Abstract This paper discusses the film "Dances With Wolves" in relation to man's inhumanity to man, culture, our attitudes towards other cultures, and the media's portrayal of other cultures through the medium of film.
From the paper:
"The film ?Dances With Wolves? (Costner) looks in detail at the way strangers get to know each other. It is seen from the point of view of John Dunbar, a lieutenant fighting during the American Civil War. We meet the wounded hero in a field hospital just as he is about to have his leg amputated. However, when the doctors leave, he decides to rejoin his regiment, and invites death by riding his horse in a suicidal charge at the enemy lines."
Abstract This paper explains that the classic film "Singin' in the Rain" appeals to a broad audience because not only is it a good song and dance movie but also it contains the genre of romance and comedy. The author points out that the musical aspect of the film combines backstage and integrated styles; the fifteen song and dance routines are based on different themes throughout the film, which provides built-in unity through its structure of repetition and variation. The paper relates that the romantic aspect of the film helps to create drama in the plot, carry the plot along and create empathy for Kathy's character; the comedic aspect of the film helps bring it together productively.
From the Paper "Another ideology of the film was dignity. Don repeats his famous line, "Dignity, always dignity" as he tells the story of how he maintained his esteem when working his way to the top. Kathy strives to maintain her dignity when she does the singing for Lina because she isn't getting credit for her vocal talent as she should be. The studio heads keep Lina from speaking in public without Kathy backing her up because they fear that if the audience hears Lina's real voice she will lose the dignity in her career. Even though Cosmo never became a huge star like Don he still maintains his cheerfulness and dignity and continues to fully support his friend."
This paper critiques and analyzes the plot, the director's use of certain camera angles as well as the depiction of Native American Indians in the 1990 film "Dances with Wolves."
Abstract The writer of this paper details the historical filled plot of the 1990 film "Dances with Wolves." This paper also examines the daily life of the Indians as seen in the film who are depicted as living a peaceful existence with no real threat of attack from the white man. While the film portrays many conventional elements of the western genre, at the same time it obliterates the requisite stereotypes which generally permeate these types of films.
From the Paper "As the film sends us back and forth through time, and switches between the Indians and the searching soldiers, we are able to learn John's story at the exact pace that director and star Kevin Costner wants us to. The beginning of the film immediately shows the soldiers involved in what seems to be a meaningless confrontation that no one is able to resolve until John Dunbar, out of sheer anxiety, sets off the action. The commanding officer at Fort Hayes is the stereotypical power hungry official we've become so accustomed to seeing in westerns and war movies, and it is from this point that we begin to understand just what John Dunbar is facing at Fort Sedgewick."
Abstract This paper explains that the movie is a refreshing and provocative story of a Japanese man who breaks out of his humdrum existence through the unlikely intervention of ballroom dancing lessons. It discusses how Suo's adept direction makes this film erotically charged and hilariously comic at the same time, as well as full of interesting and believable characters. The cinematography is flawless and engaging, and the viewer is soon immersed in the world of the unlikely hero. Ultimately, the movie's greatest strength is in its ability transform the mundane and comic into the beautiful and sublime.
From the Paper "Shall We Dance" is director Masayuki Suo's largest break into North American cinema. Previously, his works include a "pink" (X-rated) movie called "Daughter in Law", a TV drama, a documentary called "A Taxing Woman", and a major picture called "Manic Zen", followed by a movie depicting a college Sumo wrestler. Though released in English, "Manic Zen" was only seen in movie festivals and not released in the United States. When asked about Japanese director Yasujiro Ozu's influence on "Shall We Dance", Suo replies, " I didn't think very much about Ozu, therefore I don't know how I was influenced...? However, he credits Ozu as a great influence on his first movie, "Daughter-in-Law" (Kaufman)."
Abstract This paper presents an account of specific elements of Senegal's culture including clothing and fashion, music, dance, film, books, food. The paper presents an overview of Senegal culture and roles of Islam and French colonialism.
From the Paper "This research gives an account of selected attributes of Senegalese culture. The research will cover culture clothing music dance movies books and food with a view toward locating major themes evident in patterns of change and consistency in these categories ..."
Abstract This paper explains that the construction of a "chosen family" among homosexuals and transgendered people facilitates the building of a supportive community, which understands and serves their needs. The paper then applies this concept to the films "Southern Comfort" and "Paris is Burning" in which a reconceptualization family acts as the integral foundation for support, survival, success and growth of love for each individual involved. The paper uses the insight of these films to reexamine the traditional concepts of family in terms of social, economic, racial, and gender relations.
From the Paper "The Vogue scene combats everyday adversity by creating "houses" or "families." A house comprises itself of members whom win a competition and claim the victory in the name of that house. Venus Xtravaganza won her first Ball competition and claimed the victory in the name of the House of Xtravaganza. Declaring the victory in the house's name thus marked her official membership to the Xtravaganza. Matriarchy defines house leadership as the "Mother" acts as head of the House and either male or female can be the "mother.""
Looks at the film "Little Miss Sunshine" about a dysfunctional family on their way to Redondo Beach, California for the Little Miss Sunshine Beauty Pageant.
