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"Hamlet" on Film, 2007.
A review of the 1990 Franco Zeffirelli film of William Shakespeare's "Hamlet."
1,081 words (approx. 4.3 pages), 1 source, MLA, $ 37.95
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Abstract
This paper discusses the depiction of Hamlet in Franco Zeffirelli's cinematic version of William Shakespeare's "Hamlet." It describes how our view of various relationships in the play are altered due to Zeffirelli's use of imagery throughout the film. The paper concludes that Zeffirelli produced a positive introduction to the play of "Hamlet," however that the viewer is left with memories of the images used, rather than the words of Shakespeare's play.
From the Paper
"Gibson's Hamlet is thus an active, sexualized man in a pared-down version of the tragedy, as envisioned by the director Zeffirelli. Zeffirelli cuts any speech that can be reduced to images, making even the editing of the film seem as unreflective as its central character. Also, gentle and potentially contrasting aspects of the characters that remain are cut as well. In the play, a shaken Ophelia goes to Polonius to verbally reports Ophelia's encounter with Hamlet after Hamlet has first seen the ghost. By dramatizing the scene, this places the focus on Hamlet's emotions, rather than Ophelia's inability to articulate herself, and Hamlet's relationship with Ophelia rather than the girl's frightened difficult relationship with her own father. Overall, what little chance she is given to speak, Helena Bonham Carter's Ophelia seems strong and beautiful, a fit adversary for Hamlet in the "nunnery" scene, which also makes his abuse of her seem less frightening and unjustified than it seems on paper."
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"Marnie", 2007.
An analysis of the Alfred Hitchcock film "Marnie," from a Freudian, Marxist and feminist perspective.
837 words (approx. 3.3 pages), 1 source, MLA, $ 29.95
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Abstract
This paper discusses Alfred Hitchcock's 1964 film, "Marnie." The paper describes the ways in which the film lends itself well to different types of film criticism, including psychoanalytic, Marxist, and feminist criticism. The paper particularly focuses on the character of Marnie and describes her from a Freudian, Marxist and feminist perspective.
From the Paper
"In terms of Freudian psychoanalytic criticism, Marnie herself would be the subject for analysis, though Mark might be analyzed as well. Marnie is a thief, and as the film progresses, it is also clear that she hates men and steals in part as a way of getting even with them for something not stated overtly until the end of the film. She is forced to marry Mark in order to protect herself, but she would be completely frigid even without the added element of coercion. As she begins to care for him, she still remains frigid and is unable to change or to recognize the reasons why."
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Bram Stoker's "Dracula", 2007.
A review of the 1992 film version of Bram Stoker's "Dracula".
2,431 words (approx. 9.7 pages), 0 sources, $ 74.95
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Abstract
The purpose of this paper is to examine the formal-aesthetic value and social-ideological value of the 1992 film, "Dracula", directed by Francis Ford Coppola. The discussion encompasses different elements of film, including photography, movement, editing, sound, ideology and mise en scene.
Outline
The Love Story
Sexuality
Music
Foreign Language
Silhouetting, or Shadow Puppets
Narrative
Star Power
Dark Tones and Shadows
The Color Red
Studio Shooting
Movement
Depth in Photography
Editing
From the Paper
"The romantic interest between the Count and Mina is not the only romantic elements to the movie- there is also a subplot concerning the suitors of Lucy, Mina's friend and confidant. She is sought by three suitors of varying degrees of breeding and social status (an English aristocrat, an English psychiatrist, and a Texan cowboy). We see from one scene to the next how Lucy entices each man in turn, applying all of her girlish charm. The suitors love her purity, innocence and beauty, and Lucy represents a classical maiden, loved and desired by all. The Texan expressed those qualities of purity by describing her as "fresh as a spring rain..." At the same time, we see her tantalizing all three men at the same time, enjoying the sexual power that she has over them. "
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"The Bitch is Back", 2007.
An analysis of the book, "The Bitch is Back: Wicked Women in Literature", by Sarah Apleton Aguiar.
