A discussion on transposing the environment of Shakespeare's "Romeo and Juliet" to the atmosphere and setting to the 1930s depression-era of "Bonnie and Clyde."
Abstract The paper compares the era of "Romeo and Juliet" with the times of "Bonnie and Clyde". The paper, by comparing the two works, speaks of the bloody environment in the times of Romeo and Juliet and the desperate economic circumstances during the 'Bonnie and Clyde' era in American history. The paper continues with a discussion on the similarities between these two time periods, noting the similar themes of "romantic outlaws", "passionate lovers", an emphasis on youth, and the anger at society. The paper concludes that the tales of both lovers show how, in a society that seems to have no future, desperate young people seeking validation and autonomy, resort to desperate measures.
From the Paper "Although Shakespearean love may be beautiful, especially love forged out of passion and the laws of a society that denies the freedoms of the young, it is not the society of Renaissance Italy that is beautiful and romantic. The fact that love can exist even in an atmosphere that a modern audience can identify as hopeless, crime-ridden, and decadent like Depression-era America will underline the most important aspect of Shakespeare's play, elements that might remain hidden in a production set in the Renaissance. Adult society and the laws of the land are corrupt in "Romeo and Juliet," likewise America ignores the suffering and despair of Americans living in the dustbowl during the Depression. Bonnie and Clyde rob banks, but during that era before banking reform many Americans lost their money in the stock market, or in bank runs, thus showing a lack of regard for the laws was something that was endemic to society and government, not just the outlaws."
Abstract The paper discusses that, although the films "Bonnie and Clyde", and "Scarface" are set in the same basic time period, the 1930s, the films were made more than thirty years apart and reflect different sensibilities in keeping with the time of production. The paper notes that at the same time they also reflect certain similar ideas about the nature of crime and violence, its origin, and the societal elements that contribute to both. The paper further notes that although both films are violent, "Bonnie and Clyde" is more overtly so, and also more able to show the results of violence in a more realistic way, unlike the characters in "Scarface" who are more likely to be shot and expire with hardly a mark on them.
From the Paper "Tony Camonte in the course of the film is squeezed more and more until he ends up in a small apartment, fighting off the police with only his sister on his side. The tone for the 1932 film is set by the huge sign across the way from Tony's apartment, a sign that glows with the message "The World Is Yours," an advertisement for a travel company. The sign seems to be a promise to Tony, but in the end, it becomes a taunt as he is killed in sight of the sign, suggesting something he cannot have, or had and lost. Tony Camonte is finished when his sister dies, and he never fires another shot."
An examination of the director's use of emotional range in the gangster films, "The Godfather," directed by Frances Ford Coppola, "Goodfellas," directed by Martin Scorsese and "Bonnie and Clyde," directed by Arthur Penn.
Abstract This paper examines three gangster films in detail from the perspective of the director's use of evoking an emotional range in the viewer that causes the characters to be as powerful dead as they are alive. It specifically examines "The Godfather," directed by Frances Ford Coppola, "Goodfellas," directed by Martin Scorsese and "Bonnie and Clyde," directed by Arthur Penn.
From the Paper "In each of these films, the directors have been able to kill off main characters, and create character personas that were in death equally as large as they were in life in the minds of the audiences. These are very successful films because of all the elements of filmmaking that were successfully pulled together; casting, directing, editing, scripting and wardrobe. Each of the three films are formulas for successful gangster films, which is a genre that is difficult to fail with because it is one with which Americans are endlessly fascinated with. However, add to that fascination the elements of success in filmmaking formula, and it is a box office smash."
An examination of 'lesbian' literary works in history using a passage from Bonnie Zimmerman's essay, "Lesbians Like This and That: Some Notes on Lesbian Criticism for the Nineties" as a basis for analysis.
860 words (approx. 3.4 pages), 3 sources, 2000, $ 30.95
From the Paper "The seventeenth century poem "To My Excellent Lucasia, On Our Friendship" by Katherine Philips was considered by her contemporaries as ?a pure expression of idealized, platonic love" (Faderman 18).. A nineteenth century poem by Emily Dickinson was denied as lesbian by many twentieth century critics(43). The twentieth century novel Well of Loneliness by Radclyffe Hall typified the medical inversion of lesbianism."
From the Paper " The gangster genre in film encompasses a number of different forms, and the range can be seen in a comparison of Arthur Penn's Bonnie and Clyde and Jean-Luc Godard's Breathless, two films which make use of conventions of the gangster film while extending those conventions into very different territory. The gangster genre in American film is primarily an urban phenomenon, while Bonnie and Clyde has a rural setting in keeping with a specific criminal history from the 1930s. Breathless draws its inspiration from American crime films of the 1940s and uses the conventions found there to express a different view of the urban criminal landscape and of the way a film should be structured. In some respects, the Penn film is more conventional in structure, but it as well reshapes the genre in service of a more mythic expression of American freedom and rebellion."
