Abstract
This paper examines how in "The Merry Wives of Windsor", the action focuses on the efforts of Sir John Falstaff, a tricky old knight, to seduce Mistress Page and Mistress Ford in the hope of gaining access to their husbands' money. Annoyed by Falstaff's actions, the women decide to get revenge by playing a series of pranks on him. It looks at how Falstaff is a comic device in the play and how although he evokes sympathy in his downfall as an individual, at the same time he arouses discomfort as a threatening member of the community.

From the Paper
"Falstaff's role in the comedy is simply different than that of the history plays. He is a knight who has lived an immoral life, spending all his money on drink, to the extent that he cannot even support his followers. His central activity, the wooing of the Mistresses Page and Ford in an effort to seduce them and then trick them and leave them without of money result with misfortunes and make him an outsider to the Windsor community. Falstaff has actually run out of money and that's why he plans to seduce Mistress Ford and Mistress. Page, so he can get control of their money. He is conceited enough to believe that these respectable married women will welcome his romantic attentions. His scheme does not work, however, and the "merry wives of Windsor" trick and humiliate him on three separate occasions. Falstaff, although he is quick-witted and a master of words, simply does not realize that the women are deliberately leading him on only to make a fool of him. "

Tags:Mistress, Page, Ford

Abstract
The paper describes Ford Motor Company as following a utilitarian doctrine. The writer proposes that the case study, of Ford Motor Company's manufacturing a Pinto vehicle without a safety device, clearly exemplifies some of chief moral objections to the doctrine of utilitarianism. The writer examines the moral implications of this doctrine through John Stuart Mill's work, "On Liberty". The writer concludes that Ford's negligence exposed consumers to a series of harms that were just as threatening to those consumers' liberties as the infringement of a sovereign or a majority's will upon the rights of an individual.

From the Paper
"Mill even warns of a tyranny of the majority that must not be allowed to go unchecked. Thus, even if Ford as a company is to be equated with the majority that still does not excuse the company's heedless actions. "Apart from the peculiar tenets of individual thinkers, there is also in the world at large an increasing inclination to stretch unduly the powers of society over the individual, both by the force of opinion and even by that of legislation: and as the tendency of all the changes taking place in the world is to strengthen society, and diminish the power of the individual, this encroachment is not one of the evils which tend spontaneously to disappear, but, on the contrary, to grow more and more formidable." "

Tags:justification, self-interested, pleasure, sovereign

Abstract
This paper explains that the John Ford classic western "The Searchers" focuses on the relationships and motivations of Ethan Edwards, played by John Wayne known for his super-masculine characters, and Martin, a young, part-Cherokee man, who is accompanying Ethan. The author points out that this relationship between surrogate father and son shaped the young man's view of what manhood truly encompasses. The paper stress that the use of this relationship in the film allows the trait of masculinity to be witnessed through its early development and permits the viewer to decide the positive and negative aspects of masculinity's eventual, albeit extreme, culmination.

From the Paper
"Eventually, Ethan comes to fully surpass his brother Aaron as patriarch of the household. The family comes to see him as the protector, or "man of the house." When a posse arrives hunting for what appear to be cattle rustlers, Ethan forbids his brother to go along, shouldering the responsibility himself. As he leaves, Aaron's wife embraces Ethan, for which she receives a kiss on the forehead. At this instance they undeniably appear to be man and wife. Later, when the family senses danger of an attack, Ben, the young man of the house, says, "I wish Uncle Ethan was here," despite the fact his father is present and holding a gun. By the traditional ideals of masculinity, being the head of a household is a cornerstone of being considered a man, so Ethan's usurping of his brother's position suggests his natural prowess at playing the masculine role."

Tags:head-household, relationship, wayne, western, development

Abstract
The paper analyzes the theme of the white supremist patriarchal hero through the pre and post World War II films of John Ford. The paper discusses how in "Drums Along the Mohawk", Gilbert is a white supremist patriarchal character that often appears to be exchanging gender roles with his wife, Lana, yet he is often the represented as the protector of his homestead, while his wife often takes domestic roles in the household.

Tags:society, anthro, history

Abstract
The paper explains Mulvey believes that the dichotomy between narrative and spectacle echoes the division between men and women such that men control and forward narrative and women exist as spectacle or objects of visual pleasure at which to look. The author points out many examples where John Ford's "The Searchers" sometimes simultaneous adherence to and subversion of Mulvey's observation and theory. The author finds that the film itself suggests the link between the pleasure of sight and power.