1,763 words (approx. 7.1 pages), 5 sources, MLA, $ 56.95
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Abstract
This paper discusses the book "The Bitch is Back: Wicked Women in Literature", by feminist writer Sarah Apleton Aguiar. It discusses her position that for a while the bitch was banished from feminist fiction as it became politically incorrect to create evil women in literature. The paper describes the roles of women in literature from as far back as the wicked stepmother in Cinderella, to more modern films and novels.
From the Paper
"It could be argued that she is a new representation of an old, basic type in fairy tales--the stepmother who hates and resents her stepchild. It helps to consider the historical context of the stepmother in fairy tales in order to understand her. Mothers often died in childbirth, which left the home motherless. A new wife, who married to earn a living, agreed to raise the surviving orphans. Sellers (2001) argues that the stepmother is really a victim herself of patriarchy. Be that as it may, the stepmother is self-absorbed and heartless. She interprets everything the stepchild does maliciously, as though the child were out to ruin her. The fairy tale stepmother also wants to be certain that her own child reaps all the material advantages and inherits the father's money. She wants to turn the father against his own child. The twist is that in Ordinary People, Beth's "own" child, Buck, is dead. Both boys were in the sailboat when the storm came up, but Buck "let go." Conrad, on the other hand, hung on and lived. So she hates him for it. Her own child is dead, and she's stuck with the stepchild."
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"Picturing Japaneseness", 2007.
A review of Chapter 7 of Darrell William Davis' "Picturing Japaneseness: Monumental Style, National Identity, Japanese Film".
1,009 words (approx. 4.0 pages), 0 sources, $ 35.95
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Abstract
This paper looks at how in Chapter 7 of Darrell William Davis' "Picturing Japaneseness: Monumental Style, National Identity, Japanese Film", Davis analyzes the film "The Abe Clan" (1938) in terms of its complex portrayal of ritual suicide.
From the Paper
"The film can be read to show how historical appropriation can be used as a tool of propaganda of the state. The film is not primarily interesting for its accuracy in its depiction of feudal Japan. Rather, the potency of the film for viewers of the 1930s was its ability to move the audience believe in a myth, what Davis calls a canonized view of feudal Japanese ethics. The surface reading of the film is a romanticized, simplistic and beautiful vision that celebrates the virtues of the hierarchical family system and the worship of a daimyo that functions as a stand-in for the Japanese figure of the Emperor, for whom ordinary Japanese soldiers and civilians would later, in wartime propaganda, be encouraged to die for. "
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Film: "Gladiator", 2006.
This paper discusses Plato's concept of heavenly love versus common love as presented in the film "Gladiator".
1,335 words (approx. 5.3 pages), 2 sources, MLA, $ 44.95
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Abstract
This paper explains that, in Plato's "Symposium", Pausanias describes common love as being about the body and not the soul, dishonorable rather then honorable, and based on selfish desires; whereas, heavenly love is more pure, for honorable reasons, of the soul and intellect and long-lasting. The author points out that, in the film "Gladiator", the character Maximus represents heavenly love because he loves with honor focused on the soul and not the body; therefore, he receives the same kind of love in return, receiving honorable love that cannot be destroyed. The paper relates that the film's character Commodus represents common love because he gives love dishonorably, is selfish and does not love the soul, thereby, he receives the same kind of short-term love in return.
From the Paper
"Another important point is that the love that Commodus receives is only given as a service to him. The people of Rome only show him any love for their own reasons or for what they have to gain. The same is not true for Maximus. In loving Maximus, the people have nothing to gain. They simply become inspired to love him without being required to and without having any reason to. This means that the love that Maximus receives is honorable. In contrast, the love that Commodus receives is not honorable since it is only given for selfish reasons."
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"Strangers on a Train" and "Vertigo", 2007.
This paper argues that "Strangers on a Train" and "Vertigo" are the quintessential Hitchcock films.
