From the Paper "The recent film Thelma and Louise presents two women who turn to criminal activity as part of their way of dealing with the world of males, and their way of dealing with men can be labeled deviant. Indeed, the film presents the development of this deviant behavior as itself a response to the deviance of males in American society. As presented in the film, this instance of female criminality is a case of crossing over, specifically indicating that these women are using countermeasures to male deviance that will themselves be deviant. This instance of deviant behavior will be used as the subject for the application of the ideas of crossing over and criminal organization and honor to illustrate the nature of, development of, and consequences of this deviant behavior.
It is interesting that the film under discussion is itself..."
From the Paper "The ending of Stanley Kubrick's 2001: A Space Odyssey appears to many viewers to be too obscure and even to have little to do with the film as a whole, but this is a misreading of what takes place. 2001: A Space Odyssey is a film that may appear to lack a cohesive literary structure and to be instead a series of barely related incidents at different time periods, with different characters and somewhat obscure situations. The protracted journey through the starscape near the end of the film and the peculiar imagery that succeeds it, all occurring without external comment or explanation, can add to the sense that there is a lack of cohesion and purpose to the film. In truth, though, the structure of this film is carefully wrought and coheres around thematic concerns, recurring images, and a central issue that carries the plot to a logical if tentative conclusion. There is meaning in the ending, and to ascertain this meaning it is necessary to consider the structure of the entire film and the manner in which the filmmaker carries meaning through imagery and ... "
Abstract This paper discusses Woody Allen's ambivalence toward his Jewish identity and toward love as portrayed in "Annie Hall". The author points out that, to Allen, Judaism is more a secular ethnic identity than religious. The paper explores Allen and his characters as neurotic protagonists that employ humor as both a defense mechanism and a communication device.
From the Paper "Alvy's humor both exacerbates and assuages his sense of misplacement. Alvy's brand of humor is distinctly Jewish: Full of cultural references and self-deprecation. It also hints at the discomfort of being Jewish that is rarely expressed explicitly in Allen movies. Alvy tells Rob, "The failure of the country to get behind New York City is anti-Semitism. I"m not discussing politics or economics this is foreskin.? Humor here serves as a buffer against anti-Semitism and parallels Alvy's ambivalence towards his ethnic minority. His sarcasm embodies the tension and duality of being pulled in two directions."
A comparative study of four films, "Bound by Honor", "Beloved", "Lion of the Desert" and "Anna and the King", focusing on politics, culture and emotions.
1,577 words (approx. 6.3 pages), 0 sources, 2002, $ 51.95
Abstract This paper discusses four different films, "Bound by Honor", "Beloved", "Lion of the Desert" and "Anna and the King". The paper reviews each film in relation to its political and cultural background, and to the emotions prevalent in each movie. The paper claims that cultural oppression is a common theme in all four films. Using emotions as a tool for cultural change is described in the theme of how to overcome oppression.
From the Paper "Nearly all matters of cultural diversity involve some degree of emotional reasoning. All of the above movies involve cultural diversity, and indeed cultural oppression, to some degree. In "Bound by Honor" the main characters are motivated by strong culturally connected emotion. Logic is overridden by emotion when two of the three main characters follow paths of self-destruction. The same is true of "Beloved". The black mother and daughter are prisoners of their past, because they cannot free their emotions from it."
Abstract This paper examines "Chinatown", a film that combines elements of environmentalism into the story that it tells. It looks at how the films beginning may be classified as a classic film noir, but as the film progresses the film speaks to humanity's responsibility to the environment, as well as different moral and ethical philosophies and how they relate to the environmental movement. It discusses such themes as personal ethics and environmental justice as well as the two moral theories at play in the story, that of Mil's and Bentham's Utilitarianism and that of Immanuel Kant's Categorical Imperative.
