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"Clash of the Titans"--A Film Review, 2007.
A review of the film "The Clash of the Titans" and its mythological basis.
1,367 words (approx. 5.5 pages), 4 sources, MLA, $ 45.95
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Abstract
This paper describes and reviews the film "The Clash of the Titans," while also considering the mythological basis of the storyline. The paper examines the deeper mythological themes present in the movie, especially how human beings try to satisfy the willful nature of the gods. The review describes the intent of Greek mythology in the paper, also giving attention to its deeper psychological meaning. The review concludes that although the film "The Clash of the Titans" does add some changes for dramatic effect, it does not veer too far away from the themes found in the original Greek myth.
From the Paper
"The symbolic frame for the mythology considers that the people form cultures with their own rites and ceremonies, mythology, heroes and stories as unique as any other culture. The Greeks developed over time a massive and complex mythology that explained in animistic, anthropomorphic terms many of the natural phenomena seen in the world around them and at the same time propounded a direct relationship between themselves and the gods as part of that explanation. In mythology, the Oedipus myth suggests that the hero is challenged and reformed by his encounter with his anima in the form of Jocasta, but his daughter Antigone is herself faced with her animus in the form of her father and all that he represents. Even a superficial reading of the story and an examination of the mythology behind it points to the fact that Antigone's character has been formed from her relationship with her father. Her relationship with her mother is secondary and indeed only sketchily formed at all in the context of the myth. Jocasta plays a role that is vital more because she is the mother as well as the wife of Oedipus than because she is the mother of Antigone. Elements of this myth are apparent in the way Perseus seeks to reconnect with the mother and rebuild the family lost so long ago. The godly world inhabited by these characters is a world where human passions have been projected on the deities so that rather than act as deities might be expected to, keeping some distance from the passions of the world, they instead exhibit human passions heightened because they are part of the behavior of the gods."
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Alfred Hitchcock's "Psycho", 2007.
A review of Alfred Hitchcock's famous film "Psycho."
1,100 words (approx. 4.4 pages), 5 sources, MLA, $ 38.95
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Abstract
This paper analyzes Alfred Hitchcock's masterpiece of suspense, the film "Psycho." The reviewer describes the innovations, taboos and transgressions that Hitchcock explored in this film. Additionally, the paper discusses the emotional states of fear and horror that the film inspired, and how Hitchcock enticed his audience by giving them just enough information to lure them into the world of the protagonist, Norman. The paper also discusses how Hitchcock promoted his film prior to its release. The reviewer concludes that in "Psycho," Alfred Hitchcock lured his audience into the forbidden, made them uncomfortable but at the same time made them enjoy the brief experience of unspoken transgressions as seen in the film.
From the Paper
" When Norman purposely gives Marion the key to room number 1 so he can watch her through a peephole in the office, Hitchcock is enticing the audience with another transgression, voyeurism. The audience is forced into this secret world, forced to participate in Norman's forbidden thrill as he watches her undress. Such scenes resulted in much criticism. For example, a letter to the New York Times claimed that Psycho was "deliberately calculated to stimulate the jaded appetites of the middle-aged and arouse the worst latent instincts of teen-agers," suggesting that the transgressions depicted might be contagious (Hendershot). "
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McCarthyism and Literature, 2006.
A discussion regarding the influence of McCarthyism on literature.
1,614 words (approx. 6.5 pages), 8 sources, MLA, $ 52.95
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Abstract
This paper takes a look at Senator Joseph McCarthy's obsession with communists and his black list of people considered to be subversives, communist sympathizers and people who would not cooperate with the committee, which meant they would not testify against their fellows or name names of "other suspected subversives". According to the paper, this black list prevented anyone on it from working in the entertainment industry, publishing their work or often even from getting an ordinary job.
From the Paper
"Arthur Miller was another big name playwright who was blacklisted. While the McCarthy era squashed some literature, it also stimulated some great work. On Saturday June 17, 2000, Arthur Miller wrote, "It would probably never have occurred to me to write a play about the Salem witch trials of 1692 had I not seen some astonishing correspondences with that calamity in the America of the late 40s and early 50s. My basic need was to respond to a phenomenon which, with only small exaggeration, one could say paralyzed a whole generation and in a short time dried up the habits of trust and toleration in public discourse." (Miller, Arthur 2000) The plot of The Crucible deals with the Salem witch trials, and many readers and audience members do not even make the connection to McCarthy, especially the young. However, when it is pointed out, it is completely transparent. "
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The Canadian Film Industry, 2007.
This paper discusses the difficulties faced by the the Canadian film industry.