3,304 words (approx. 13.2 pages), 4 sources, APA, $ 94.95
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Abstract
This paper examines the universal and enduring appeal of Alfred Hitchcock's films. The author defines two films in particular -- "Strangers on a Train" and "Vertigo" as the quintessential Hitchcock films. The author contends that although Hitchcock's films may no longer have the capability to shock their audience, they feature several recurring plot devices that capture the imagination. These plot features include an ingenious criminal scheme, the use of doubles, a guilty person who manages to cast suspicion upon a non-guilty person, and an amoral person being punished. The films "Strangers on a Train" and "Vertigo" demonstrate Hitchcock's best use of those devices.
Outline:
Introduction
Discussion
Conclusion
From the Paper
"Alfred Hitchcock's thrillers, though filmed half a century ago, have maintained their ability to keep an audience enthralled. Part of the initial impact of Hitchcock's thrillers is that they were groundbreaking, and they offered a vision of the ugly side of humanity that had not been explored in cinematic media. However, a modern audience does not experience the same shock at those revelations that the original audience experienced. Therefore, the permanency of the movies' appeal must be attributed to something besides the shock factor. Many attribute the lasting greatness of Hitchcock's thrillers to Hitchcock's use of several important cinematic themes."
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"Crash", 2006.
A review of the film "Crash" starring Matt Dillon and Sandra Bullock.
3,378 words (approx. 13.5 pages), 6 sources, MLA, $ 96.95
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Abstract
This paper discusses how the film "Crash" is more than just a collision of cultures. The paper also takes a look at reasons for "Crash" winning an Oscar for "Best Picture", some believing that it was due to the film's theme of a realistic urban clash of racial conflict and community chaos.
According to the paper, this film clearly grabbed the issue of racial intolerance and cultural stereotyping by the neck, and shook it.
Outline:
Introduction
The Characters in the Movie
The Nuts and Bolts of the Movie -- Lighting
The Nuts and Bolts of the Movie -- Direction
The Nuts and Bolts of the Movie - Music
The Nuts and Bolts of the Movie - Script
The Nuts and Bolts of the Movie - Cinematography
The Nuts and Bolts of the Movie - Action
The Nuts and Bolts of this Movie - Editing
The Nuts and Bolts of this Movie - Casting
From the Paper
"Dillon is a total prejudiced, hateful jerk towards the couple he stops and towards a black woman who works for the HMO that his father is a member of, and yet Dillon is very kind to his suffering father; "we understand why he explodes at the HMO worker," Ebert writes. Dillon "victimizes others by exercising his power, and is impotent when it comes to helping his father." But then Haggis maneuvers the story so "the plot turns ironically on itself," Ebert continues; both Dillon's character and the young cop who despises Dillon wind up saving the lives of the black couple (a TV director and his wife) who were stopped (and harassed) without justification earlier in the film. "Is this just manipulative storytelling?" Ebert wonders."
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"Dune" and "The Matrix", 2007.
A comparison of the religious themes in "Dune" by Frank Herbert and "The Matrix," directed by Andy Wachowski and Larry Wachowski.
1,585 words (approx. 6.3 pages), 2 sources, MLA, $ 51.95
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Abstract
This paper compares and contrasts some of the themes in the novel "Dune" by Frank Herbert and the film, "The Matrix," directed by Andy Wachowski and Larry Wachowski. It specifically focuses on the several religious themes and parallels that can be seen in both works, such as the ideal and work of the messiah figure. It then looks at lesser thematic ideas such as the advances of scientific manipulation and predestination.
Table of Contents:
Religion
The Messiah and the Prophesy
From the Paper
"The most prominent parallel in the two works, apart from the generally religious themes, is the specific messianic reference as it relates to Paul Artreides and Neo. Like Neo, Paul is a reluctant savior, but he accepts his role for the good of all. Unlike Neo, however, Paul Artreides is aware of his status as savior from the beginning of the novel. This knowledge comes to him through his gift of precognition, passed on as a Bene Gesserit gift from his mother. While he attempts to resist his destiny in order to prevent the resultant suffering and war that he can foresee, his destiny nonetheless finds him."
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Social Control Theory, 2007.
An analysis of the character of O-Ren Ishii from "Kill Bill Vol. 1," in the context of social control theory.
