Abstract This paper explains that, in the 1993film "Malice", although everything appears to be normal, the audience soon finds that not far beneath the superficially polite exterior of all the main characters there exists an unconscious and barely controlled subsurface of jealousy, anxiety, sexual insecurity and narcissistic greed, all common plot elements of the generic suspense thriller. The author points out that the thriller genre deals quite blatantly, with what Freud referred to as the resurgence of the repressed id, over and against the demands of society in the form of the externally imposed superego. The paper relates that, when the ego of repressed characters such as Andy, becomes threatened by loss of control, especially in the sexual sphere, it utilizes what Freud called defense mechanisms in an increasingly desperate effort to protect itself from the ever-increasing demands of the id.
From the Paper 'The two main male characters do not escape censure in the film, however. About midway in the film, Dr. Hill is described by another character as possessing a "God complex," which is not a psychoanalytic term in itself but which, in this context, implies someone possessed with an exceedingly strong form of narcissism, an individual trapped to some extent in an infantile phase of development and thus subject of his own libidinal impulses. In the film, this complex is narratively depicted as being not only self-destructive, but destructive of the other characters around Dr. Hill."
Abstract This is a comparative essay on the original version of the story "Frankenstein" by Mary Shelley and how this version changed somewhat in the remake of the film in 1993. The main difference between the movie and the story is that the movie diverges in its approach to the physical creation of the monster and highlights the psychological reading of the process of the monster's creation.
From the Paper ""Frankenstein" is story about a young Swiss boy, Victor Frankenstein, who was raised in Geneva, who became enthralled by reading the works of an ancient and outdated alchemist. This unusual background will prove unhelpful when he attends university at Ingolstadt. There he learns about modern science and, within a few years, masters all that his professors have to teach him. He becomes fascinated with the ?secret of life,? discovers it, and brings a hideous monster to life by assembling old body parts and infusing them with strange chemicals, which he animates with a mysterious spark. body parts, which are infused with strange chemicals, and animated by a mysterious spark. In the 1993 film version of Shelley's novel, Frankenstein, published in 1818, filmmaker David Wickes narrates Shelley's defiant vision of the overconfidence of scientific hubris in the portrayal of Victor Frankenstein and his monster."
Abstract The author of this paper uses four films and quotes to illustrate the influence that the Godfather Saga had on the film "Goodfellas". It summarizes each of the Godfather movies including character analysis and connects them to the characters in Goodfellas.
From the paper:
"Gangster films have been popular for many years. Everybody loves a film that depicts the days of mobsters and the many deals and connections that were portrayed within those films. Perhaps there is a small piece of each of us secretly wishing we could throw away the straight-laced life and become a part of the gangster scene back when it had respect. Whatever the reason America loves the films they are a sure moneymaker at the box office. The Godfather Trilogy began in 1972 and had three films to its saga. Each one was popular and picked up where the other left us hanging to continue the story. We expected each Godfather film to resemble the previous work of art. What we didn?t expect was the impact and influence these three films would have on a more recent project called Goodfellas. While Goodfellas is its own movie in its own right the movies is filled with the obvious influence of the Godfather Saga. "
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."
This paper examines the horror film genre, also known as realist horror, while focusing on two specific films, "The Blair Witch Project" and "Henry, Portrait of a Serial Killer."
Abstract This paper analyzes the realist horror genre in film. The realist horror genre was spearheaded by Alfred Hitchcock in his 1960 film "Psycho." Horror films proliferated throughout the 1970s, 1980s and 1990s in Hollywood. Most of these films used comedy to portray killings, veering away from realism. The writer of this paper contends that the realist aspect of actual human killers is enough to leave lingering fears long after the viewing has ended. This paper focuses on this particular style of filmmaking, in which the approach is to focus on the killer rather than victim, resulting in terrifying the viewing audience. This well-researched paper notes the similarities and differences in "The Blair Witch Project" and "Henry, Portrait of a Serial Killer." This paper describes how both films leave the viewer with a lingering thought and fear of the real world. Specifically, fear of the horrific possibilities. "Henry, Portrait of a Serial Killer" is based on real-life serial killer Henry Lee Lucas. The movie follows the daily life of Henry, beginning with aftermath shots of freshly murdered victims juxtaposed with images of Henry. This illustrates to the audience that Henry is indeed a bona-fide serial killer. "The Blair Witch Project" is a far cry from the typical slasher film. It uses an entirely different approach to realist horror. The film is shown as a documentary and the actors are not actors at all, but real victims captured on video.
From the Paper "The presentation style changes only during the murder scenes. The pictures are graphic and almost too gory to be real. One woman is seen with a bottle shoved into her throat and the electronics salesman's head goes through a television picture tube - just before the television is plugged in - electrocuting him. Background electric guitar is also present mostly during the build up to a murder. It is not overdone and avoids appearing out of place. Rather, it helps the viewer realize something important in happening. Overall the film does achieve a realism most slasher films cannot approach. This purposeful use of a home-movie style subtly reminds the viewer that the onscreen events are based in truth. Blair Witch takes the realist style one step further by using the camera as a prop in the film. The viewer is constantly reminded that an off-screen character is behind the lens."
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.
Abstract This paper reviews the Canadian film industry, one that is said to be a composite of three different unique bodies that have combined to create a dynamic film environment; albeit not a uniquely Canadian one. The paper goes on to discuss how while the indigenous Canadian film industry is still extant it might be described as moribund at best. If not for governmental support for the indigenous film industry, independent Canadian film making might already be extinct. The Canadian film industry is relatively healthy overall but the figures indicate strictly indigenous Canadian films, outside of one or two major production houses, may suffer revenue and market difficulties in the years ahead.
