Abstract This paper explains that his humor and his trenchant insight into the very machinations that make us human enables Allen to portray vivid characters that, in merely a few brief scenes, spring to life. The author points out that, because of this deft and subtle manipulation of his characters, Woody Allen is able to get down all of the elements of family life so powerfully and correctly with an almost shocking reality. The paper relates that, in "Mighty Aphrodite", Allen's family is a constructed one rather than a "real" one, where the fabrication of a family through adoption plays with the idea of the movie itself as a fabrication, emphasized by including a Greek chorus.
From the Paper "Woody Allen's movie "Radio Days", made roughly a year before "Hannah and Her Sisters", is a much lighter film that is essentially free of the gravitas and existential concerns that plague the characters of many of his other movies. As such it is a sort of light comedy, a nostalgia pieces that harkens back to the early days of radio and attempts to convey some of the excitement and amusement that came with radio as a popular medium. Indeed, it also speaks to an interesting, intriguing, and short-lived era, in which people listened to radio as a group, but television had yet to appear as the dominant form. The characters in "Radio Days" are all moved by an essential passion or concern, in this case, the radio.
This paper is a personal essay comparing two versions of the film, "Cape Fear", a first film in 1962 directed by J. Lee Thompson in the style of Hitchcock, and the second in 1991, directed by Martin Scorsese.
895 words (approx. 3.6 pages), 0 sources, 2004, $ 31.95
Abstract This paper relates that the first "Cape Fear"s? technical uses of camera angles caused many film critics to call it "Hitchcockian", but this broad designation neglects another: Hitchcock's use of suspense and his simultaneous embrace of the grotesque. The author believes that American director, Martin Scorsese, shares Hitchcock's use of humor; but technically, Scorsese is less apt than Hitchcock to use sharp camera angles. Scorsese's camera is more apt to linger, as well as to jump-cut. The author contends that the second "Cape Fear" is more horrific than the first film because the modern viewer of the 1990s and beyond is so much more apt to identify with the difficulties and complexities exhibited by the characters, as opposed to the more 'perfect' setting that is intruded upon in the first film.
From the Paper "This is not to deny the impact of J. Lee Thompson's unique style. Scorsese and J. Lee Thompson differ from each other in that the earlier filmmaker was always apt to cast a mythological tone to his use of narrative. In contrast to both Hitchcock's suspenseful humor and Scorsese's suspenseful characterization and brutal view of common humanity, Thompson prefers to view the world as a morality play. Thus, the starkness of good and evil in the film is not due to the filmmaker's naivet?, but the way he reads "Beauty and the Beast"s? influence on the modern day justice system. "
A guideline to disorders and behavior manifestations and their application to the characters, Hannibal Lector and Buffalo Bill, in the movie, "Silence of the Lambs" (1991).
Abstract Defining mental disorders and subsequent behaviors through the DSM-IV-TR (2000) and associated research is a daunting task indeed. Applying these disorders to the characters, Hannibal Lector and Buffalo Bill, in the movie "The Silence of the Lambs" (1991), requires critical and analytical thinking about mental disorders, etiology of the disorders, and subsequent behaviors as a result. This paper presents a discussion of the disorders using a variety of information in the literature and then presents the key behaviors in a comprehensive table for ease of possible diagnosis. Finally, these defined behaviors are applied to Hannibal Lector and Buffalo Bill in an attempt to give a picture of how these two characters became who they are.
Table of Contents
List of Tables
Introduction
Component I: Disorders and Behavioral Manifestations Guide.
Schizophrenia
Conduct Disorder
Antisocial Personality Disorder
Paranoid Personality Disorder
Borderline Personality Disorder
Histrionic Personality Disorder
Narcissistic Personality Disorder
Exhibitionism Paraphilia
Fetishism Paraphilia
Frotteurism Paraphilia
Voyeurism Paraphilia
Pedophilia
Hebephilia
Component II: Assign Disorders to the Characters Hannibal Lector and Buffalo Bill
Component III: Identify probable Etiology of the Disorder
References
From the Paper "Component I of this paper is a general guideline of 13 mental disorders, each followed by a comprehensive checklist of behaviors that meet the criterion for each mental disorder. Component II of this paper is where the guideline is utilized in assigning disorders to the characters Hannibal Lector and Buffalo Bill, in the movie The Silence of the Lambs, (1991). Finally, component III mergers the general guideline with the diagnoses of Hannibal Lector and Buffalo Bill and presents a picture as to the etiology of the disorders and the resulting behaviors observed. This will then give a picture as to precursor and probable subsequent behaviors."
This paper discusses that Flannery O? Connor's short story, "A Good Man is Hard to Find", and the movie, "Fight Club", directed by David Fincher, contain similar elements concerning self-realization through the premise of violence and circumstance.