950 words (approx. 3.8 pages), 0 sources, 2009, $ 33.95
Abstract This paper describes the film "Little Miss Sunshine" especially the character Frank, who begins the trip to the Little Miss Sunshine Beauty Pageant as a self-loathing, depressed, suicidal genius. The paper analyzes Frank's attitude makeover from the beginning of the movie to the end. The paper relates that, through various interactions and conversations with another character Dwayne, who is a depressed Nietzsche-obsessed teenager with hatred towards everyone, Frank starts to discover that by helping Dwayne he is actually helping himself. The paper explains that, as the film concludes, Frank develops into a compassionate human being, determined to power through whatever sticky situation he and his family encounter.
From the Paper "After Dwayne discovers that he is colorblind and is unable to become a pilot, he breaks his vow of silence in a fit of rage. This breaks down the wall between Dwayne and the rest of the family, allowing Frank to get closer to Dwayne. Frank begins conversing with Dwayne outside the Little Miss Sunshine Beauty Pageant, helping him to realize that what doesn't kill you only makes you stronger. He goes on to tell Dwayne about Marcel Proust, a "total loser, never had a real job, unrequited love affairs, gay...spent 20 years writing a book that nobody reads.""
Abstract The paper is an in-depth study of the history of hip hop dance, from before and after the 1970s, and its effects on society. It explores how this type of dance is unlike other dance forms and the elements that make it up. There are no fixed forms to dance, but only styles. The rest is up to the dancer. It is a style of dance for all society giving the freedom to all to dance according to their desires. The paper also shows how hip hop is very much an American product. The hip hop trend enables the path for several dancers, and at the same time it also fosters and promotes more suggestive dance moves. The paper provides clear indications of the effects on culture; some hip hop is racist in theme, while others are sexist. Many hip hop musicians concentrate on such issues like social inequity and the dangers of heroin use. The conclusion is that hip hop is more than just music. It is becoming the soul of pop culture as never before, and steadily moving from the street corners and music videos towards usage in the fitness centers, dance studios as well as television shows.
From the Paper "Hip hop may be viewed as a culture and is often used to refer to commercial rap music, but hip-hop is not only music. It is loved by the American ghetto youth who claim that it is their method of self-expression and use hip hop to rise over their physical situations. The culture of hip hop has its roots based on truth, self-determination, courage and pride. This is the reason why it has grown to have its impact on almost every part of the world. (Hip-hop History) Some hip hop is racist in their themes, while others are sexist. At the same time, there are also many hip hop musicians who concentrate on such issues like social inequity and the dangers of heroin use. From its early days in the US, the music is being played in projects and some underground clubs, but, now it has achieved a profile that has led to include it in the 1992 presidential debates over Sister Soljah. In the 20th Century Fox movie, Bulworth, there is Warren Beatty playing a Senator who berates his opponents using rap. Hip hop, it would seem, has become a part of our lives. (Classified Hip-Hop or I wanna blow up like Marilyn Monroe's skirt) At the same time, hip hop is not only music. This form of dancing has become very popular and this is clear from the opinions of some experts. "There's a definite surge in the white neighborhood that wouldn't necessarily be exposed to hip-hop in their everyday life," says Keith Pinto, who is an MC and hip-hop dance teacher at the Dance Attack in Los Gatos, California. "They watch MTV, see other kids doing it and want to be a part of it. You can pretty much go to any dance studio in the Bay area and they'll have a hip-hop class." (Hip-hop dance fever)"
Abstract This paper examines historically social dancing in the 20th century, also called couple dancing. The paper describes the five different types: Modern Waltz, Tango, Viennese Waltz, Slow Foxtrot, and Quickstep, all of which are presently danced the world over both socially as well as in dance sport competitions.
From the Paper "Social dancing was derived from the concept of dancing by a couple, usually a man and a lady, in a closed hand. Coming from the eighteenth and early nineteenth century, these dances gained popularity from the standard ballroom dances with diverse rhythms, tempos, and aesthetics. Although all these aspects changed with the change in the social attitudes, the one thing, which remained common through out the history of dancing, is that of the couple dance or the social dances. (Evans 2001)"
Abstract This paper explains that many dance traditions have originated in India and Indonesia, such as the Bharata Natyam from South India, which had an important historical and cultural influence on the history of India. The author points out that important elements of Hinduism, particularly the figure Nataraja, a form of Shiva, are expressed in Bharata Natyam. The paper relates that this dance, as well as many other religious dances, demonstrate the integral relationship between religious dances and the religious themes that inspire them.
From the Paper "Many dance traditions have originated in India and Indonesia, such as the Bharata Natyam from South India, which had an important historical and cultural influence on the history of India. Important elements of Hinduism, particularly the figure Nataraja, a form of Shiva, are expressed in Bharata Natyam. This dance, as well as many other religious dances, demonstrates the integral relationship between religious dances and the religious themes that inspire them. In terms of specific details of Bharata Natyam, it emerged in southern India and developed over the centuries as a living tradition as generation after generation handed it down from parents to children, and gained ascendancy when the Devadasi system emerged in India."