From the Paper "There are several features about Utilitarianism that are important, for the sake of the movie, and otherwise. One of these is that actions, in and of themselves, have no moral value. The problem is then, that the actions of Noah Cross and his cohort are not in and of themselves moral or immoral. At the same time, the actions of Gittes are, in and of themselves, neither immoral or moral either. In each case, what is important is the end-result. According to Utilitarian principles, the only aspect of the state of the world that has any moral significance is the happiness or misery of people. All people are, ethically speaking, always equal, in other words, one person's happiness is worth as much an y one else's happiness."
The paper looks at the two films, "Pulp Fiction" directed by Quentin Tarantino, and "Being John Malkovich" directed by Spike Jonze, and the ways in which they use narrative structure and surrealism to tell their stories.
Abstract The writer first looks at "Pulp Fiction," by director Quentin Tarantino, a prime example of a film that utilizes a multiple narrative structure. The film has three narrative stories that are signaled by inserted captions, and told in "episodes" that are shown non-chronologically. The writer then studies "Being John Malkovich", a film set entirely in a surreal story world that runs by its own rules.
From the Paper "Surreal is defined as "having the intense irrational reality of a dream" and surrealism as "the principle of . . . producing fantastic or incongruous imagery or effects . . . by means of unnatural juxtaposition and combinations" (Webster, 1164). These definitions precisely describe the techniques utilized by Kaufman when putting together the dialogue and other aspects of narration for this movie. The viewer is literally buffeted by bizarre effect after bizarre effect, realizing very quickly the world of "Being John Malkovich" has its own rules of logic. For example, as Craig enters the filing office for his job interview, the secretary simply cannot understand what he is saying and mistakes his name and every comment that he makes. Craig attempts to correct her, but fails miserably. During his interview, Craig learns that the secretary's distorted hearing is considered truth, as the boss believes he has a speech impediment based on his secretary's misperception. That is simply the way the world is. As illogic after illogic piles up, the sum total is a dream world, one that certainly comes close to a nightmare for Craig, who represents the viewer's point of view."
Abstract Discussion of the filmmaker as "auteur." His involvement as a writer as well as director in his movies. His consideration of screenwriting as the formation for the structure and visuals of a film. Elements of the " Hitchcock Touch." The melodramatic, suspense movies. His use of the " MacGuffin." His British films. His Hollywood films.
From the Paper "ALFRED HITCHCOCK- WRITER
Movie buffs know Alfred Hitchcock, of course, mostly for his American films- "Rebecca", "North by Northwest", "The Birds", "Marnie", "Vertigo", and "The Man Who Knew Too Much" (among others). But, what really sets Hitchcock apart - beginning with his earliest films done in England prior to World War II, is the fact that he was as much a writer as a director, even if the screenplay was actually "written" by someone else.
"Although one aspect of Alfred Hitchcock's rhetoric drastically privileged the image over the word, he also insisted that it was during the screenwriting that his most serious work was done. He defined the screenwriting process as the space where all fundamental directorial decisions have already been made; he did not think of "writing" apart from the work he planned for the ..."
Abstract This paper explores film "Vanilla Sky", making evaluations through personal opinion as well as through scholarly film criticism. The writer considers actor Tom Cruise's personal philosophy of Scientology, which the paper suggests is at the center of the work, along with other possible psychological and philosophical constructions that appear be a combination of waking and dreaming or conscious and unconscious realities.
From the Paper "The film opens with a voice saying "Abre los ojos." Abre Los Ojos is the name of the 1997 Spanish film of which Vanilla Sky is a remake. The voice which speaks these words, recorded on David Aames, played by Tom Cruise, alarm clock, is that of Sophia, played by Penelope Cruz. Thus, the movie begins with the hero awakening from sleep, possibly a dream, into what seems to be reality. But is it? The first voice, saying open your eyes in Spanish and then in English, is not that of the woman who is in bed with Cruise. It is a woman, if we are expecting a linear plot, who Aames has not yet met. When the alarm speaks again, it does so with the voice of Julie, played by Cameron Diaz, the one currently sharing his bed. The viewer has moments when he's fairly sure he's watching the current reality, but as the film progresses he becomes less and less certain. As Roger Ebert says: "This is the kind of movie you don't want to analyze until you've seen it two times" (Ebert unpaged). For many viewers it will require uncountable screenings."