Abstract This paper explains that there are significant parallels between the characters in the film and the story, including how they conduct themselves and the transitions they go through that lead to the eventual discovery of their own suppressed character aspects. The author points out that the major differences is the rationale for actions committed by the counter-characters and the character personalities that prevail. The author relates that these two works are prime examples of what people will go through to conceal what they have inhibitions about being.
From the Paper "The most significant characters in these two works are the Grandmother and The Misfit of "A Good Man is Hard to Find" and the Narrator (Jack) and Tyler Durden of "Fight Club". The Grandmother and Jack are alike in the ways that they attempt to maintain their respectable lives. The Grandmother tries to be sweet and good-natured as she feels a lady ought to be. She lightly attempts to convince her son Bailey to go to Tennessee instead of Florida by coming up with a list of reasons to change his mind, instead of exercising her authority over him as his mother. She makes no attempt to discipline her grandchildren and ignores their rude disrespectful remarks toward her. The Grandmother wishes to take her cat along, but instead of expressing her wishes to her son, she furtively conceals the cat so as not to cause a disagreement."
Abstract This paper compares the heroes, heroines, and villains of "1984" and "Equilibrium". It explains that "Equilibrium" is a modern action movie with strong allusions to George Orwell's "1984". Both the movie and the book have similar main characters, ranging from the hero and his girl to the villain.
From the Paper "Equilibrium features a futuristic society in which emotion is suppressed by the regular taking of drugs by the citizenry. The main character is a Tetragrammaton cleric named John Preston who enforces the elimination of emotion. He is trained to eliminate anything that can cause extreme emotion and to do it so thoroughly that one would never know it existed. This is commonly artwork and literature of great significance. At one point Preston realizes what exactly he is doing and how it will affect the future. He then tries to secretly conceal these emotions while still continuing to work. As this fails to work, he seeks out a secret brotherhood of resistance fighters to challenge the government. 1984's Winston Smith is remarkably similar in many respects. He also lives in a world where emotion is suppressed. ?To the degree that the totalitarian state approaches its "ideal" condition, it destroys the margin for unforeseen behavior? (Howe 197). The government bottles up the people's unpredictable instincts and emotions to fuel other emotions such as fear, hatred, and lunatic credulity (Orwell 111). Winston is a member of the Party and thus works for the government. Just like Preston, he eliminates remnants of the past. ?The largest section of the Records Department, far larger than the one in which Winston worked, consisted of persons whose duty it [is] to track down and collect all copies of books, newspapers, and other documents which had been superseded and were due for destruction (37)."
Abstract This paper argues that German expressionist cinema is the product of socio-cultural conditions in World War I and interwar Germany. It uses the history of Germany during this period in order to explain expressionist style, obsession with themes involving science, in particular psychoanalysis and overt depictions of anti-authoritarian and anti-bourgeois attitudes. Two films are used heavily to proof the influence of socio-cultural conditions, "The Cabinet of Dr. Caligari" (Robert Weine, 1919) and "Nosferatu" (F.W. Murnau, 1922).
From the Paper "Although contemporary critics viewed the distorted scenery of Caligari as a physical representation of the disturbed mind of the film's protagonist, Francis (Friedrich Feher), the writers intended it to represent the collective conscious of a Germany torn by war and instability (Kracauer 70). Supporting the latter claim is the fact that the framing story does not restore a "normal" perception of the world, but continues to be punctuated by expressionist elements; the psychiatric hospital is reminiscent of expressionist architecture, with three staircases running upwards from arched doorways, and the actors maintain their expressive acting styles with overemphasized facial movements. Since the framing story acts to remove the viewer from the supernatural tale told by Francis, in order for it to be a visual representation of his mind, logically it should restore the world to one resembling ?reality,? or the way that the average spectator would view their own external world."
A look at the 1940s fiasco of the Hollywood Ten, in which ten prominent figures in the film business were blacklisted for supposed anti-American views.
Abstract This paper examines how the late 1940s proved to be an interesting time in American history. It looks at how a new threat arose against the U.S. government as American communists began spying for the Soviet Union. In particular, it explores how J. Edgar Hoover and the Federal Bureau of Investigation began to look into the mass media to find supposed Communist views, focusing on the film industry, and how, in 1947, the House Un-American Activities Committee under the leadership of a certain J. Parnell Thomas, held a hearing in which ten of Hollywood's premier film makers, actors, and producers were found to hold anti-American Communist views in their works. These Hollywood members became known as "The Hollywood Ten".