Abstract This paper explains that the way women are depicted in film generally reflects how women are viewed in the society, which produced the film. The women in the 1940 films were empowered because of woman who worked in a factory during the war; however, the 1950s film depicted a return to a more domestic image of women, though challenged by the sex bomb. The author points out that these film images of women contributed to the unrest and dissatisfaction that led to the development of the women's liberation movement in the 1960s. The paper analyzes in detail 1940s films "The Philadelphia Story", Mildred Pierce", "Now, Voyager" and "Double Indemnity " and 1950s films "The African Queen", "Heaven Knows, Mr. Allison", "The Girl Can't Help It" and "Some Like It Hot".
Table of Contents:
Introduction
The Forties
The Fifties
Conclusion
From the Paper "Elizabeth Mulvey describes the view prevalent of the woman as being woman as icon, and Tracy clearly does represent an iconic image to every male in the film and to many of the woman as well. She is the goddess to Dexter, Connor, and her fiancee, though in different ways and with differing degrees of acceptance. To her father, she is a failed woman, a woman who will never be a true woman until she changes her way of relating to men and her way of being looked at and being displayed."
Tags: stereotype, film noir, davis crawford hepburn
Abstract This paper studies the concept of suturing which is defined in many different ways such as sewing something back together, gesture or pseudo-identification, the individual watching a film as a stand-in for the camera and more. It looks at the filmmaker Ranier Werner Fassbinder's work 'Despair' as an example of a film that attempts to undercut notions of the gazer of the film becoming sutured into the web of the film and of becoming socially subjected to the predetermined constructions of reality within the film's text. Finally, it concludes that the destabilizing of a master narrative with the particularity of autobiography is better than the complicated suturing.
From the Paper "On a very literal level, to suture something is to sew something back together, usually imperfectly, usually with a substance that is alien to the body that is being altered?such as the doctor's suturing thread that stitches together an open wound. On a semiotic level, according to Jacques-Alain Miller, Miller's definition of suture (in a nutshell) is that the suturing process in culture is the process through which a subject is joined into the signifying chain of culture, allowing a signifier to stand-in for the subject's absence in discourse. (Suture as a Laconian Concept) "
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.
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."
Abstract This paper considers aspects of film business economics. The writer notes differences between studio films and independent films in terms of grosses and the relationship between opening weekend grosses and total grosses for a number of films. In this article, the writer uses Miramax as an example of an independent company showing a different pattern, as it opens films more slowly and makes money more slowly as well.
From the Paper "The economics of the film business change over time, and much of what applied in the studio era is no longer applicable, and even what worked for the major companies in the 1970s is not applicable today. The business has become consolidated at the top, with the major studios dominating, while also opening the way for smaller companies at various times. The fact that film exhibition is now targeted more at multiplexes than at large stand-alone theaters has contributed to this change, given that exhibitors have more screens to fill. While they often do this by putting the same film on two or three screens at a time, they also rely on a larger number of films to keep patrons coming back week after week if not more often."
Abstract The paper discusses how the techniques of close framing, rapid editing and ranging cameras are the basis of David Bordwell's filming styles of the modern age. The paper illustrates how in this manner, the film "Fight Club," directed by David Fincher, helps to convey these exact techniques, which have become a staple in the Hollywood filming style. The paper portrays how through the various scenes of Jack's intensifying insanity, one can realize the depth and scope of the portrayal of insanity through the use of the camera. The paper shows how in this manner, the shooting techniques of modern film create the intensified continuity for audiences that Fincher intends in "Fight Club."
From the Paper "This film study will analyze the film techniques expressed by David Bordwell in relation to the film "Fight Club" (1999), directed by David Fincher. By analyzing the film technique concepts of "close framing", "rapid editing" and "the free-ranging camera," one can realize how these filming techniques abide within the film "Fight Club." By examining a series of scenes from this film, there is a sense of technique that Bordwell exemplifies in his analysis of "intensified continuity" in the modern filmmaking process. The use of "close framing" is an essential aspect of Bordwell's use of filming that abides in creating intensity of continuity in the extremely violent portrayal of Jack (Edward Norton) in "Fight Club," as a schizophrenic head case addicted to recovery groups."
Abstract This paper analyzes the film "Jerry McGuire" in order to analyze the characterization of women in film. Several analysis techniques are used for the analysis, such as looking at the life styles portrayed in the film, the film's language, the argument within the text, and the reception of the audience.
Abstract This paper analyzes the marketing approach for the recent film, "Capote." The author acknowledges that this film was clearly meant for a more educated and selective audience, which impacted its marketing approach. This approach included waiting for the film to receive awards, and a careful release pattern that built on reviews and word-of-mouth to bring in the public. The writer concludes that the film's success shows that it found its target audience and may have drawn others along once the awards were announced and the quality of the film touted from the podium.
From the Paper "Many widely-accepted ideas about film releases govern what the industry as a whole does, among them the idea that certain times of the year are best for certain kinds of films, that a big star can assure a large opening weekend, that a high-grossing opening weekend is necessary if a film is to succeed, and so on. Many of these accepted ideas have been challenged from time to time by one or more films, and even when shown to be wanting, the underlying belief remains powerful and affects next year's product. Many of the independent companies have been taken over by larger entities and act as boutiques, but they still manage to continue to be the most likely to challenge accepted doctrine and to take more chances. Sony Pictures Classics is the sort of in-studio arm that has been developed to handle this sort of release, with Capote a prime example."
