Abstract
This paper summarizes Scott Cooper's 1989 article third cinema in the United States". It emphasizes the need for disenfranchised peoples to tell their stories from their own perspectives. The author discusses the problems of ideology. The paper also explores common characteristics of Third Cinema and Third World Cinema.

Tags:Cinema, Film, Disenfranchised, Hollywood, Culture, Methodology

Abstract
The paper analyzes two films "Crouching Tiger, Hidden Dragon" by Ang Lee and "The New Legend of the Shaolin" by Wong Jing and their effective channeling of both classical and slapstick innovations. The paper highlights the relationship between domestic culture, political context and cinematic approach in these films and also shows how they appeal to aspects of Kung fu mysticism. The paper clearly demonstrates how the modern Hong Kong tradition of Kung Fu cinema has had a great reach in modern cinema today, driving a use of martial arts that is secular and has no relevance to spiritual themes anymore.

From the Paper
"A nation's popular and artistic cultural output will typically share a reciprocal relationship with the identity of the nation itself. Its political, social and ethnic identity will invariably find some manner of representation--whether through a reflection of cultural norms or through a conscious or unconscious subversion of these norms--in the media through which its ideas are expressed, its iconography is conveyed and its collective psyche is examined. This is a commonality to all distinct cultures, and bears particular importance in foundation to our discussion on Hong Kong cinematography. As an island situated within Asian culture but heavily steeped in the western capitalism which has dominated the commercial mecca for over a century, Hong Kong's cultural development has been largely reflective of this schizophrenic outlook. In one regard formulated upon the implications of Chinese spiritual philosophy and on the other, the imposition of American material principles, Hong Kong has thus created its own hybrid film genre as an outpouring of this culture. Its films, whose conventions and methods share a reciprocal relationship with the history of American cinema, tend to elucidate a culture in a state of constant tension between old and new worlds."

Tags:classical, slapstick, cinema, martial, arts, mysticism, good, evil, resistance

Abstract
This paper examines David Bordwell's critical article "The Art Cinema as a Mode of Film Practice." It shows how Borwell aims to propose that the 'art cinema' is actually a real form of film practice, with a historical background and distinct procedures that are taken in order to generate its formation. The paper examines Bordwell's ideas and the examples that he provides.

From the Paper
"The article then goes on to explain the use of narrative intelligence. Usually the narrator makes it known that he or she is well informed of the future events that the characters in the story will experience. Using this knowledge, the film may use various techniques such as the flash-forward to exercise the narrator's power over the viewer. In this way, Bordwell explains that the art cinema is more focused on plot rather than story. Therefore the who, how and why are central to progressing the plot further in art cinema. The conclusion of art films is then discussed. Bordwell, outlining the fact that the characters lack particular goals explains that because of this, the story itself will quite often lack a particular ending. Or at least one with a solid, understandable resolution. This assists Bordwell in implying that art cinema is just a reflection of life itself, which also has no clear resolution."

Tags:cinema, narrator, plot

Abstract
This paper states that few texts can make claims to possess the kind of methodical comprehensiveness as George Melnyk's "One Hundred Years of Canadian Cinema". The author discusses various aspects of the text to provide an evaluation of the importance of the book's contribution to the study of cinema in Canada. The paper includes the author's argument, the credibility of the evidence and the overall value of the book.

From the Paper
"Few texts can make claims to possess the kind of methodical comprehensiveness that George Melnyk's One Hundred Years of Canadian Cinema does. It is a massive, tome of a book whose physical heft correctly suggests all of the intellectual and academic weight that the author imbued within the pages of the three hundred sixty-one page work on the history of the Canadian cinema. Not to give away my feelings on the book prematurely, but the work that Melnyk managed in composing this piece of much-needed non-fiction should be considered one of the author's greatest achievements. The remainder of this review will be divided into four sections. The first will examine Melnyk's thesis, argument, and goal in writing "One Hundred Years of Canadian Cinema"."

