Abstract
This paper explains that, in his film "The Mirror", Andrei Tarkovsky provides his audience with a collection of his childhood memories. The author points out that Tarkovsky tries to remember his childhood home exactly as it was in his past but some of his memories are not as pleasant as he hoped; therefore, he relies on his imagination to create a new vision that will always be pleasant and desirable. The paper relates that the film is unconventional because of his use of a "creative relationship" to form the timeline. The author relates that critic Peter Green believes that Tarkovsky's intention when planning his film was to reflect his mother; therefore, his obsession with his mother is important to the film. The paper states that critic Ian Christie stresses the importance of the actual place where the filmmaker spent his childhood.

From the Paper
"When remembering his father the images reflect his emotions, "expressing hope and despair". In the establishing shot, a man is walking towards what Tarkovsky describes as his childhood home. Metaphorically, this could be the filmmaker seeing the father he was so desperate to see returning home. The very first shot is a young boy at the doctor's office. At first, he is unable to talk, but once he is cured, he is portrayed as perfect. This sequence could once again be translated as Tarkovsky sending a message to his father, that he wants his dad to be proud of him and see him as intelligent."

Tags:mother, father, timeline, imagination, relationship

Abstract
This paper discusses Russian born filmmaker Andrei Tarkovsky's film "Nostalghia". It is compared and contrasted with Hamid Nacify's notion of accented cinema in which culture plays a influential part in filmmaking. Tarkovsky's films are characterized by metaphysical themes, extremely long takes, and memorable images of exceptional beauty. The paper shows that recurring motifs in his films are dreams, memory, childhood, running water accompanied by fire, rain indoors, reflections, and characters re-appearing in the foreground of long panning movements of the camera.

From the Paper
"Compared to other forms of art that have been around for thousands of years (i.e. paintings and drawings, cinema is relatively new and has only been around for the past century. The first films came out in the 1890s and were shown first in theatres in the United States, France, Germany, and Great Britain (Binkowski 70). By the early 1900s, the cinema had spread to all parts of the world through the development of advanced technology (Taylor 166). Watching a film at the cinema soon became one of the most popular forms of entertainment that reached audiences throughout the world in large cities and in urban sprawls."

Tags:nostalghia, accent, cinema

Abstract
This paper discusses the differences between film and television that explains why psychoanalytic film theory cannot simply be directly applied to television. The paper examines Jaques Lacan's mirror phase that has great relevance to film and/or TV studies and then turns to E. Ann Kaplan's four approaches that address contemporary application to current media forms. The paper also notes that there is a film in every category for every desire imaginable and this sheds support for much of the ideas behind psychoanalytical film theory.

From the Paper
"Sandy Flitterman-Lewis suggests "psychoanalytic film theory cannot simply be applied to television". Indications for this reasoning are depicted as contrasted through the model for viewer participation in the cinema in varying detailed explanation. A collaboration of these aspects gather together to produce what is referred to as the film spectator, the technology of cinema; the nature of filmic enunciation; the characteristics of the viewing situation; and the psychic processes that link viewer to film. For all intensive purposes, television consists of a design and application completely different in many ways."

Tags:cinema, mirror, phase, feminism, media

Abstract
The paper discusses how the film "A Beautiful Mind," a rough memoir of the late scientist John Nash, integrates many finely tuned cinematic elements to mirror the mental state of the protagonist and the naturalism required to maintain the film's truthfulness in it's story. Specifically focusing on scene 16, "Delusions" the paper analyzes the performance, direction, cinematography, art direction and music to support the theory that these elements do highlight and expand upon John Nash (played by Russell Crowe)'s mental state and our acceptance of his state as a real ailment.

From the Paper
""I still see things that are not here. I just choose not to acknowledge them. Like a diet of the mind...perhaps my appetite to imagine and to dream." -Akiva Goldsman, screenwriter. "A Beautiful Mind." The film "A Beautiful Mind," a rough memoir of the late scientist John Nash, integrates many finely tuned cinematic elements to mirror the mental state of the protagonist and the naturalism required to maintain the film's truthfulness in it's story. Specifically focusing on scene 16, "Delusions" we can analyze the performance, direction, cinematography, art..."

Tags:john nash, film, ron howard

Abstract
This paper introduces Nazir Ahmad's landmark novel, "The Bride's Mirror", championing Indian Muslim female education, that is thought to be the first novel in the Urdu language, set in Shajahanabad, Old Delhi, in the 1860s. The paper provides notes on Ahmad's career, ideas on purdah, why education was needed by women and endorsement of future service roles for women. The paper also addresses the numbers of Indian Muslim female doctors, social workers and educators.