3,842 words (approx. 15.4 pages), 9 sources, MLA, $ 105.95
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Abstract
The paper presents a brief history of the Canadian film industry and discusses how the English branch of Canadian cinematography continues to lack in distribution on the domestic market. The paper attempts to explain why it has been so difficult for the national industry to develop. The paper looks at various causes and examines the lack of connection Canadians have with their cultural heritage. The paper suggests that perhaps each individual's efforts to reconsider his national identity will lead to an appreciation of the indigenous film industry.
Outline:
A Brief History of the Canadian Film Industry
An Attempt to Explain the Paradox
From the Paper
"When talking about movies, most people's mental representation consist of the sign from the Hollywood Hills, the well known Hollywood's Walk of Fame or the glamorous Oscar ceremony which allows them to recognize their favorite actors or actresses. But how many realize that the roots of celebrities who are given the red-carpet treatment aren't exclusively American? For instance, how many cinephiles who have been touched by the story of Titanic, the renowned film that won 11 Oscars in 1998, know that its director James Cameron has Canadian origins? Furthermore, how many moviegoers have found out that contemporary cineplexes representing one of their favorite leisure destinations were invented by a Canadian?"
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The Bible, The Ten Commandments and Moses, 2007.
An analysis of John Huston's film ""The Bible: In the Beginning" and his discussion of it in his book "An Open Book."
9,430 words (approx. 37.7 pages), 6 sources, APA, $ 193.95
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Abstract
This paper focuses on John Huston's auto-biography "An Open Book" and his discussion of his 1966 film "The Bible: In the Beginning," which is an Old Testament film. The paper discusses issues that relate to a vast area of theological discourse that are raised by a close reading of the film. It describes Huston's characterization in the film and criticizes the director's interpretation and manipulation of the Biblical text.
Table of Contents:
Section 1
Section 2
Section 3
The Ten Commandments
Section 4
Section 5
Section 6
From the Paper
"In the Biblical text Moses appeals to God and begs that he not destroy the Israelite people. He in fact argues with Goes and appeals to God's vanity, as it were. "Why should the Egyptians say, 'It was with evil intent that he brought them out, to kill them in the mountains and to wipe them off the face of the earth'? Turn from your fierce anger; relent and do not bring disaster on your people." (Exodus 32: 12) This would, in my reading of the film, certainly be an aspect that DeMille would not include in his version of the Biblical events as it would, at the very least, compromise the message of freedom from tyranny that the Ten Commandments is meant to portray and represent."
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"Chocolat", 2007.
A study on chocolate, focusing on the film "Chocolat", directed by Lasse Hallstrom and based on the book by Joanne Harris
4,424 words (approx. 17.7 pages), 11 sources, MLA, $ 116.95
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Abstract
This paper discusses the history of chocolate and its role in the globalization of food. It provides a brief synopsis of the film "Chocolat", directed by Lasse Hallstrom and based on the book by Joanne Harris. The paper argues that the film uses chocolate as a thematic representation of the human experience of modernization and then describes how it comes to this conclusion.
Table of Contents:
Introduction
Brief History of Chocolate
Brief Synopsis of the Film Chocolat
How Chocolate is the Thematic Link Between Old and New
From the Paper
"Josephine, the battered wife undergoes a transformation as well, a defining rebirth, as the new owner of the cafe, which she renames for Armande and after her husband has fled when the Conte tells him to leave, after his admission of starting the fire on Roux's boat, and potentially murdering innocent souls in the name of the Comte. (Mcfadden 126) The value of tradition, based upon Vianne's history and beliefs are demonstrated by her utilization of 2,000 year old recipes as well as by the grandeur of her chocolaterria, decorated with Mayan symbolism and relics. The theology and symbolism of chocolate comes full circle within the film as it works its magic, through Vianne's hands and transforms the drabness of the village to a colorful and free representation of the loving and human nature of faith."
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WWII and Movies, 2007.
This paper explores how World War II affected movies in America.
1,800 words (approx. 7.2 pages), 6 sources, MLA, $ 57.95
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Abstract
The paper presents the thesis that World War II caused the movies and Hollywood to produce pro-war films during the period before the US joined the war and propaganda films at the height of the war. The paper shows how the movie industry was in support of America's war against Nazi Germany and Imperial Japan. The paper discusses how Hollywood encouraged the war and then worked to positively bring the realization that the war was a fight between good and evil and its soldiers were heroes and defenders of democracy.
Outline:
Introduction
Thesis Support 1
Thesis Support 2
Thesis Support 3
Conclusion
From the Paper
"Moving pictures, the cinema or films are some of the terms used to describe the movies. America has been known to give birth to the motion picture industry and as such, Hollywood becomes the Mecca not only of the American film industry but set the worldwide standard as well. Hollywood and the movies have become part and parcel of the American culture and as years or decades go by, the U.S. film industry mirrored what is happening in America at a particular period and produced films that captured the lives and histories of the time. One of the pivotal moments of the American film industry is during World War II when the film genre produced pro-war support themed movies."
