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."
Abstract The paper examines the company's current position in the industry as well as its internal strengths and weaknesses, and considers the strategy most appropriate for the company to meet the opportunities and threats it currently faces.
Table of Contents:
History of the Company
Porter's Five Forces
SWOT Analysis
Available Strategies
Recommendation
Conclusion
From the Paper "MGM was originally established in 1924 and acquired United Artists (formed by Mary Pickford and Charlie Chaplin, among others in 1919) in 1981. Since the early 1980s to the present time, there have been numerous transactions regarding the ownership of the company. Tracinda Company (which is owned by Kirk Kerkorian) formed an alliance with Seven Network Limited (a major Australian television company) and senior MGM executives; the alliance acquired all outstanding capital stock of MGM and its subsidiaries in 1996 for $1.3 billion. The company acquired all outstanding capital stock of Orion Pictures in 1997 in a cash and stock combination deal ($573 million and 15 million common shares of MGM stock). In November 1997, the company underwent a recapitalization which resulted in the initial public offering of nine million MGM shares and the sale of 3.978 million shares to Tracinda ("Metro-Goldwyn-Mayer," 1999, n.p.)."
Abstract This paper explores how the issue of violence on television, which was raised in the past, is once more being given considerable attention in the media, by congress, and in the public at large. The writer comments that one of the driving forces behind the current concerns over televised violence is the fact that the public perceives American society as itself becoming more violent, in spite of crime statistics showing otherwise. The paper makes reference to a number of studies conducted on this topic while mentioning their failure to really answer the questions raised on increasing violence on TV and its effects.
From the Paper "While these questions frame the issue, they are questions that have not been answered. An attempt to answer some of these has been made in various studies, the most prominent of the recent examples being the report by the UCLA Center for Communication Policy. The authors of the report point out that everyone has an opinion about television violence precisely because television is so accessible and important in people's lives."
Abstract This essay examines Lewis Carroll's "Alice in Wonderland" series ("Alice's Adventures in Wonderland", "Through the Looking-Glass" and "What Alice Found There") and then compares it to the Walt Disney cartoon adaptation. The paper focuses on the differences between the two, such as the added morals to the Disney story and looks at the genre and medium of the two.
From the Paper "The only characters that seemed to have been made visibly nastier by Disney are the flowers that attack Alice both verbally and physically for being different. First the flowers accept her for thinking she is a strange flower, just like in the book, but when they discover she is not a flower they shoo her away and want nothing to do with her (unlike the book where they do not seem to realise that Alice is really a little girl). Alice is quite indignant about this and it is one of the nastier, or maybe even the nastiest scene in the Disney film."
Abstract Set in 1920s Northern China, "Raise the Red Lantern" is based on the novel "Wives and Concubines" by Su Tong. The paper discusses the story line which focuses on nineteen-year old Songlian, who is cajoled into marrying a wealthy householder to become his fourth wife. Songlian is educated, but she dropped out of college following her father's death. It discuses one of the primary themes of "Raise the Red Lantern", which is the role of women in Chinese culture.
From the Paper "The film is laced with dialogue that reveals ingrained misogyny; the concubines unquestioningly accept their roles. Songlian bemoans her fate but feels powerless to change it. The film opens with a close-up shot of Songlian's face as she speaks to her stepmother off-screen. Songlian's tearfully resolute visage sets the stage for the remainder of the film, which reveals the belief systems, values, behaviors, and customs of Northern China. Visually and emotionally captivating, Raise the Red Lantern lends insight specifically into the lives of wealthy Chinese concubines, and focuses especially on the role of women in Chinese culture."
Abstract This paper discusses the idea of providing movies for download over the internet which has already been entertained by Walt Disney Corporation and Sony Pictures. It first looks at the practicality of the issue and then examines the potential problems of piracy. It concludes with an analysis of how this phenomenon could economically impact brick and mortar companies.
