Abstract This paper will review the movie "Gone With the Wind", and seek to understand what the ideas were behind this classic drama of southern life after the Civil War. The film extends over a time period of twelve years in the life of plantation belle Scarlet O'Hara, from the start of the Civil War through the Reconstruction Period, and covers her various romantic pursuits against the backdrop of historical events. By showing this aspect of southern life in this period, we can see how it represents a Hollywood version of a historical drama.
Abstract This three-page undergraduate paper examines and anaylzes aspects of Romanticism in the movie "Forrest Gump". The body of the essay proves that the particular aspects of Romanticism selected are clearly exhibited in the movie.
Abstract This paper presents an overview of the movie, "Schindler's List", and addresses the question: "Was Schindler ethical?" In addition, it discusses various current groups that act in less than ethical ways, believing it is for the good of the whole.
Abstract This paper discusses how love is portrayed in Canadian author, Michael Ondaatje's "In the Skin of a Lion" by using another of his works, "The English Patient", to compare and contrast it with. By critically analyzing these two works, the paper finds that, although they appear quite different initially, the novels share many of the same processes, literary techniques, themes and syntax.
From the Paper "The English Patient's taboo love comes in two forms. First, there is the adulterous relationship between the married Katherine and Almasy. Second, there is the unusual relationship between the white American nurse and the British bomb expert of Indian origin. In both cases, as well as in the relationships in In the Skin of a Lion, the taboos or socially unusual situations are overcome by passionate love and are rendered ? at least by the lovers themselves ? meaningless or, at best, side-issues."
This paper is on the movie, "Roger & Me", but it's about the unemployment issue in Flint, Michigan, after General Motors closed to go to the south for cheaper labor.
Abstract This paper talks about what happened in Flint, Michigan, how they tried to fix it, how it affected the people who lived there, and includes a comparison of Flint with the writer's hometown. This paper references the movie, "Roger & Me", which was made to show the rest of America how bad it was in Flint, Michigan, during this time.
From the Paper "In the 1980's many large businesses and corporations eliminated millions of American jobs, like General Motors did in Flint, Michigan. Corporations did this when they moved their business out of the northeast and to the southwest. This movement was called Sunbelt and many large businesses did it for cheaper labor. They figured why pay someone $18 an hour when you can move to the southwest and pay someone $3 an hour for the same work. This is what happened in Flint, Michigan when General Motors laid off 30,000 of their factory workers."
Abstract This is an exploration into the four main conceptions based around media studies and the media as a whole. The four conceptions are transformations - the theory based on communication; institutions - the various groups formed within or by the media; forms - the reality aspect of the media and audiences - that which the media gains. The writer looks at the works of Raymond Williams and other theorists for examples of each.
From the Paper "Communication is the main trend within different media institutions. Transformations are key to our perceptions about the media. They are forms of communication such as face-to-face communication where a conversation could be taking place but the participants of the conversation are sharing the same space and time. This has advantages because it is easy to see the mood of the person you may be conversing with due to the body language and facial expression that might be used. It also needs more interaction. Secondly, there is mediated interaction. This would incorporate telephone conversations, post and e-mail. These are forms of communication where we would have the expectation of a response. The advantages here are that the people within the acts of communication do not necessarily have to be the same time or space. The media itself is mainly concerned with mediated quasi interaction. This is communication where the communicator is relaying information but is not expecting a response such as television, newspapers and radio, where the programmes or articles are aimed at entertaining or providing information but not expecting a response form the public who are listening, reading or watching. The advantages of this are that it is a simple quick way of relaying information or entertaining and there is not necessarily any need for a response."
Abstract This paper is a comparison of the suicidal behaviors exhibited by troubled teenager Conrad Jarrett in the film, "Ordinary People", with two people, Elizabeth Wurtzel and Kelly O'Connor, real people who have experienced depression and contemplated suicide. Themes in this paper include depression's effects on everyday functioning, loss of emotional control, and the motives behind attempted suicide, among others.