From the Paper "In order to single out supposed Communist members in Hollywood, the FBI devised certain set of criteria to determine if films contained anti-American views. Films were labeled subversive if ?Values or institutions judged to be particularly American are smeared or represented as evil in the movie, either explicitly or through casual references to current political events,? or if ?Values or institutions judged to be particularly anti-American or pro-Communist are glorified in the movie, either explicitly or through casual references to current political events (Noakes 5).? According to John Noakes, an assistant professor of sociology at Franklin and Marshall College, ?In four reports submitted between August 7 and November 17, 1947, the Los Angeles field office sent FBI headquarters reviews of seventeen movies released between 1943-1948 that it determined were subversive based on the MPAPAI criteria. "
Abstract This paper explains that, as the "auteur" of "Double Indemnity", Wilder produced and directed one of the great Hollywood examples of film noir; it stands today as the quintessential example of the genre. The author points out that, as a cinematic genre dating back to the mid 1930s, film noir is generally defined as a dark, suspenseful thriller with a plot line revolving around crime or mystery. The paper states that the term "auteur" is most often used as a reference to the director of a particular film whose impact on the end product cannot be denied, imbuing the film with his or her distinctive, recognizable style.
From the Paper "Another example of how film noir draws the audience into the story is through emotion and tension, especially those connected with Neff's fear of discovery and his personal feelings for Keyes (Edward G. Robinson), Neff's employer, who soon starts his own investigation into the death of Phyllis's husband. One scene has Keyes calling Neff into his office to confront a witness who saw Neff on the train; a second scene has Keyes arriving at Neff's apartment when Phyllis is expected at any moment. These examples are pure film noir, for they illustrate how tension and conflict play major roles in advancing the storyline towards its final and at times expected conclusion."
Abstract This paper explains that product placement in films involves the inclusion of brand name merchandise on screen as the result of a deal between marketers and the makers of movies. The author points out that, despite criticism, product placement has grown in importance, and the placement of Taco Bell in "Demolition Man" marks a new shift in the practice by incorporating product placement into the character and plot of the movie. The paper states that Taco Bell's product placement is successful because it reveals to the audience that the corporation has the courage to laugh at itself.
Table of Contents
Introduction
Overview and History
Criticisms of Product Placement
Product Placement in "Demolition Man"
Conclusion
From the Paper "The practice is so common that it is often spoofed. In the 1992 movie Wayne's World, the underground cable show depicted spoofs product placement with a cheesy scene that shows a Pizza Hut box that cuts away to a Nupril pills backdrop, as the main character, Wayne notes "I will not bow to any corporate sponsor". Josie and the Pussycats (2001) took the parody of product placement to a new level as it featured over 25 product placements in a two-minute trailer."
Abstract This paper explains that some film critics point out some glaring historical and scriptural inaccuracies in "The Passion of the Christ"; using Latin might have been an impressive and unusual screenwriting technique, but it lent only a false sense of historical accuracy to the film. The author points out that part of why "The Passion of the Christ" is passionless is because Gibson does not endeavor to explain the teachings of Jesus or invoke any real sympathy for the man. The paper concludes that the film does deliver a poignantly visceral rendition of the Passion of Christ, even if it does not amount to filmmaking genius and reveals the mind of Mel more than the mind of God.
From the Paper "The cinematography of "The Passion of Christ" is stunning, and along with the acting, offers the film some saving grace. For instance, at the end of the film, after Jesus has been crucified, Mary holds the body of her dead son with Mary Magdalene at her side in a modern amalgamation of Pieta representations in painting and sculpture. The shot is one of the film's most memorable and expertly composed, as if it were a study for a Michelangelo painting. Moreover, after the crucifixion, some brilliant camera work depicts the event as it would be viewed from heaven, in a swirling mass of color. This scene precedes a supposedly cosmic-inspired earthquake that destroys the Jewish Temple. Whether or not the earthquake actually did occur is irrelevant because Gibson was going for meaning and effect."
Abstract This paper analyzes the romantic comedy genre in the context of the movies, "Pretty Woman," "Runaway Bride", and "Notting Hill". The paper points out how the typical theme of romantic comedies has been updated, but still remains the same. In other words, the female characters in romantic comedy are still portrayed as independent women with a certain amount of power, yet still craving a relationship with a man who will be at their side when needed.
From the Paper "Ever since the invention of the cinema, the art of filmmaking has evolved tremendously. In the early days the audience of these cinemas was hungry for any type of screening of films, merely waiting for something new and innovative coming their way. Thus, film makers though limited by their tools and technology tended to repeat or imitate stories in real life so that movies started to develop certain norms or conventions. A western movie thus would have the good guy and the bad guy always at odds; eerie music marked the tone in a horror movie; the loss of a girl was common in a romantic comedy. Filmmakers started to categorize movies into broad categories like thriller, romantic comedy and horror and subsequent sub-categories. Such categorization came to be known as "genre" which in French means "sort", "type? or "kind" ("Genre" 2004)."