From the Paper "Though the movie industry believes that significant profits can be made from Internet downloading the industry does face several challenges. One of the major issues surrounding movie downloads is the amount of Broadband that is available to consumers. Multichannel News explains, ?the flight to the Internet has been fraught with turbulence. While broadband growth has been steady, distribution isn't large enough to crack into Hollywood's lucrative sequential window distribution system.? (Stump) To combat this challenge the movie industry has began to focus on caching, streaming and content delivery network issues that effect broadband technology. Broadcasting & Cable reports that broadband technology is vital to the ability of consumers to download movies from the Internet. Not only does the technology provide fast and efficient downloads but the quality of the movies is excellent. The magazine explains, ?broadband Internet pipelines -- with some additional network enhancements -- are capable of delivering sound and images virtually indistinguishable from a broadcast TV signal.? ("Now Playing at Your Local Internet Portal: Movies on the Internet") However, the magazine concedes that the impact of millions of users downloading movies to the Internet's infrastructure is unknown. ("Now Playing at Your Local Internet Portal: Movies on the Internet")."
Abstract The first part of this paper examines Ingmar Bergman's film "The Seventh Seal" and how it addresses the theme of existentialism in its contemplation of whether God truly exists. The second part looks at Billy Wilder's film "Sunset Boulevard" and how it uses the theme of existentialism regarding choices and limits. Finally, this paper looks at Woody Allen's film "Shadows and Fog" and it' use of existentialism is an allegory for the search for meaning and it theme of existentialism in the search for the meaning of life.
From the Paper "Billy Wilder's 'film, ?Sunset Boulevard'? tells the story of a forgotten movie star, Norma Desmond, who lives in a huge mansion, reminiscing about the past and dreaming of a comeback. Norma is a dramatic character with theatrical expressions and illusions of grandeur. She is involved in a relationship with Joe Gillis, a writer who is half her age and allows himself to be kept by her. In addition, she has a strange relationship with her butler, Max, who was once a great silent film director and was married at one time to Norma, as well. "
Abstract This paper provides a brief summary and analysis of the film, which is about the fight of the federal agents against Al Capone, the warlord who controls the illegal liquor market during the prohibition era. The confrontation between the good and the evil, highlights the corrupted nature of the police force and the influence of the gang lords and finally the triumph of the "Untouchables" .
From the Paper "At the outset of the film the viewers are presented with the prevailing situation in Chicago which has turned into a city at war due to the enforcement of prohibition laws. (Prohibiting liquor). The direction is top notch and De Palma has taken every care to ensure the effectiveness of each scene with suspense reeling out all the time. The music scores really well with nice undertones, which increase the thrill of the moment. The dexterity of the director is revealed even in the very first scene."
Tags: mafia, prohibition, alcohol, law, al, capone, movie
Abstract This paper briefly reviews the film "Amores Porres", which was made in Mexico in 2000. The movie is divided into three interrelated plots that intersect at key and surprising moments. The first of these three is about Octavio, who enters his pet Cofi in dogfights to earn money, so he can run off with his brother's wife. The second story centers on a supermodel, her pet terrier Ritchie, and her boyfriend, who left his wife to be with her. The third interrelated story is about a homeless man and lover of stray dogs who has been hired as a hit man by a corrupt cop.
From the Paper "The story of Octavio and Cofi depict the seedy underworld of dog fighting. This brutal and cruel sport is practiced all around the world, and the film shows that it can be quite popular in Mexico City. Cofi is a beloved pet, and both Octavio and his brother love the dog. However, Octavio's brother is abusing his wife and Octavio wants to rescue his sister-in-law. The money he makes from fighting Cofi will pay for them to run away. This segment shows the horrors of dog fighting, revealing how lucrative and seductive gambling can be. Octavio is obviously a kind-hearted man who is genuinely in love with his brother's wife."
Abstract "The Godfather" (Francis Ford Coppola, 1972) and "Goodfellas" (Martin Scorsese, 1990) share common elements of theme and characterization; however, the two films differ in regards to tone, direction, and cinematography. The paper shows how both movies address the nuances and complexities of Italian Mafia life from the perspectives of the criminals. It examines how the directors of each of these films portray concepts of family, tradition, culture and religion without neglecting to graphically display the insensitivity, violence, greed and corruption that pervade Mafia life.