Abstract This paper is about dance movement therapy as a form of expressive art therapies. The paper focuses on how dance therapy is about the release of emotional trauma or beliefs as well as feelings that have been suppressed, through appropriate movement. There is a brief history of development of dance therapy as well as a personal story about how fears can limit the ability to dance.
From the Paper "The expressive arts offer a multitude of opportunities for the human spirit to achieve balance, freedom, relief and potentially self-actualization. While great emphasis in class has been placed on the spirit of the human condition and spirit of the soul, after a brief discussion about the spirit, this paper will focus on what movement and dance therapy are about, the use of dance therapy as a way of unleashing burdensome emotions and psychological pathology in combinations of the arts and solely using dance and movement as the expressive medium. This paper will also include comments on the generally fear and shame based reasons why individuals might initially shy away from dance and movement therapy."
Abstract This paper describes the Ghost Dance religion and how it spread to Native American tribes. The paper discusses the history of the Native Americans from the time of Andrew Jackson until the Wounded Knee massacre, and demonstrates how the Native Americans were pushed farther and farther westward, and eventually limited to a very small area. The paper explains how the United States army and government's fear of the Ghost Dance religion led to the Wounded Knee massacre, describing the events of the massacre, and the political issues surrounding the massacre and the Ghost Dance religion.
From the Paper "James Mooney writes in The Ghost-Dance Religion and the Sioux Outbreak of 1890 that the essential part of the teaching of the Ghost Dance is the doctrine that the world is old and worn and the time is near for its renewal (Mooney 661). The Ghost Dance was an American Indian religious revivalist movement that spread through the Plains Indians and other ethnic groups during the 1890's and due to a culmination of events is forever linked to the Wounded Knee massacre of 1890 (Ghost pp)."
Abstract This paper takes a look at Islam's view on dance and music. According to the paper, although there are many groups within Islam that profess that music and dancing are forbidden, it is clear that the Qu'ran itself does not explicitly prohibit these activities. The paper goes on to say that several avenues of worship within Islam have developed into the practice of reaching God through dance or music. The paper focuses specifically on the Quwalli and the Mevelevi Order, also known as The Whirling Dervishes.
From the Paper "More intentionally musical is the Sufic tradition of the Quwalli. Quwali means "word," and can be thought of as the physical and auditory manifestation of the divine voice. As with the Quri, the Quwallis use their voice as a tool of worship, but they move into the world of interpretation and individual expression of the words themselves. They can be likened to the Gospel singers of the Western world in this respect, though this may be a misleading comparison since the Sufi practice, from which the Quwalli find their beginnings and roots, is far more steeped in history and tradition and could be considered a more "serious" endeavor. Quwallis use the music of their voices to worship foremost, and to communicate and encourage their listeners to worship with them is a secondary concern."
This paper explores the history of the Hula dance and describes how the Hula maiden, with hips swaying in the breeze, has become a legendary symbol of Hawaii.
Abstract The writer of this paper details the history of the Hula dance and its significance as a ritual of religion, celebration, mourning and communication. This brief, yet concise paper, examines how, in ancient times, dancers were selected for hula training in childhood, spending their formative years under the care of a hula master, separated from the outside world and dedicated to the goddess Laka, patron of the hula. Hawaii's history of births, deaths, loves and battles were expressed in the Hula dance. The writer also details the accompanying music and melodic poetry, to which the dancer's swayed, which include the double-gourd drum, called ipu heke.
From the Paper "The history of births, deaths, loves, and battles of the people were preserved in chants and dance. Since Hawaii's history was recorded as dance, "hula dancers were expected to remember and repeat every dance step perfectly and under punishment of death," for "to change the dance was to change history." Hula was the written word for ancient Hawaiians, told through the movements of the dancers' feet, hands, and body movements. Through dance, stories were told, genealogies were kept, and beliefs were shared and imposed, thus to change the steps would be to change the message."
Tags:dance, history, hawaii, culture, ritual, communication
Abstract In this paper, the writer discusses that the Baile, Egyptian Cabaret, and Nritta represent a cross-cultural connection in world dance, which embodies the love that men and women share for each other. In this manner, the religious idioms of the cultures described here represent the manner of movement that depicts love, but through the sacred ideals of commitment and love. The writer points out that although these differ slightly in the accompaniment of dancers, or in the stylistics of the choreography, there is a archetypal cultural unifier that relates the desire and higher love of men and women across the world.
From the Paper "This study examines the multi-cultural aspects of "divine love" in Kathak, Middle Eastern, and Flamenco dancing. Within these dances there is a greater blend of different cultural values that make up each of the formats of these dances. In this manner, the chain of influence upon the Kathak, Middle Eastern, and Flamenco dances offer a multi-cultural depiction of how dance is not created within the limitations of geographical boundaries. By understanding the cultural similarities based in these dances, one can realize the power of movement that is a commonality within the religious and divine nature of love. The Kathak dance is a religiously based dance that formally uses the divinity of love for Indian gods, and their dance in the Cosmos."