Abstract This paper examines the film, "The Shawshank Redemption", the story of how the decades of life pass behind prison walls. It looks at how the story depicts the way the legal system can fail regarding the issue of justice and how the correctional system itself can be guilty of fraudulent behavior. Through familiarity of the characters, the audience is allowed to witness the despair of living behind the wall and the fear of returning to the world outside. It also discusses real-life transition and reentry and programs and costs for prisoner reentry and reintegration into society.
From the Paper "The protagonist, played by Tim Robbins, is Andy Dufresne, a reserved young banker convicted of killing his wife, even though the murder weapon was never found. When Andy arrives at Shawshank Prison, he befriends Red, played by Morgan Freeman. He is the guy to see for black-market items, such as cigarettes, candy, and whatever else one might want. Freeman's character narrates throughout the movie, giving insight into each character and how life operates inside prison. Red says that the first night is the toughest, "when they put you in that cell and those bars slam home, that's when you know it's for real. A whole life blown away in the blink of an eye. Nothing left but all the time in the world to think about it" (Shawshank 1994)."
Abstract This paper examines how, in the film "Casablanca" (1942), Michael Curtiz uses mise en scene through his use of contrasting costume, set composition, and character framing in Paris, Casablanca/Rick's Cafe, and the airport to develop the idea that one must put the past aside to reach success, as Rick does in the film. It looks at how, in order to show the audience the growth of Rick, Curtiz uses three points in time with dramatically different mise en scene. The audience is transported to France to visualize the days of Rick in high spirits with his love, Ilsa, after viewing his blase attitude in Rick's Cafe in Casablanca after he has lost her, and then finally realizing what he must do, not only for his personal life, but for the world at large once Ilsa has come into his life again.
From the Paper "By making contrasts between the scenes of Paris and the scenes in Rick's Cafe; in Casablanca, the director presents the audience with the contrasting sides of Rick. Dressed in a suit with a solid white jacket matched with solid black pants, the audience is now aware that after losing Ilsa, Rick is fighting his own inner-battles. Ilsa, dressed in a solid white dress, contrasts the dark blue pinstripe dress from France to show that she has also changed and is attempting to purify herself. However, her outfit is completed with a large brooch which is gaudy and showy, to put forth a front of wealth and contentment in her appearance. Yet the large size of the brooch signifies that she is concealing how she truly feels, be it in her feelings towards Rick or her fear of the German soldiers."
This paper discusses the similarities in the lives of journalist William Randolph Hearst and filmmaker Orson Welles, known for his masterpiece, "Citizen Kane".
Abstract This paper explains that Welles's controversial film, "Citizen Kane", cast a negative light on the way Hearst operated his newspaper franchises, creating a struggle in which Hearst tried and succeeded in blocking the film from the public for many years. The author points out that William Randolph Hearst is commonly known as the originator of "yellow journalism", a type of news that distorts facts or makes them up to catch people's attention. The paper relates that Orson Welles also broke into prominence and became very well-known, just like Hearst. He was seen by many people to be a 'boy genius', and his dramatic skills as a public persona who could publicize himself were a lot like Hearst?s.
From the Paper "Hearst acquired his fortunes by ruthlessly competing with other newspapers until they folded under his pressure. No tactic was too low for him: if a newspaper had a popular comic-strip, he would steal the artist. He even stole being recognized by the term ?yellow journalism,? which was originally used to describe one of Hearst's competitors,
Joseph Pulitzer. "Though the term was originally coined to describe the journalistic practices of Joseph Pulitzer, William Randolph Hearst proved himself worthy of the title". Hearst and Pulitzer competed mercilessly: "in 1895, William Hearst purchased the New York Morning Journal and entered into a head-to-head circulation war with this former mentor, Joseph Pulitzer, owner of the New York World"."
Tags: yellow, controversial, newspapers, genius, persona
A look at Spartacus, the gladiator of ancient Rome who led the slave rebellion against the Roman authority, and the film, "Spartacus", directed by Stanley Kubrick.
Abstract This paper discusses the film, "Spartacus", its historical background, the significance of the movie being made and shown in 1960s America, the real-life events occurring in the U.S. in the 1960s, the historical significance of the slave revolt of Spartacus, how gladiators and slavery in Rome relate to the movie, and background information about Rome at the time of Spartacus, including the slave revolt and the rise of Roman generals to positions of power.
From the Paper "Spartacus was a slave, who is famous for having led a revolt "the slave revolt" against the Roman Republic, from 73 BD to 71 BC. Spartacus was born in Thrace, a region northeast of Greece, and was a member of a group of nomadic herders and later served in the Roman Army (Sinnigen, 2003). Spartacus deserted the army, but was captured and enslaved, following which, the Romans trained him as a gladiator to fight other gladiators and wild beasts in the arena for entertainment (Sinnigen, 2003)."
