Abstract
This paper describes the basic characteristics of two distinct modes of film practice, known as Hollywood classicism and art cinema. According to the paper, they both have distinctive formal attributes and norms as well as different targeted audiences, means of production and distribution. These differences were particularly obvious during the early years of art cinema during 1950's and 1960's. The paper also notes that over time and under the influence of art cinema, Hollywood film production started to adopt some of the art cinema elements.

From the Paper
"From the historical perspective, Hollywood cinema precedes art cinema and will be analyzed first. This order is also justifiable because art cinema developed in Europe partly as an alternative to the well- established Hollywood production. Classical cinema or Hollywood classicism dominated Hollywood move production particularly during the first half of 20^th century. It..."

Tags:classical films, art films, analysis

Abstract
This paper will explore the origins and manifestation of neo classicism in France in the period from 1760 to 1848. As will be seen, neo classicism exerted a profound influence not only on the art of France during this period, but also upon its culture and political theory. However, as will be seen, French neo classicism was significantly influenced by events that took place outside of France, such as the excavations at Pompeii and Herculaneum in Italy. While these discoveries contributed more to an interest in all things classical rather than to specific artistic or cultural occurrences in France at this time, they nonetheless suggest something of the transnational nature of the neo classicism movement.

Abstract
This paper discusses how classicism has been a powerful force in the modern era and how both Nazis and modernizing architects, like Le Corbusier, employed the style and its principles in connection with their own aims. Specifically, the paper looks at how, in both cases, the classical canon was seen as a way of expressing fundamental ideas about society and the world and how classicism, with its strict rules of composition and proportion, appeared ideally suited to a movement that craved strict order and rigid discipline at all costs, as did the Nazis. It also examines how its naturally-inspired rhythms appealed to Le Corbusier because they appeared to represent the way in which nature, and even Divinity were constructed and directed and how these transcendent qualities captured the imagination of architects.

From the Paper
"Hitler's views on the ideal society were based on a supposedly rational construction of human history and biology. The Third Reich was intended to be an expression of "scientific" principals of eugenics and "natural law." In the Fuhrer's Germany, and society would be one. They would function together as a single, well-ordered, well-disciplined, organic machine. Those elements deemed undesirable by Adolf Hitler would be forcibly and violently purged from the body politic in order to create a new, purified, and stronger Germany. On the face of it, Classicism too presented many of these same "ideals." Classical architecture was particularly associated with the idea of the public monument, a concept that dated back to antiquity, but only became prevalent in the Western World during the Nineteenth Century. "

Tags:discipline, hitler, modernism

Abstract
This essay attempts to broadly define the characteristics and underlying principles of both Hollywood classicism and the art cinema. It references one film from each category - "Singin' in the Rain," directed by Gene Kelly and Stanley Donen and "My Life to Live" (Vivre Sa Vie) directed by Jean-Luc Godard, respectively. The paper argues that the predominant stylistic distinction between the two modes lies in the art cinema's subversion of logical causality.

Table of Contents:
Introduction
Hollywood Classicism
The Art Cinema
Conclusion

From the Paper
"Moreover, Godard is also situating his work in the context of New Wave cinema for his audience. This is evident towards the end of My Life to Live in which - in one of the moving, documentary-like boulevard-scanning shots that are commonplace in the film - Godard shows and has his characters comment upon a line-up of movie patrons to see Truffaut's Jules et Jim; a work by his New Wave rival. Within the broader span of cinematic history Godard situates his protagonist, Nana, in a mirror relationship to the protagonist of La Passion de Jeanne d'Arc. As Nana watches her cinematic predecessor crying in closeup there is a closeup of a tear running down Nana's face as well; a referential cinematic relationship that Godard's audience would both expect and understand."

Tags:protagonist, narrative, characters

Abstract
This paper briefly describes the cultural style of classicism. It then looks at how this style is portrayed in music, architecture, and art.