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Silent Films and Talkies, 2007.
A discussion of how much the transition to sound changed the nature of films, according to Scott Eyman, in his essay "The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930."
924 words (approx. 3.7 pages), 4 sources, MLA, $ 32.95
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Abstract
This paper discusses the effects on Hollywood of the transition from silent films to films with sound. It analyzes the transition from the point of view of film historian Scott Eyman, in his essay "The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930." The paper discusses Eyman's theories based on certain films that have been produced since sound was introduced.
From the Paper
"Eyman may be correct that technology changed the financial dynamics of the studio systems, made filmmaking more expensive, and required the import of new actors and talent to Hollywood. Individual actors whose voices clashed with their on-screen personas, like John Gilbert saw their stars diminish, or end. But the nature of the cinematic medium as a visual medium remained constant, even after the introduction of sound. Of course, this is not to deny the presence of films like screwball comedies that were purely the production of the talkies, or the presence of some staged plays for film that became popular. But for the most part, audiences still come to films to see a good show, unlike the theater, where they expect more dialogue and character development, and less technology and spectacle."
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"The Elephant Man", 2007.
An analysis of the film "The Elephant Man," directed by David Lynch, as viewed by the philosophy of Anita Silvers in her essay "From The Crooked Timber of Humanity, Beautiful Things Can Be Made."
898 words (approx. 3.6 pages), 2 sources, MLA, $ 31.95
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Abstract
This paper discusses the film, "The Elephant Man," directed by David Lynch. It specifically analyzes the film according to the philosophy of Anita Silvers in her essay "From The Crooked Timber of Humanity, Beautiful Things Can Be Made." The paper describes Silvers' view that the standards of symmetry and wholeness should be rewritten as a standard for human health and discusses how this relates to the themes in "The Elephant Man."
From the Paper
"In her essay, "From The Crooked Timber of Humanity, Beautiful Things Can Be Made," Anita Silvers makes a profound call that the standards of symmetry and wholeness be rewritten as a standard for human health in a way that is sounded like a clarion call throughout the film "The Elephant Man." Merrick's unique plight is not simply tragic, rather his presence elevates the lives of others, and shows the valuable moral contribution that persons with so-called disabilities can make to society. Because of Merrick's unique presence in their lives, the cold medical professionals gain insight into the need to view human subjects and illness in a mode that is not simply mechanical, but humane and compassionate. The concept of how health is understood in moral terms becomes destabilized because of Merrick's overwhelming, instinctive morality, based upon his skillful perception of his situation."
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"The Other Sister", 2007.
An analysis of the portrayal of mental retardation in the movie "The Other Sister".
829 words (approx. 3.3 pages), 3 sources, MLA, $ 29.95
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Abstract
This paper examines how the film, "The Other Sister", portrays a developmentally delayed woman named Carla Tate who has been extremely sheltered for most of her life, by both her family and her educational system. It discusses how the film suggests that Carla is a highly functioning and compassionate woman, despite her disability. It also discusses how despite the positive portrayal of mentally challenged individuals, critics have felt that the film's treatment of the condition is very patronizing.
From the Paper
"The main problems, the film suggests, lie not with Carla's inherent abilities but the ways that Carla's family has reacted to her disorder, with a near-pathological sense of over-protectiveness. Because the family has another child of normal intelligence, the family tends to constantly measure Carla's functionality against their older daughter, who is highly capable, intelligent, and gets married over the course of the film. This family tension underlines the fact that mental retardation does not always have a clear, organic cause. Thus the fact that mentally challenged individuals often exist with in the context of a so-called normal home means that parents often have difficulties understanding what their child is or is not capable of achieving or understanding, in comparison to themselves or other siblings."
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'Hamlet', 2006.
A look at the female characters in Lawrence Olivier's 1948 production and Kenneth Branagh's 1996 film version of 'Hamlet'.
1,044 words (approx. 4.2 pages), 7 sources, MLA, $ 36.95
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Abstract
This paper reviews and discusses the contrast of the female characters in "Hamlet", as portrayed in two 20th century film productions: Lawrence Olivier's 1948 production and Kenneth Branagh's 1996 version.
From the Paper
"Shortly after this sequence, Hamlet bursts into his first soliloquy, and through this "textual transposition," placing the Ophelia scene immediately after the first soliloquy...a direct link is created between Hamlet's sense of sexual betrayal in Gertrude's "dexterous posting" between "incestuous sheets" with his uncle Claudius and Ophelia's refusal of him as a chaste or sexual lover. (Dawson 178; "Hamlet" I.2) The former seems likely, given that the actress who plays Ophelia seems so innocent, blond and docile to her father and brother's wishes, in contrast to the young, sensual brunette Gertrude. Oliver's Gertrude hardly seems old enough to have a mature son, although she also seems anything but innocent in the caressing way she behaves towards Oliver, even at the outset of the film."