Abstract The basis for the analysis of two popular films is based on the theories written and discussed by Laura Mulvey and E. Ann Kaplan. The two films discussed are "Cruel Intentions" (1999) directed by Roger Kumble, and "10 Things I Hate About You" (1999) directed by Gil Junger. Both films are based on other stories from different periods of time, and given a new swing to be popular for teenage audiences of today. The writer shows how these films help illustrate the ideas of Mulvey and Kaplan.The writer focuses on directing and the eyes of the camera, through the portrayal of women in popular culture youth centred films.
From the Paper "Gender perspective is an important facet for studying society and culture through film. Gender is an essential perspective because we watch films on a screen as a portrayal from the eye of the camera and the director's point of view. There are two views the hegemonic male gaze and the feminist perspective, meaning through the eyes of a man, or the eyes of a women. The male gaze is the most common in film because of our patriarchal society. Most of the famous Hollywood directors are male. Very few females have made the transition into film making as a blockbuster director. Through the ranks of independent and art house films, female directors have begun to make their mark in the industry. Feminist filmmaking is often confused on negated by feminism in the broader sense. The ideologies and goals of feminism are the strive for equality, it seems that many have confused the search for equality with a more extremist view that women should be superior to men. By definition, feminism is a doctrine that advocates equal rights for women, as well as the movement aimed at equal rights for women , this is distorted in film through a fear of this empowerment and is therefore represented by bra burning, man hating, feminist cults. Equality has made many strides forward yet in some aspects of culture, a male dominance is so abundant. "
This paper looks at the 1921 F.W. Murnau film "Nosferatu", highlighting the use of texts, talented actors and special effects to carry this silent film.
Abstract The paper studies the famous silent film and the ways in which the director, Murnau, was able to inform the viewers without the use of sound. The writer analyzes two methods of propelling the plot through the silence and telling the story of the infamous vampire: the first one is reading, the use of inter-titles between shots, and the second method is editing. The paper gives examples of how these techniques carry the narrative of the film.
From the Paper "One of the most important questions we can ask is how, why and when do we figure out that the Count is a vampire? The earliest clue is Renfield, the accountant for who Harker works. When we first see him he is reading a letter. Not a normal letter but one with strange symbols on it the audience cannot understand themselves. When Harker walks into the office Renfield pulls him aside and gives Harker the assignment of going to a client, as it turns out a Count to buy him a house in Bremen. Promising Harker money to go to the Count in Transylvania Renfield states: ?"it will take a bit of effort"a bit of sweat and perhaps"a bit of blood"?. By suggesting that Harker has to give "a bit of blood" if it is necessary plus the letter with the strange symbols the audience can expect that there is something not right with the Count."
Abstract This paper analyzes this romantic comedy which centers on a young Greek-American woman's trials and tribulations when she falls in love with a non-Greek and struggles to get her family to accept her fiance while she herself comes to terms with her heritage and cultural identity. The paper examines the main characters and how they develop throughout the movie.
From the Paper "The central female character, Toula Portakalos falls in love with Ian, and finds herself caught between her love for him, and pleasing her father, Gus who believes Toula should "marry a Greek boy, make Greek babies, feed everyone" (Harvey, 2002). Both male characters are pivotal to the development of the story and in the end, Toula's growth and acceptance of her cultural heritage (and family's overbearing traits). She is able to take what she has been taught by her father, and re-learns from an "outside" point of view of Ian what it means to be a Greek-American."
Abstract This paper examines the main themes of director David Cronenberg's work through the example of three films "Videodrome", "The Dead Zone", and "Dead Ringers". The paper describes Cronenberg's unique cinematic style in terms of its technical accomplishments and horror stories. The paper defines the term "auteur director" and applies it to Cronenberg's films.