Abstract This paper discusses the film, "The Craft", and explores the argument that the quest for knowledge beyond what is natural, inevitably leads to disaster. Arguments to disprove this theory are introduced, showing that modern thought may be more likely to condone our pushing the boundaries of knowledge than older, more conservative schools of belief. The paper examines the religious, sexual, natural, psychological and political aspects of searching for forbidden knowledge or power, as it relates to the film's Gothic tradition.
From the Paper "Certainly, the first part of Bonac's statement is an accurate depiction of the four girls? decision to attempt to invoke Manon. Sarah, the newcomer, is ignorant of her inherent powers; the others understand their potential for witchcraft but lack the necessary power (the "fourth" corner). Their wishes are innocent and harmless enough: the bullied Rachelle wants Laura to leave her alone, scarred Bonnie wishes for beauty, and Sarah hopes for Chris's love. Nancy wishes initially for "a smaller butt", and Sarah is told by Bonnie that Nancy really wishes she were not "white trash" (this latter wish being understandable when we see her home situation). However, finally she wishes for Manon to possess her, to "fill" her."
Abstract This paper uses three movies to illustrate the evolution of Hollywood from the conservative, controlled environment during the 1930s to the lack of barriers that can be seen in cinema today. The writer looks at the 1932 Howard Hawks film "Scarface: The Shame of the Nation", the 1967 Arthur Penn film "Bonnie and Clyde" and the 1994 Oliver Stone film "Natural Born Killers".
From the Paper "The 1932 Howard Hawks film Scarface: The Shame of the Nation was produced during the height of this social crisis. It was typical of a popular genre among moviegoers at the time ? the gangster movie. Completed in mid-1930, its main character, Tony Camonte, was patterned after the infamous Al Capone, who was nearing the end of his reign as the kingpin of the mob (he would be put in prison and serve an 11-year sentence in 1931). Other characters in the film were actually caricatures of real-life mobsters also. The plot of the film relates the tale of a mobster who violently seizes control of a bootlegging operation from his boss, claiming his boss? girlfriend in the process, and killing anyone who gets in his way, quickly and violently. In the original screenplay, Camonte came out on top, only to be mowed down in a showdown with police."
Abstract This paper reviews the book "In the Company of Women: Voices from the Women's Movement," and its discussion of women's feelings, beliefs, and convictions toward feminism. Included in this paper is a discussion of Gloria Steinam's foreword to the book, the women profiled in the book, and the author's purpose for writing the book.
From the Paper "This section of the book looks at some of the most powerful women in the women's movement, and shows what they have done with that power. It also shows how these women have banded together and tried to make things different in the professional world, where women were not any more welcome than they were in the blue-collar world. Ellen Dresselhuis, a lawyer, sums up this section perfectly when she says; "It makes a tremendous difference now to have women on the bench. It means that when we go into the courtroom, when my partners and I go into the courtroom, we're not in a foreign world" (Watkins and Rothchild 1996, 273)."
Tags: feminism, women's, movement, feminist, ideal, movement, of, individual, women
Abstract This paper analyzes numerous films of the 1960s which focused on specific social issues, such as the sexual revolution, women's rights and feminism, the military/industrial complex, domestic violence and the breakdown of societal mores and ethics. The five important films referred to are all considered as quintessential examples of 1960s cinema--"The Apartment", "Dr. Strangelove", "Who's Afraid of Virginia Woolf?", "Bonnie and Clyde" and "Cool Hand Luke".
From the Paper "In the 1960 comedy/drama "The Apartment", starring Jack Lemmon, Shirley MacLaine, Fred MacMurray, Ray Walston and Edie Adams, director Billy Wilder focuses on the main character, C.C. Baxter (Lemmon), an ambitious and somewhat gullible young insurance clerk who tries to advance his social standing by lending his apartment key to several high-ranking executives who are prone to cheating on their wives. But when Baxter meets and falls madly in love with Fran Kubelik (MacLaine), the apartment building's elevator operator, it suddenly dawns on him that Fran is the same woman that his boss (MacMurray), a so-called happily married man, has been taking to his apartment for numerous sexual romps."
Abstract This paper introduces, discusses, and analyzes the film directed by Ronald F. Maxwell, entitled "Gods and Generals". Specifically, it describes the film and the author of the paper's personal reaction to it. "Gods and Generals" is the second film in a planned trilogy of films about key battles of the Civil War. Funded by Atlanta millionaire Ted Turner, the film is a "prequel" to the film "Gettysburg".