From the Paper
"Amidst much ignorance of Muslim culture in South Asia, the case of Nazir Ahmad (1836-1916) and the first novel in the Urdu language provide a fascinating sidelight. "Mirat-ul-Urus" was one of a series of reformist novels endorsing female emancipation led by female education. Its author, Nazir Ahmad, looked about his often displaced community and demanded that young women be educated towards their greater independence and ability to serve others."

Tags:nazir ahmad, bride's mirror, female muslim ed

Abstract
This paper explains that the film "American Beauty" is an excellent example of how the male gaze not only configures looking at women as power but also how this gaze, through the film's use of multiple camera lenses, can shape the geography of space and gender relations. The author argues that the film represents women in visually constricted space in contrast with the representation of men in open space. The paper relates that this distinction mirrors the dominance of the male gaze as defining both geography and gender relations in the film.

From the Paper
"The film "American Beauty" is an excellent example of how the male gaze not only configures looking at women as power, but also how this gaze - through the film's use of multiple camera lenses - can shape the geography of space and gender relations. As this essay will argue, the film represents women in visually constricted space in contrast with the representation of men in open space. This distinction mirrors the dominance of the male gaze as defining both geography and gender relations in the film."

Tags:film, geography, culture

Abstract
This paper analyzes the 1933 film, "King Kong" and discusses several important elements of the film. More specifically, the paper analyzes the main characters in the film, the film's plot, the acting, mise-en-scene, the film's use of special effects, the use of sound, the cinemaphotogray and the main themes in the film. The paper also discusses the film's powerful emotional impact and the sexual interplay in the play.

Tags:King, Kong, Film, Horror, Monster, Beast, Mise-en-scene

Abstract
Among the various styles of producing films, the noir style is one that has come to be recognized for its uniqueness in characterization, camera work and striking dialogue. Film Noir of the 1940s and 50s was well known for feminine characters that were the protagonists, the femme fatale. This was most common with the French and later accepted in the United States. This paper begins by introducing film noir, its definition, how it started and also the history of this genre in the United States of America. It looks at films such as the "Maltese Falcon" (1941) and "A Touch of Evil" (1958). In the second section, the paper explores how women are represented in film noir (heroine and femme fatal) by discussing the aforementioned films and analyzing them. The paper examines different authors, such as Ann Mary Doane whose research is based on feminism and psychoanalysis and Ewing Dale ("Style and Content in Film Noir"), to discuss their ideas. The paper also compares two film noirs - the "Maltese Falcon" (1941) and "Basic Instinct" (a contemporary noir), to see how women express themselves, looking to see whether they express themselves through their sexual diversity. In the third and last section, the paper examines how women are represented in contemporary noir by analyzing and discussing one contemporary noir - "Mulholland Drive" (2001). The paper analyzes sequences to demonstrate the movie's connection with film noir and examines the role of women in the film. The paper includes illustrations from movies.

From the Paper
"Mulholland Drive reinforces the dominance of the femme fatale in contemporary film noir. In present times the role of the woman in society is observed to have a variation, and this is because of the fact that there is a change in the way that she can express herself. It also highlights the way that she can dominate men without them even knowing it. It is perhaps only when they reach their ultimate doom that they realize that women have exploited them. This kind of character portrayal is one that has increased over the years since the beginning of the film noirs. From then it has developed itself in American filmmaking, which has reflected the strengths and weaknesses both in American society."

Tags:Touch, of, Evil, gloom, film, making

Abstract
This essay examines the question of the presentation of film and looks at the topic of truth within the documentary film. The writer considers the words of Errol Morris, the director of 'The Thin Blue Line', who believes that documentaries can be as personal as fiction film making. The writer discusses that Morris challenges the concept that objective truth may be captured through film.

From the Paper
"Errol Morris, director of 'The Thin Blue Line', has criticized the cinema verite style of documentary, arguing that: "There is no reason why documentaries can't be as personal as fiction filmmaking and bear the imprint of those who made them. Truth isn't guaranteed by style or expression. It isn't guaranteed by anything". In making this argument, Morris is not only challenging the idea that objective truth can be captured through film, but that the generic line between fictional film and documentary film can often be extraordinarily blurred."

Tags:film, documentary, truth

Abstract
This paper presents a summary of "Chapter 3 of Film History: Theory and Practice" by Robert Allen and Douglas Gomeny that focuses on the need for an active process of reading and studying film history. It looks at film as a narrative and the personal agenda of the film historian. It looks at the economic and cultural assumptions of the film historian.

Tags:Film History, Robert Grau, Terry Ramsaye