Abstract This paper examines how Patricia Hightsmith's characters, as interpreted by Alfred Hitchcock on the screen, are interpreted from a moral point of view. The author analyzes how Hitchcock incorporated Highsmith's literary technique to develop these characterizations in the film.
From the Paper "Riding on a train is, in life as well as in film, a curious situation. It draws together strangers of apparently different backgrounds. It is a situation of forward motion, a fact conveyed by the film's use of train sounds, from the beginning shriek of a train whistle (paralleling the shriek of a murdered victim) and also through such sounds as the churning engine. The sight of the wheels pulsating forward on the tracks also suggests such propelled, forward motion. Yet a train is not only a representation of forward motion, for tracks cross, the train must stop at certain points, and in a similar way individual's lives cross and intersect."
Tags: Hitchcock, Highsmith, amorality, literary, artifice, homoeroticism, film, tom, ripley
Abstract This paper looks at the film "The Spirit of the Beehive" by analyzing its use of Frankenstein as an opening to the film and subsequent scenes and how this effects the viewers and the characters in the main film. It also looks at this specific tool of "a film within a film".
From the Paper Victor Erice's film The Spirit of the Beehive, presents the audience with images of the film Frankenstein. The introduction of Frankenstein serves two purposes in the film. First, the film Frankenstein acts as a Greek chorus in the movie. The film within a film directs attention and comments on action. Secondly, the film Frankenstein introduces a monster that is a symbolic representation of Franco.
Abstract This paper examines two versions of the film "Limitation of Life", by John Stahl and Douglas Sirk. The paper presents the way in which each director creates a different form of resistant black spectator and discusses the issues of gender and race and aspects of resistance.
From the Paper ?In both of their versions of Limitation of Life, John Stahl and Douglas Sirk create a world in which we as the audience are asked to examine the nature of agency and passivity as we ask ourselves what it is like to be looked at. Each film poses questions about the nature of the viewer's gaze, about what it is like to be looked at and what it feels like to be continuously aware of the judgment of others. The characters in these two movies react differently to such judgments about their beauty and their overall worth, in each case resisting at least to some degree the judgment and therefore power of others. What makes the work of these two directors especially compelling in that in each case they engage themselves and the audience with the issues of gender and race and how both are involved with aspects of resistance. This paper examines the way in which each director creates a different form of resistant black spectator, especially in the person of Sarah Jane.?
Abstract The paper defines today's society as "a society of passing," a transitional society with much confusion and mixed beliefs regarding old traditions versus the broken cultural conventions and shattered stereotypes that exist, especially in the areas of sex and gender. The paper sees the characters of the movie "Chasing Amy" as representative of the different viewpoints of today's young generation, and through an examination of the movie tries to generalize about interpersonal communication in today's society.
From the Paper "Society, along with its resultant culture, has undergone an especially massive upheaval and reconstruction during the last half of the twentieth century. During the 1960s and 1970s, conventional societal molds regarding race and gender were broken and subsequently recast as both the Civil Rights and Women's Rights Movements swept across the globe. In the latter decades of the century, the Gay Rights Movement further reshaped traditional sexual roles and identities, culminating in society as it is known today, a society that has been described as an environment of 'passing.'"
Abstract Through an analysis of the movies "The Green Berets" and "Apocalypse Now" and by comparing the two, this essay shows the vast changes in American attitudes and perspectives concerning the Vietnam War that occurred between the two movies' productions. The essay compares the two films' intent, the American public's reaction following the movies' releases and the films' portrayal of the Vietnam War. By comparing and contrasting these two films, the essay examines the disillusionment of the general American public in both its government and its military and traces the emergence of a new generation's values and beliefs.