From the Paper
"In examining the film with Mulvey's structure in mind, what are we to make of the fact that the female characters in the film are infrequently spectacles? Mulvey writes that, "Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen." Although the whole movie is about Ethan Edwards' obsession with avenging the rape and murders of female kin, as well as rescuing one of them, the camera barely lingers on the women. Their relevance is not as visual objects of pleasure either for the camera's masculine gaze or for the male characters (which presents a stark contrast to the work of Hitchcock that Mulvey dissects as empirical evidence for the structure she describes)."

Tags:dichotomy, pleasure, sight, power, spectacle

Abstract
This paper explains that "The Big Money" is really the story of the beginning of corporate and individual greed in America. The author points out that Dos Passos not only uses greed as a motivation for his characters, but also shows how it affected some of the top technologists and businesspeople of the time. The paper relates that Dos Passos's unusual style weaves fiction with current "newsreels" and events of the day, including Henry Ford and William Randolph Hearst.

From the Paper
"Two of the characters in "The Big Money" typify these brash young entrepreneurs, who make wads of money in the stock market, and are the foundation for corporate and personal greed and excess in our country. Charley Anderson is an alcoholic aviation engineer who makes a killing in the stock market. He is quite successful in his business, but miserable in his personal life. "Charley wouldn't eat anything. Bill ate up both their steaks. Charley kept on drinking whiskey out of a bottle he had under the table and beer for chasers. 'But tell me . . . your wife, does she let you have it any time you want it?'" (Dos Passos 310). Margo Dowling is a stock speculator and actress. Both become wildly successful in the stock market, and both begin to live life to excess. All of the characters feel better when they have money, and it seems to give them all some kind of false sense of security, even though it can be taken away at any moment, as the crash of the stock market shows. These people may be rich, but they are morally poor, and the technologies of the day all helped build upon this foundation of greed and need that plagued the wealthy of the day. In the end, neither Margo nor Charley are happy because of their money, and their lives degenerate into meaningless loneliness."

Tags:greed, corporate, newsreels, style, hearst

From the Paper
"The auteur theory developed by French film critics beginning in the 1950s is partly a convenient way of categorizing and analyzing films, collecting titles as the body of work of the director. More than this, though, the theory holds that it is the director more than anyone else who is responsible for the completed film, since he or she is the one who determines visual style and other matters in the course of production. The theory finds that the director expresses meaning through visual style and that analyzing the visual style of a given director reveals consistent thematic concerns, similarities in character development, and other repeated and recognizable signs of a single intelligence at work. At the same time, though, film remains a collaborative medium, and it would seem that directors would be influenced by their..."

Tags:FILMS: GENERAL

Abstract
Focuses on three films: "The Grapes of Wrath", "My Darling Clementine", and "Rio Grande". Discusses the common issue of family, including personal and greater families. Describes the similar use of traditional American music, stark black-and-white images, and sparse dialog.

From the Paper
"his paper analyzes John Ford's themes and styles in three of his most distinctive films, The Grapes of Wrath, My Darling Clementine, and Rio Grande. These three all focus on different aspects of one issue that reoccurs throughout his films, the issue of..."

Abstract
"This paper is a discussion of the works of five of the greatest directors in international cinema. D. W. Griffith, John Ford, Orson Welles, Alfred Hitchcock, and Ingmar Bergman have each had enormous influence in their art because of their individual vision and striking approach to filmmaking.

From the Paper
"This paper is a discussion of the works of five of the greatest directors in international cinema. D. W. Griffith, John Ford, Orson Welles, Alfred Hitchcock, and Ingmar Bergman have each had enormous influence in their art because of their individual vision and striking approach to filmmaking. Their visual concerns have been dramatically different, but the commitment of each has led them to create powerful, effective films that continue to affect the work of filmmakers in every genre and every nation today. All five have made significant contributions toward turning filmmaking into an art, while developing different aspects of cinema and varying genres, and all five can be considered great artists.

David Wark Griffith was born in Kentucky on January 22, 1875. He began his career as an actor in small touring ..."

Abstract
This study will explore the themes ofillegitimacy/legitimacy and incest in three plays, Euripides's Hippolytus, Shakespeare's King Lear, and John Ford's 'Tis Pity She's a Whore.

From the Paper
"This study will explore the themes ofillegitimacy/legitimacy and incest in three plays, Euripides's Hippolytus, Shakespeare's King Lear, and John Ford's 'Tis Pity She's a Whore. The study will focus on Hippolytus and the several illegitimate children in that play, followed by comparisons of that play with the latter two. The argument of the study will be that the issues of illegitimacy and incest have more to do with love rather than sex, or even with morality, and, therefore, investigation of those issues will focus on the roles which illegitimacy and incest play in the expression of love and in the obstacles to love.

Hippolytus is the illegitimate son of Theseus, but an obsessively virtuous man who incurs the wrath of Aphrodite because of his rejection of her and his alliance with Artemis, a ..."