From the Paper "The film "Ordinary People", which was directed by Robert Redford, showcases depression as seen through the eyes of an adolescent. Behind the idyllic upper middle class lifestyle of the Jarrett family lies a history of tragedy and turmoil. Ever since the eldest son, Buck, died in a boating accident, the family has been falling apart. The mother has been suffering from a lack of empathy, the father has been struggling to keep his family together in these times of heartache, and at the center of it all is his younger brother Conrad. Guilt-ridden over having survived the accident, he spirals into a state of depression that ultimately leads to a suicide attempt. Now, recently discharged from a four month stay at a mental facility, he seeks the guidance of a therapist, Dr. Berger; the sessions and exchanges with the doctor are the focal point of the movie."
Abstract This paper explores, compares, and contrasts the theories of Eisenstein and Bazin, two of the most prominent figures in film theory. Specifically, the author examines how the two approach the use of montage (editing) to construct meaning in the mind of the viewer.
From the Paper "The groundbreaking contributions Sergei Eisenstein and Andre Bazin made to film theory cemented this pair's place in history as two of the field's most prolific figures. These men's ideas changed the face of cinema and their influence on subsequent generations of filmmakers cannot be denied. One area that dominates the theoretical musings of both writers is the idea of montage. While the two essentially agree on the definition of this abstruse concept, they diverge on how it works to construct meaning in the spectator's mind. Each theorist's discourse certainly has its intrinsic merit however, Bazin's theory proves itself superior to that of his Russian counterpart due to his desire to surmount the limitations of traditional, "analytical" montage and restore what the Frenchman terms "ambiguity of expression" to the cinema. Eisenstein, on the other hand, is so preoccupied with montage's effect on the viewer that he ignores other essential elements, such as Bazin's conception of the ?image,? that also play an important role in interpreting what is shown on the screen."
Abstract This paper examines how there is no doubt that Stoker's "Dracula" is the literary locus classicus of the vampire,and how filmmakers across the world have used both names to depict horror in films. In particular it looks at how Francis Ford Coppola's distinctive 1992 version claims to adhere to much of the plot and characterisations of the novel with a metanarrative which is produced by a number of voice-overs and a cast of popular actors. It argues how Coppola's version claims no hold over the novel and is positively disappointing in its depiction of fear and fantasy that has maintained Stoker's novel in publication since the nineteenth century.
From the Paper "The horror of Dracula gains added impetus through Stoker's use of fear; fear of sexuality, and fear of regression. He chooses to elaborate on the dichotomy between the East and the West. The fear of a dead, feudal past, representing aristocracy, perversity and lust over a modern, living present, representing middle-class, normality and love. Dracula wants to relocate his horrifying operations in England, to seek new opportunities to satisfy his "sport" in the rational West that will be unsuspecting of his deathly activities. In moving these operations to contemporary London, Stoker is challenging present fears of a regression by using a power of a historically defunct aristocracy gaining control over the citizens of a modern, capitalist society."
Abstract This paper reviews the movie, "Eyes Wide Shut", and the directorial style of Stanley Kubric. The paper begins with a short list of previous films directed by Kubric and a summary of critics' reviews of "Eyes Wide Shut". The paper then discusses the plot of the movie and concludes with a positive review of Kubric.
From the Paper "When director Stanley Kubrick died suddenly in March 1999 at the age of 70, the movie industry anxiously anticipated what would become his cinematic swan song, Eyes Wide Shut; a sexual thriller featuring real-life married couple Tom Cruise and Nicole Kidman. Released in July of 1999 to reviews that ran the gamut from praising the director's artistic vision to condemning Kubrick as an aged sexual pervert, Eyes Wide Shut was greeted with the same ambivalence as Kubrick's earlier productions. Kubrick was regarded as a painstaking perfectionist who refused to compromise his artistry to placate social convention."
Tags: sexual, thriller, tom, cruise, nicole, kidman
Abstract This paper analyses the editing and suspense of the final sequence of the film "The Usual Suspects". It looks at Bryan Singer's use of editing in order to create suspense by examing the scene, shot by shot. It also assesses each of the methods used such as cross-cutting, with a detailed look at desired effects and actual effects.
From the Paper "The cross-cutting of perspectives continues, Verbal limps and drags himself down the street; while the car driving slowly behind; and Kujan has reached the steps outside the police station. It is at this point when an attack from the trailing car is anticipated. Singer then stops the chase in its tracks to give his final, blatant clues to the audience. We cut between two perspectives. An objective view of Verbal's posture changing to prove he is not a cripple, the final part of his act; and a subjective POV shot in the police station viewing the fax containing a sketch of his face. The car then stops, verbal gets in, and they drive off. This is where our link with Kujan ends. He is given neither of these last two clues/facts within the film. His case is catch Keyser, and ours just figure out who Keyser is, to which Singer given us all the clues."