Tags:canadian, cinema, review

Abstract
This paper compares and contrasts classical Hollywood films with Italian art cinema. It explores the characteristics and elements of each. The paper provides examples from "Casablanca," "The Bicycle Thief," "A Fistful of Dollars" and "Last Tango in Paris." The author discusses the Hollywood star system and principles of Neo-Realism.

Tags:Hollywood, Films, Cinema, Narrative, Neo-Realism, Leone, Eastwood, Bogart, Westerns, Italian

Abstract
"The End of Escape in American Cinema," by Patrick J. Deneen, is an examination of what the author (96) calls "the restless quality of the American character" through the prism of seminal American films. Deneen's conclusion (103) is that the "dream of escape . . . was a nightmare all along," built as it is on "the willful disdain of our American present" (103). The author's approach is radical, framed as it against the well-known perception (expressed by such figures as Crevecoeur, Jefferson, and de Tocqueville, all of whom are referenced by Deneen's introduction) that America's intoxicating freedom emanates precisely from a disdain of the present.

From the Paper
Escape in American Cinema: Futile Existential State or Meaningful Striving? "The End of Escape in American Cinema," by Patrick J. Deneen, is an examination of what the author (96) calls "the restless quality of the American character" through the prism of seminal American films. Deneen's conclusion (103) is that the "dream of escape . . . was a nightmare all along," built as it is on "the willful disdain of our American present" (103). The author's approach is radical, framed as it against the well-known perception (expressed by such figures as Crevecoeur, Jefferson, and de Tocqueville, all of whom are referenced by Deneen's introduction)

Tags:escape, american, cinema

Abstract
The paper provides a literature review and presents findings of a study on changes in Egyptian cinema as evidenced in "The Yacoubian Building" and other recent films.

From the Paper
"This section of the study presents a review of literature relevant to the changes taking place in Egyptian Cinema. It focuses on three recent films; "The Yacoubian Building", "Heena Maysara" and "The Baby Doll Night". Each of these films was controversial in that they all explore aspects of Egyptian society that many in both the public and private sectors feel do not represent Egypt. For example, Muslim Media Watch, in discussing "Heena Maysara", states that this film has been condemned by Islamic scholars for spreading..."

Tags:Egyptian cinema, The Yacoubian Building, Heena Maysara, The Baby Doll Night

Abstract
In this article, the writer discusses cinema in France, emphasizing the New Wave and the movies of Bertrand Blier and Claude Berri.

From the Paper
"French New Wave cinema is directly linked to the overarching concept of a national cinema. At issue herein is the question of how successful French filmmakers have been in creating a national cinema that addresses or depicts relevant social and political themes or issues that define a film as being from a particular country subsumed within the ideology of the New Wave. Such a film as referenced by Aaron Sultanik is readily identifiable as positioned ideologically as well as physically within the ..."

Tags:New Wave, French cinema, Bertrand Blier, Claude Berri

Abstract
The evolution of Italian cinema, from the neorealism of the 1940s and early 1950s to the more personal realism of the late 1950s and early 1960s, was defined by complex forces at work in Italian cultural, political and economic life at the time.

Tags:evolution, italian, cinema

Abstract
This paper explains that Jean-Pierre Jeunet is a self taught filmmaker that treats the medium as an art form in which the details of the craft are just as important, or even more important, than the subject matter itself. The author points out that Jean-Pierre is one of few true film auteurs, who enjoys taking part in almost every aspect of filmmaking from writing the script, storyboarding, set design all the way through the editing process. The paper analyzes his films "Delicatessen" (1992), "City of Lost Children" (1995) and "A Very Long Engagement" (2005); however, the primary focus is on "Amelie" (2001), his most famous film and the first film he wrote and directed alone.

From the Paper
"While the look and style of his films come from several sources and could be highly debatable, the main themes and tone come from entirely different influences. In other words, while German expressionism can be spotted right away on the set of "Delicatessen" with its angular, shadowy and dark exteriors--neither the characters nor the overall tone of the movie goes along with the ideas of German expressionism. Satirical comedies and light heartedness do not coincide with the style of German expressionism or French new wave."

Tags:auteur, cinema fantastique, cinema du look, wide angle lenses, forerunner