From the Paper "Coppola and Scorsese employ vastly different camera and filming techniques. The Godfather is famous for its large, panoramic images like that at the beginning of the film during the wedding. Moreover, the director pans the camera in scenes like the only in which Sonny is shot. In The Godfather, camera angles are instrumental in providing perspective, as in the first scene with Don Corleone behind his desk in his home, as well as the scene in which Michael shoots the crooked cop in the restaurant. Goodfellas contains more close-up shots, especially of Henry Hill."
Abstract This paper discusses how Spike Lee demonstrates his filmmaking prowess in his 1989 film "Do the Right Thing". It examines how, as with most of Lee's work, race relations are central to the story and how with "Do the Right Thing", Lee presents a bleak view of the nature and future of cross-cultural relationships in urban America. It looks at how the protagonists Mookie and Sal, despite their differences, reveal a remarkably similar worldview as the film progresses,especially in their inability to resolve the racial tension that emerges in the film. Mookie and Sal develop a decent professional relationship, yet both retain lingering feelings of resentment toward the 'other'. It shows how Spike Lee does a remarkable job portraying mutual feelings of 'otherness' in "Do the Right Thing" and how the writer/director/actor shows that racism exists on both sides of the fence.
From the Paper "One of the main themes and motifs in Spike Lee's Do the Right Thing is impasse. Sal's Wall of Fame symbolizes this cross-cultural impasse, just as the Kashmiri boarder represents it on the subcontinent. In Do the Right Thing, both the African-Americans and the Italian-Americans have a valid point: both want to retain their ethnic and cultural identities without succumbing to oppression and pressure. The patrons of Sal's are mostly black; therefore, Buggin? Out feels miffed that Sal would only showcase Italian-Americans on his wall. Yet Sal does not include photos of Asian-Americans either, even though there are Asians in their community. Sal's choice to display Italians on his wall might be borne of a lingering superiority complex, but Buggin? Out chooses to view the act as a sign of hatred and intolerance rather than mere ethnic pride. The conflict between India and Pakistan exhibits similar sentiments. Kashmir, like Sal's pizzeria, becomes the battleground of racial tension. Both Indians and Pakistanis view the property as theirs. Similarly, both the blacks and the Italians view the area as theirs. The characters in Lee's film would do well to practice Manchanda's idea of reconsidering maps and geographic boundaries."
Abstract This essay deals with issues raised by Marshall McLuhan's famous dictum: ?The medium is the message". The paper offers an analysis of Marshall McLuhan's various essays investigating how this dictum applies and is supported or contradicted by the content therein. It also attempts to accommodate for modern technological trends such as the internet and takes into account the importance of other general media theories.
From the Paper "Marshall McLuhan (1911-1980) once wrote that he would never become an academic. Though he was learning in spite of his professors, he would eventually become Professor of English, in spite of himself. In a famous quote that is well related to his investigation of media, McLuhan says, "I don"t explain, I explore?. His explorations of media and their significance in our daily existence took him through James Joyce, the symbolist poets, Ezra Pound; back to antiquity and the myth of Narcissus, and forward to the mythic structure of modern Western culture dominated by electric technology."
Tags: technology, television, communication, newspaper, internet
Abstract A brief examination of this 1971 movie which depicts a story of the nature of violence brought by the youths in England. It explains why the film is so disturbing as it was set in a futuristic England terrorized by gangs of juvenile delinquents spreading violence, terror and heinous moral destruction.
From the Paper "The combining style of settings that Kubrick and the film director have used has demonstrated their art in film-making that is unusual and yet creates unforgettable image to the viewers. Partly, it also demonstrates an example of bringing film styles and styles in play production combined with one another. Because of these, "Clockwork Orange" made the silver screen seem like a wide stage of a combination of a movie and a play. An instance of a scene that illustrates strange backgrounds is the Korova milk bar filled with nude statues while the costumes of the casts are not ordinary fashion of clothes and somehow has a touch of a play's costume. Also, the coin-operated nude statue of a woman serving milk from her breasts, if taken in our current period, is quite a weird part of a film set."
Abstract This paper examines the guilty party in Akira Kurosawa's film, "Rashomon". The author looks at the narratives of guilt and responsibility in this film.