From the Paper "The major purpose of this film was to predate the story of Gettysburg that was created in the film "Gettysburg." "Gods and Generals" tells the story of the battles leading up to the pivotal battle of Gettysburg ? particularly the story of General T.J. "Stonewall" Jackson, and the battle of Chancellorsville, near Fredericksburg, Virginia. Many historians believe the outcome of the war, and especially the battle of Gettysburg might have turned out differently if Jackson had not died of his wounds after the battle at Chancellorsville, and this theme is an undercurrent in this film. Ted Turner funded the film, which did not do well at the box office, and intends to fund a third film in the series even though the reaction to "Gods and Generals" was generally less than enthusiastic."
Abstract This paper examines how computers are now part of the foreign language classroom, how they assist instructors in the development of lessons and classroom materials and provide students with a supplementary form of instruction. It critically evaluates the efficacy of CALL (Computer Assisted Language Acquisition) through an examination of four research articles with a focus on the implications of the studies on SLA (Second Language Acquisition). The articles are "Evaluating the Integration of Technology and Second Language Learning" by Bonnie Adair-Hauck et al. , "Comparing Face-to-Face and Electronic Discussion in the Second Language Classroom" by Mark Warschauer and "Computer Generated Error Feedback and Writing Process: A Link" by Judy F. Chan.
Outline
"Evaluating the Integration of Technology and Second Language Learning"
"Comparing Face-to-Face and Electronic Discussion in the Second Language Classroom"
"Computer Generated Error Feedback and Writing Process: A Link"
Conclusion
From the Paper "The primary purpose behind the Adair-Hauck et al' (1999) study was to test the hypothesis that students engaged in 'TELL components, in lieu of one class period a week would perform French tasks in all the skills as well as students meeting four times a week (p. 279).' Also under investigation was the potential effects TELL could have on foreign language motivation, how TELL influenced students perceptions of meeting their learning goals, how TELL modified the roles of teacher and learner, and, more generally, if TELL is an effective curricular design for achieving L2 development. The rationale behind the study came from the authors' assertion that few empirical CALL studies address the question, 'What kind of software, integrated how and into what kind of syllabus, at what level of language learning, for what kind of language learners, is likely to be effective for what specific purposes? "
Abstract As women sportscasters are becoming more common place in our era, are they also becoming more respected? This paper explores this question by focusing on actual events and interviews in the sports arena that deal with female sportscasters.
From the Paper "Traditionally, the sports reporting profession has been dominated by males. Until the mid 1960's, only men had jobs as commentators, reporters and beat writers. A pioneer emerged in Jane Chastain, who is thought to be the first woman to do play-by-play commentary (Schwartz, 1999). By the 1970's, having a female personality involved with the sports broadcast was a growing trend. However, networks typically selected attractive women with no background in sports or journalism. This was the case with CBS, who hired Phyllis George, a former Miss America, to read a scripted piece during the pre game show. She was replaced by Jayne Kennedy, another attractive woman with no related experience in sports broadcasting (Schwartz, 1999). It took until the late 1970's for women to really make a serious impact into sports journalism. "
Examines themes of youth and death in "The Great Gatsby" by F. Scott Fitzgerald, "A Streetcar Named Desire" by Tennessee Williams, and the film "Bonnie and Clyde" by Arthur Penn.
675 words (approx. 2.7 pages), 0 sources, 2005, $ 26.95
Abstract In this paper, these three tales of youthful beauty and vigor represent the energy of youth in relation to immortality. Youth defers the idea of death, as young people tend to think themselves immortal in their beauty and high energy. The paper shows that these aspects of character are all represented through Fitzgerald, Williams and Penn in presenting stories of the tragedy that ensues through youthful bravado. In this manner, the premise of youthful death is revealed within this study, reflecting the hopes and tragedies of youth in these classic stories.
From the Paper "This study will examine the nature of death and youth within the context of literature and a cinematic perspective. By analyzing the works of Fitzgerald, Williams, and Penn, one can understand how death and beauty are part of dramatic scope of death at an early age. By analyzing the social and character content of these major works of art, one can realize the worship of youth represented through the various tragedies of life that bring about a youthful death. The youthful vigor of young men and women in the novel The Great Gatsby are reflected in how the main characters approach life from an elitist point of view."
Abstract The writer relates that in developing her own nursing theory, she has been particularly influenced by the work of theorists such as Jean Watson and Bonnie W. Duldt. The writer defines nursing, examines her purpose of nursing, her assumptions about nursing and the principles of nursing. The writer concludes that she believes in investigating the causes for physical illness on more than merely the physical level, but on the psychological, emotional and spiritual level too.
From the Paper "Since Florence Nightingale's selfless service to those suffering in hospitals, nursing has been recognized as not only a profession, but also a calling. This is what nursing is for me. I have always felt that, more than other professions, nursing provides the professional with the opportunity to connect with other human beings on multiple levels. On the clinical level, nursing provides the opportunity for learning about the miracle that is the human body. On the non-physical level, the nurse has the opportunity to understand the client not only on the level of medical need, but also on the psychological and even spiritual level. "