From the Paper "There are a few different areas of filmmaking that generally get a director labeled as an "auteur." One might be the technical aspects of the film - the camera work, the set design, the lighting. Another might be the style or conditions under which the director works. Lastly, an auteur director is sometimes labeled as such because of the themes he or she chooses to explore over the course of several (or all, in some cases) of their films or a specific genre that they choose to work within over a period of time. David Croneneberg has worked primarily in the horror or suspense genre for most of his career and delves into issues that face humanity, technology, society, and responsibility in unique ways."
Abstract The group development process contains five different stages of a group's life. Each step involves activities directed both at performing the task and dealing with the interpersonal interactions within the group needed to accomplish the task. The paper shows that an effective group deals with the challenges and issues of each stage and then moves to the next stage. The paper examines the movie "Office Space" and shows how it can be used to accurately illustrate each stage in a group's development.
From the Paper "The third stage is called coordination of group behaviors, also known as norming (19). An open exchange of pertinent information occurs. Group members acknowledge that varying responses to the task are legitimate. This is often the most time consuming stage because time needed to collect data and resolve disagreements. Members usually resolve disagreements by open conversation of relevant information and opinions and start acting as a cohesive group. Scenes from the movie that illustrate norming are when the group is sitting around the table and have all agreed to go ahead with the plan (Kiros 51). Zahir was the one group member who was the least committed and had the most doubt about the task. He was easily convinced by Peter telling him that prison is not that bad and there is no way that the company will be able to find out about their laundering anyway."
Abstract This paper compares and contrasts the themes and characters of two of the greatest films of the 1970s, Francis Ford Coppola's productions of Mario Puzo's mob movies, "The Godfather" and "The Godfather, Part II". The writer explains how the films tell the story of Vito Corleone and his son, Michael, and their rise to power as godfather of a powerful crime family. They provide a rich chronicle of the underside of the American dream. It shows how the first film was highly influential and critically well received. This is compared to its sequel, which is widely regarded as even better than the original in the ways that it builds on and enlarges the original story. Although both include many of the same characters, the second movie is more complex and multi-layered, and its themes are deeper. Together, they form a fascinating commentary on loyalty, honor, and family and the ways these qualities are intertwined with the American experience during the 20th century.
From the Paper "The Godfather focuses on Vito Corleone (Marlon Brando) during his last, most powerful years as patriarch of an extraordinarily successful family business. The Corleone family runs an increasingly expansive collection of illegal operations, but Don Corleone has his own ethical standards that prevent him from moving into areas he considers to be sinful; he is especially against anything to do with drugs. The beginning of the end of his power comes when he is forced to surrender to what everyone around him believes is the inevitable wave of the future. By the end of the film, he has retired, turned the business over to his son, Michael, and died, a peaceful old grandfather, playing in his vineyards with his grandson."
Abstract It may seem at first as though John Huston's film "The Maltese Falcon" (1941) is a detective story about the search for the title object; a story with a fatalistic ending in which the object is found to be a fake. The paper shows, however, that the search for the falcon is not nearly as important as the search for the killer of Miles Archer (Jerome Cowan) and the story is, in fact, a triumphant account of Sam Spade's (Humphrey Bogart) defense of his masculinity, and of American masculinity in general, against those who would destroy, distort, question, or undermine it.
From the Paper "The third group is the trio of homosexuals involved in the search for the falcon: the effeminate Joel Cairo (Peter Lorre), the erudite and frightening Kasper Gutman (Sydney Greenstreet), and his "gunsel" Wilmer Cook (Elisha Cook, Jr.). Arranged like a bizarre version of a family, this trio represents the various ways in which someone can be male but still fail to meet the requirements of the masculine code Spade adheres to. The fourth group is the trio of law enforcement officials: Detective Tom Polhaus (Ward Bond), Detective Lieutenant Dundy (Barton MacLane), and District Attorney Bryan (John Hamilton) who questions Spade in an 'informal' hearing. They function as official representatives of society and of the world of normal, acceptably masculine men who, throughout the film, question Spade's actions and motives."