From the Paper "'Silver wings upon their chest, these are men, America's best...men who mean just what they say, the brave men of the Green Beret' (Ballad of the Green Berets). In 1968, the hearts and minds of American moviegoers were stirred to a level of extreme patriotism by these popular song lyrics, used in both the opening and closing credits of the John Wayne film "The Green Berets". These lyrics, in which the main soldier "died for those oppressed" were the perfect compliment to a film designed to arouse national patriotism and support for a currently raging Southeast Asian conflict depicted within the story, a conflict known as the Vietnam War (Ballad of the Green Berets). The lyrics of this popular song, along with the contents of this popular film, were meant to depict the life of the American soldier who gives all in the name of country and the fight against oppression and the spread of communism. The intent of this patriotic film ultimately hit its mark, a fact exemplified by the scores of young U.S. males who flocked to enlist in the American armed forces following its release."
Tags: Francis, Ford, Coppola, patriotic, military, public, consensus, World, War, II, American, Special, Forces, realism, idealism, veterans, memorial
Abstract This is an in-depth study about how performance and reality are blurred, using Alfred Hitchcock's movie "Psycho," as a case study. The author looks at the techniques the director used with his actors, how the movie was shot, and even at the way it was marketed to the general public. The author also looks at how acting allows both the actors and the public to cross gender boundaries, that would normally be taboo. Several studies done by women on gender, and performance in film are also discussed, in order to show how some of the gimmicks used in films such as "Psycho," challenge the actors and their use of different techniques to present the characters.
From the Paper "One of the most powerful aspects of acting as an impersonation is that it indicates the fluidity of gender boundaries by its very nature. A man can pretend to be a woman within the context of a play or vice versa. This gender impersonation was regularly undertaken and accepted as a theatrical convention in both the ancient Greek and Elizabethan theatre, two distinct parts of our own present theatrical condition. Everyone watching a performance of a "Midsummer Night's Dream" in the 16th century knew that the person playing Hermia was really a young boy in costume. Yet they accepted this fact because it was part of the conventions of the theatre. But by accepting this, one is complicit in the notion that gender is not simply a natural state of bodily being like sex. Rather clothing, length of hair, and other alterable factors that can be simulated in performance mark a character's gender. In film, this ability to transform one's gender can be limited to a lesser degree by the closeness of the camera."
This paper is an historical study of the Mohicans based on the film "The Last of the Mohicans" and a book called "Betrayals: Fort William Henry and the Massacre".
Abstract This paper details the story of "The Massacre" that was held during a battle between the Britain and France's Indian allies at Fort William. The book "Betrayals: Fort William Henry and the Massacre" by Ian Steele, took a close look at the old stereotypes, balancing out and combining contradictory accounts to forge one coherent and accurate tale. The film "The Last of the Mohicans", directed by Michael Mann, paid intricate attention to such historical details as style, language, and muzzle-loader mechanics. The paper details the event in respect to these two works and analyzes this terrible tragedy.
From the Paper "In 1757, the British outpost of Fort William surrendered to the French forces that had besieged it. Terms of surrender were granted that promised safe passage to the warriors and civilians living within the fort, and the British moved out. On the trek back to noncombatant territory, the surviving garrison was attacked by France's Indian allies. The "massacre" that followed was to go down in infamy, as wildly speculative and differing reports made their way back to the press. The episode was seen as an ultimate symbol for the perfidy of savage Indians and their treasonous European counterparts, and was perpetuated through endless literary retellings. Well over 300 years later, the story of this massacre is still being told. In 1990, a historical book Betrayals: Fort William Henry and the ?Massacre,? by Ian Steele, took a close look at the old stereotypes, balancing out and combining contradictory accounts to forge one coherent and accurate tale. Shortly thereafter, the legend was told once again, this time in full Technicolor. . The Last of the Mohicans, directed by Michael Mann, paid intricate attention to such historical details as style, language, and muzzle-loader mechanics. However, the film also took distinct liberties with the actual situations and reasons surrounding the Fort Williams massacre."