Abstract This essay examines the impact and influence of Hong Kong filmmakers, such as Wong Kar-Wai, on their Western counterparts in Hollywood. This paper focuses especially on the works of Quentin Tarantino and how he drew ideas and inspiration from Hong Kong screenplays.
From the Paper "When maverick filmmaker Quentin Tarantino exploded onto the Hollywood scene in the early 1990's with Reservoir Dogs, he established his own unique style pieced together from a myriad of influences. From Hong Kong cinema for instance, Tarantino lifted plotlines set against a morally ambiguous criminal underworld that distorted the dichotomy between law and lawbreaker. Often characterized by anti-hero personas and dedication to values such as loyalty, honor and integrity, his characters are also deeply rooted in the Hong Kong tradition. Tarantino however, breaks from fast paced Hong Kong editing by combining longer takes with lateral camera movement to construct diegetic space in Reservoir Dogs, a film whose plot Tarantino admittedly lifted from Ringo Lam's Hong Kong masterpiece City on Fire."
Abstract This paper looks at the various elements of the film "The Player" by Robert Altman and their thematic effects on shaping viewer response. The paper analyzes the plot, characterization, acting, camera angles, mise en scene and cinematography of the film in great depth.
From the Paper "The 1992 film The Player written by Michael Tolkin and directed by Robert Altman, satirizes the filmmaking industry of Hollywood, whilst criticizing the industries corruption. The film constantly alludes to earlier Hollywood films and comments on the practices of Hollywood film studios. The film utilizes the scope of film medium to simultaneously create meaning and entertain the viewer."
Abstract This paper examines how popular film represents not only the feelings and beliefs of the writers and directors, but also of the socio-historical state of the times and conditions of society. It shows how religion is an inherent part of popular film, whether implicit or explicit. It uses the films "My Beautiful Laundrette", "American History X" and "Do The Right Thing" to illustrate the social anxieties of their political surroundings. It also looks at how although the three films are based in different periods of time, they share many similarities, through characters relation to Biblical figures and the storylines use of religious rituals.
From the Paper "In American History X there are many Biblical figures represented within the neo-nazi gang. Cameron Alexander, the older father figure, for the troubled youth is a God figure, as well he is the only character who uses the word of the Lord to tell these teens that the acts of violence which they are participating in, is approved by God. Cameron has his voice to the people through Derek who is a Jesus figure, he commits and act and sacrifices himself to provide hope for his disciples. His former best friend Seth, is a Judas figure, because he betrays Derek, and tells Cameron that he does not believe in him anymore, and how to find him to kill him. Stacey, Derek's girlfriend, has qualities of Mary Magdalene, in Luke's representation of her as a repentant prostitute, bathing in Jesus? feet."
Abstract This paper examines how classically male vampires in horror films are portrayed in a sympathetic light as tortured men who are suffering from a compulsion rather than having homicidal tendencies. It looks at how the female vampires of the 1970?s, however, are depicted in a completely different manner. They are young, beautiful, and unrepentant; their goal is not only to satisfy their cravings, but also to corrupt and consume the souls of their victims. It analyzes how filmmakers of this era depict these strong, sensual women as sexual deviants through a review of such films as "The Vampire Lovers" (1970), "Lust for a Vampire" (1971), and "A Filha de Dracula" (1972).
From the Paper "By the 1970?s, monsters in horror films changed a great deal, especially in the case of female monsters. The stereotypical masculine lesbian expected by audiences was replaced by the heterosexual male fantasy of the hyper-feminine woman (Cook 45). In female vampire films, young, nubile women strut about, often without their clothes, purely for the benefit of the heterosexual male audience. They are portrayed as carefree and unrepentant; the curse that burdens the male vampire is conspicuously absent from these films. "Hedonism above compulsion" (Silver 112) is accentuated as the primary source of motivation for their deviant behavior. The female vampire's victims, similar to those of the male vampire, are young and na?ve, yet there is a romantic aspect that is not present in male vampire films. The female vampire derives as much pleasure from the seduction of her victim as she does from drawing blood."
Tags: death, dracula, lesbian, monsters, female, fantasy
