder and lightning and cast a spell over the proceedings. In the second scene, the exposition is managed as messengers deliver the battle news to King Duncan. It is in the third scene where the character of Macbeth is introduced and where the three witches..."