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"Badlands" versus "True Romance", 2006.
Compares the movie, "Badlands", directed by Terrence Malick, with "True Romance" directed by Tony Scott.
1,763 words (approx. 7.1 pages), 5 sources, MLA, $ 56.95
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Abstract
This paper reviews, discusses and compares the movie "Badlands" directed by Terrence Malick, and the movie "True Romance" directed by Tony Scott. According to the paper, both movies tell the story of outlaws that are bound together through the bonds of love and violence.
From the Paper
"The great naivete in the perspective of Kit and Holly was deliberate upon director Terrence Malick's part. "My influences were books like The Hardy Boys, Swiss Family Robinson, Tom Sawyer, Huck Finn--all involving an innocent in a drama over his or her head. I didn't actually think about those books before I did the script, but it's obvious to me now. Nancy Drew, the children's story child detective--I did think about her," he said in a 1975 interview with Beverly Walker of Sight and Sound, shortly after the film's success at the box office. (Walker, 1975, pp. 82) The road provides them with a sense of freedom, a place where they can be free to be children, but also free to kill."
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Made-for-Television Movies, 2006.
A discussion regarding made-for-television movies and how they affect the home-viewing market.
1,511 words (approx. 6.0 pages), 2 sources, MLA, $ 49.95
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Abstract
This paper discusses made-for-television movies and the impact they have had or not had on the cinema, and home-viewing market. The paper further examines the role of the producer, and discusses the differences between theatrical release producing and television producing. The paper also takes a look at the success of the telemovie on pay-TV as opposed to free-to-air broadcasts.
From the Paper
"In terms of the budget, there are large differences between a feature film and a made-for-television film. The cost of "blockbuster" feature films keeps spiraling upwards - at last count, the most expensive films are hovering around the 200 million dollar mark just to produce. Made-for-television productions (depending on quality) will rarely breach the three million-dollar mark, with some coming in as low as 750,000 USD. These costs are kept low by short shooting times, with the average shooting time for a 2-hour Movie of the Week a mere three to four weeks in length with a 30-day preproduction time. A high-profile undertaking, such as HBO's Angels In America, or a film shot overseas, may touch the six million mark, but such cases are the exception rather than the rule. Considering that the major networks who finance these undertakings are reporting combined revenue of up to twenty billion dollars a year, it is easy to see why made-for-television movies are a cheap, attractive option for them. "
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The Double, 2006.
A review of the movie, 'Superman'.
2,191 words (approx. 8.8 pages), 0 sources, $ 68.95
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Abstract
This paper reviews and analyzes the legendary movie, 'Superman'. According to the paper, the movie explores the nature of the double, with the character of Clark Kent who transforms into Superman. The paper further discusses how the primary romantic storyline of 'Superman' is basically built on a lie.
From the Paper
"Kent turns humility into an art. He carefully crafts his Kent persona so that not even Lois Lane (Margot Kidder) can detect the truth. Because Superman is actually his real self, Kent does not suffer overly much when he can only win over Lane in his cape. Ironically, his Superman uniform is not the disguise; the Clark Kent business suit is. Kent's awkwardness partly stems from his having to suppress his whole identity. Yet his double is the only part of himself he can reasonably show to the world without causing any cataclysmic disruptions or raising eyebrows. Furthermore, Superman's double is genuine, a natural product of his sociological development within an ordinary American salt-of-the-earth family. His double did not arise from psychological trauma, self-hatred, or any other pathological reason. Quite the contrary, his need to craft a double identity stems from his desire to be a superman while walking among the people. Kal-El could have used his unearthly powers for self-aggrandizement but instead followed his father's advice and wisdom."
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"Shoah", 2007.
A review of Claude Lanzmann's film about the Holocaust, "Shoah".
2,849 words (approx. 11.4 pages), 3 sources, MLA, $ 84.95
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Abstract
The paper relates that "Shoah" consists of many hours of interviews with three categories of characters: survivors, witnesses and perpetrators. The paper explains that, in order to depict the historical reality, the director takes the survivors back to the places where their story happened. The paper relates that there are four places which concerned the director: Chelmno, Treblinka, Auschwitz - Birkenau and Warsaw ghetto. The paper maintains that Lanzmann succeeds in passing down a message about man's capacity for cruelty to his fellow man to the coming generations and in publicizing the Jewish tragedy around the world.
From the Paper
"Shoah consists of many hours of interviews with three categories of characters: survivors, witnesses and perpetrators. In order to depict the historical reality, the director takes the survivors back to the places where their story happened. He makes them face the places where the terror took place. The particular medium of the documentary film work describes the historical reality of the holocaust through people who lived "shoah" , history is told by the people who survived, witnessed or people who were directly involved in conducting the holocaust."
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