Abstract This research paper discusses method acting and how this style has given rise to Robert DeNiro's stardom. The author looks at how DeNiro became famous for immersing himself in the characters he plays. According to this style of acting he follows, DeNiro feels like his characters and rather than exposing his private life, becomes like the character he is playing, often through changing his physical characteristics to achieve this goal.
From the Paper "Method Acting can be defined as ?an acting technique that involves intense analysis and identification with the character.? American Method Acting originated in Russia with Konstantin Stanislavski, who opened the Moscow Art Theatre in 1898; this theatre is primarily associated with the productions of the plays of Anton Chekhov and the beginning of Russian dramatic realism. By observing himself as an actor, as well as the other actors with whom he worked, and more especially by studying the great dramatic artists in Russia and abroad, Stanislavski developed an approach to the teaching of acting that became known as the ?Stanislavski system."
Abstract This essay presents the theories of Marx in "The Communist Manifesto" and looks at their application in the movie "The Matrix." The essay analyzes the setting of the movie, the names of the characters and the plot of the movie and finds parallels to Marxist theory.
From the Paper "Morpheus ? like Neo ? is clearly meant to be a symbolic name for this character. In Greek mythology, Morpheus is the god of dreams, the son of Hypnos, god of sleep. Here he stands for the sleeping masses of humanity who may be technically awake but have lost their essential consciousness, their souls, their ability to act as agents in their own destiny because they have become blind to the true nature of the relationship between themselves, their reality, and the ways in which they are being exploited for the benefit and profit of others. Morpheus also formed the dreams that came to those asleep and represented human beings in dreams. The name Morpheus is derived from the Greek word for "shape" or "form" signifying how Morpheus could take on the shape of every human. He stands for all those humans in the film who are ensnared in terrible reveries and who must be awakened to be redeemed and made whole."
Abstract This paper discusses the mysterious conditions surrounding Marilyn Monroe's death. The question of suicide vs. murder is discussed and different versions of the story are presented. The writer also describes the life she lead and the people she socialized with, while trying to connect these with the circumstances of her death.
From the Paper "At 4:25 a.m. on August 5, 1962, Sergeant Jack Clemmons of the West Los Angeles Police Department answered a phone call. According to some reports, the caller identified himself as Dr.Ralph Greenson. Greenson was Marilyn Monroe's personal psychiatrist and analyst. According to other reports, the caller identified himself as Dr. Hyman Engleberg, Monroe's internist. According to Donald H. Wolfe, in his book, The Last Days of Marilyn Monroe, the caller was Engelberg (4). Agitated to the point that Clemmons was unable at first to understand the message that the physician was trying to convey, when the caller finally calmed himself enough to convey his message, it was one that was immediately suspicious and remains today the subject of outrage. ?I am calling from the house of Marilyn Monroe,? he said. ?She is dead. She just committed suicide.? "
Abstract This paper presents an overview of the character, William Forrester, in the movie "Finding Forrester". The writer of this paper explores the personality of Forrester and examines his maturity level when compared to others his age.
From the Paper "As we mature and grow older there are many things about us that changes with time. We become more tolerant at times and then again we may become less so. One thing that usually happens is we tire of games and pranks and we begin to focus on life and making money. Children have the gift of innocence because they still find awe in the world and as we grow old we not only lose that sense of wonder but we begin to withdraw. In the movie Finding Forrester we find a classic illustration of what can happen when someone grows older without the proper maturity level to handle the process. William Forrester is crotchety and ornery while at the same time he shows himself to be incredibly immature. His character is an excellent study in the aging process for the gifted that have nowhere else to go."
Abstract This paper examines the importance of the following two themes in understanding this powerful and admonitory work about modern society. What happens when people are pushed to their psychological and physical limits and the difficulty but necessity of trying to distinguish appearance from reality.