From the Paper
"In order to determine the 18th century's manifestation of Classicism, it is important to understand what the term means. Classicism, or Neo-Classicism is used to "characterize the culture of 18th-century Europe, and contrasted with 19th-century Romanticism (unknown, Classicism)." In "art, music, and literature, it is a style that emphasizes the qualities traditionally considered characteristic of ancient Greek and Roman art, that is, reason, balance, objectivity, restraint, and strict adherence to form (unknown, Classicism)." Classicism is "characterizing art in which adherence to recognized aesthetic ideals is accorded greater importance that individuality of expression (sunsite.unc.edu/wm/paint/glo/romanticism)." "

Tags:music, architecture, art, cultural, style

Abstract
The paper attempts to broadly define the characteristics and underlying principles of both Hollywood classicism and the art cinema with reference to one film from each category: "Singin' in the Rain" and "My Life to Live" (Vivre Sa Vie). The thesis is argued that the predominant stylistic distinction between the two modes lies in the art cinema's subversion of logical causality. The paper provides a comparative stylistic examination of these two modes of film practice that outlines differences in their broad aims, and how these impact "viewing procedures" of their respective audiences. The paper shows how it is the art cinema's challenge to narrative logic - often within a highly self-referential context that foregrounds the film as "film" - that most characteristically distinguishes this mode of film practice from its more popularly recognized Hollywood cousin.

From the Paper
"The distinction between Hollywood classicism and the art cinemas is complex in that films within each category operate with often different formal conventions as well as implicit viewing expectations that determine audience responses. Moreover, it must be acknowledged from the outset that these categories are broad and their boundaries permeable, given that some..."

Tags:film, godard, kelly

Abstract
This paper discusses the post classic period (1000-1521 A.D.), which was considered a time of the culmination of the rise and fall of major empires and civilizations. Classicism is the principle and style embodied in the literature and the art of ancient Rome. It examines how during the post classic period, civilizations began to evolve with their own art, literature and religion. It describes how the collapse of classicism was most apparent in Africa, Asia and Europe and explores the dramatic events that occurred in the Afro-Eurasian world afterward. It also examines the collapse of old empires and what new structures replaced the old as well the impact of nomadic activity, expansion and integration on shaping the period of post classic development.

From the Paper
"The major realignment that threatened post classic arrangements was colonialism. Colonialism threatened post classic arrangements because Europeans sought to colonize the land and make it their own. In addition the introduction of Europeans into these societies threatened the health of the civilizations because the Europeans brought foreign diseases to the America's. As a consequence of colonialism and the expansion of the Spaniards into the land occupied by the aforementioned civilizations were threatened and eventually overtaken by foreigners. So then the post classic arrangements could not be sustained in the wake of European invasion."

Tags:Mayan

Abstract
This paper examines how the backdrop for the creation of the classical school of criminology was the movement in Europe traditionally referred to as the Enlightenment. It looks at how, generally, the Italian thinker, Cesare Beccaria, is credited with the creation of classical criminology and how, in creating his ideas, he did not so much generate original concepts as link together and systematize the ideas that were already circulating in the Enlightenment into a cohesive theory of criminology. It also shows how his influences were thinkers such as Locke, Bacon, Rousseau, and Diderot. It looks at how several different schools based on classicism have developed, including the classicist and positivist schools of thought.

From the Paper
"Several different schools based on classicism have developed, including classicism, which reconsiders the limitations of an agent's free will in cases such as self-defense or mistaken identity; largely it was an attempt to find a compromise of sorts between the classical and positivist perspective. Similarly, the Rational Choice perspective focuses on the decisions made by the criminal in an attempt to understand the "goal" of any crime. Routine Activities Theory focuses on a situational analysis of crimes, considering when and where crimes most typically occur and how we can use those facts to prevent them. All of these schools are primarily informed by the classical beliefs that crimes are committed for rational reasons related to hedonistic principles."

Tags:positivist, schools, enlightenment, rational, choice

Abstract
This paper is an analysis on the painter, theoretician, and general 'Renaissance' man, Nicolas Poussin. This paper will examine both the artistic context of his particular style of art, and in turn, some aspects of his biography. Further, some attention will be paid to situating Poussin within the historical time in which he lived which roughly was the late sixteenth and seventeenth (1594-1665) centuries in France.

Abstract
Schumpeter's economic theories as they are outlined in "Capitalism, Democracy and Socialism" differ significantly from the neo-classical view of economics. The neo-classical view is outlined-with reference to Adam Smith as a representative neo-classical economist--and contrasted with Schumpeter's theories. Schumpeter's absorption of Marxism, his views on markets and monopolies, and his ruminations on the future of capitalism are highlighted and contrasted with the neo-classical paradigm.

Tags:neo, classical, economics