From the Paper "As we begin the book, observing British society from the outside initially, we are led by Burgess to believe that the British government in this future age has discovered a plausible and effective strategy for reforming those who have committed crimes. Alexander De Large, the protagonist, has been set up by his Droogs ? roughly his fellow gang members (Dim, Pete and Georgie) and has been convicted of murder and sent to jail. At the Staja (the State Penitentiary), he has been transformed during the two years of his stay from "Alex" to ?66553221?."
Abstract This paper discusses the striking similarities between John Steinbeck's novel "Of Mice and Men" and Stephen King's short story and the film "The Green Mile". The author explores the characteristics of Lennie Small and John Coffey, how they are both inherently good people, and how those who are closest to them, eventually must take their lives mercifully.
From the Paper "In the book, "Of Mice and Men", Lennie Small, a developmentally disabled man unaware of his own strength, accidentally commits a murder and is killed by his best friend, George. In the movie The Green Mile, John Coffey, a simple man who possesses miraculous healing powers, is put to death for a crime he did not commit. The Green Mile and "Of Mice and Men" have much in common: both portray physically large characters that are nonetheless childlike and vulnerable, and both take the point of view that death, especially at the hands of a friend, is sometimes a merciful deliverance from the terrible pain inflicted by life. There is one important difference between these movies, however. Lennie Small is a life-taker; John Coffey is a life-giver."
Abstract This paper discusses documentaries as a form of expression which were introduced in the New Deal era and the Depression era. These were times when the nation needed hope and needed to understand the tragedy and stress they were going through. Documentaries were also a mode of transcribing history and revealing realistic the situation to gain a future understanding of the time. The documentary mode of expression was as much for the people as it was for the government. This paper studies this matter in-depth and concludes that the documentaries and history at the time were stated clearly from the governmental point of view.
From the Paper "When we view the media forms of the times we realize the strength the people had in that era. As the generation of the future we realize that while the generation of the past was termed as the "Greatest generation" it can also be called and at times is termed as the ?Lost Generation.? Today, the youth are shown as disgruntled and violent but though the nationalism prominent in the past may overshadow the turbulence, the fact remains that a thorough analysis of the documentaries will show that the past too had its share of problems. It is said that the media of every era will portray the society and culture of its times. A study of the 1930s media reports shows that the Depression era was not as 'great' for the people living in it. ''(A) generation, numbering in the millions, has gone so far in decay that it acts without thought of social responsibility,'' historians George Leighton and Richard Hellman proclaimed in a much-quoted Harper' s Monthly article in 1936. ''High-school kids are armed, out for what they can get . . . . The Lost Generation is even now rotting before our eyes.'' In 1935, Columbia University President Nicholas Butler summed up the grave ''youth problem'': ''Day by day the newspapers report one grave crime after another, one moral delinquency after another, and one dereliction of duty after another.'' "
Abstract This paper examines the process through which a typical friendship is developed and maintained, looking particularly at the ways in which interactions with other people help to mold our sense of self and how interpersonal communication is the bedrock of friendship using examples from the movies "Steel Magnolias" and "City Slickers". This paper incorporates a theoretical model developed by Long and Wood as well as drawing upon the writer's personal experience and popular notions of friendship.
From the Paper "Many of us would like to think that someone deep down inside of us is our own true self, a person who never compromises or is compromised, an independent person who makes up her own mind, who is never subject to peer pressure or societal influences, a person who stays the same through thick and thin, who endures over time and through all challenges.
But while such an image of a pure, unchanging and incorruptible self is appealing (and has its roots in the Romanticism of the 19th century, which taught that we should believe in the innate goodness of all people, a reverence for individuality, and in the primacy of the connection between the pure human heart and the state of nature), it is in fact not an accurate one. In fact, while our sense of self is dependent on some internal factors, such as our genetic heritage and our physical state of well-being, most of our sense of who we are is derived from the people with whom we interact, and especially our family and friends. We are not in fact always the same person: We differ from one situation to the next and certainly from one year (or decade) to the next."