730 words (approx. 2.9 pages), 1 source, MLA, $ 26.95
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Abstract
This paper analyzes the character of O-Ren Ishii in the film "Kill Bill Vol. 1," directed by Quentin Tarantino. It specifically looks at O-Ren's character as applied to the context of social control theory and discusses the propensity that some people appear to have to commit crimes. The paper analyzes whether this trait is in-born or developed and discusses its theories in relation to the depiction of the character of O-Ren.
From the Paper
"O-Ren's character, then, displayed the propensity of an individual to engage in criminal activities once exposed to this environment at an early age. Growing up as a prostitute and relating with other members of organized crime groups, O-Ren's moral values were radically different from society's norms. She did not develop any value for life, thus making it easy for her to assassinate and kill people; in fact, she has deep respect for killing, to the extent that she would prefer fighting fairly against The Bride/Black Mumba in order to prove that she is indeed a skilled assassin/killer."
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Film: "The Lion in Winter", 2007.
This paper discusses the historical context and accuracy of the
film "The Lion in Winter" (1968), directed by Anthony Harvey and based on the original stage play by James Goldman.
3,050 words (approx. 12.2 pages), 10 sources, MLA, $ 89.95
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Abstract
This paper describes the great historical epic film,"The Lion in Winter" about the later life of Henry II Plantagenet, King of England, from 1142 to 1189 A.D, when Henry was embroiled in a family dispute concerning his successor to the throne of England in 1183. The author believes that, because of its realistic portrayal of the characters, plot, setting and time frame, this film stands out as one of the best historical epics produced during the 1960s. The paper stresses that (1) the portrayal of the Plantagenet family is considered to be a true representatation of the actual persons and (2) the location of the film is in or near the King's residence in England.
Table of Contents:
Introduction
Filmic Narrative
Historical Context
Historical Accuracy
Critical Assessment
From the Paper
"Regarding Henry II's family, it could be said that within this often turbulent and violent arena, "war was their pleasure, but marriage was their business." This war aspect of the Plantagenets was based in part on Henry's complete unwillingness to share his special heritage with his wife and sons, a heritage of the Anglo-Saxon line via his grandmother Matilda and his father as the hereditary Count of Anjou. Also, through his marriage to Eleanor, Henry II laid claim to Aquitaine and other areas of France, including Brittany, Normandy, Gascony, Toulouse, Maine and Poitou, all of which made up the Angevin Empire."
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"Lord of the Rings", 2007.
A discussion on the movie, "Lord of the Rings: The Fellowship of the Ring" directed by Peter Jackson.
1,154 words (approx. 4.6 pages), 4 sources, MLA, $ 39.95
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Abstract
This paper compares and contrasts the Frodo and Sam, characters from Tolkien's works "The fellowship of the Rings", as represented in the film. It explores their relationship, and their importance within the movie as a whole.
From the Paper
"Frodo himself, the protagonist of The Lord of the Rings trilogy (both the Tolkien novels and all three film versions) once Bilbo hands over the ring to him, is modest; soft-spoken, and unassuming, like other Hobbits, but nevertheless clearly possesses exceptional intelligence; internal wisdom; and good character: qualities that serve him well (and prove necessary) on his journey into temptation and danger . exceptional character. Frodo is also a friend of the Elves, knowledgeable in their language and a lover of their songs. Like Bilboor any other good Hobbit Frodo loves good food and simple comforts, but he is also thoughtful and curious and has a wisdom and strength of character that set him apart."
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Multiculturalism and the Canadian Documentary, 2007.
This paper discusses the issue of multiculturalism in Canadian film.
2,435 words (approx. 9.7 pages), 6 sources, MLA, $ 74.95
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Abstract
In this article, the writer points out that Canadian documentary directors have used the genre to effectively illustrate facets of multiculturalism and style that would be lost in the non-documentary film-making world. The writer discusses and compares three films in this paper. The writer describes that Simcha Jacobovici and Roger Pyke present a striking memorandum that illustrates the pain and struggle of religious persecution in the film 'Expulsion & Memory: Descendants of the Hidden Jews'. Similarly, the writer looks at Alanis Obomsawin's 'Richard Cardinal: Cry from the Diary of a Metis Child'. The writer also discusses 'Shooting Indians: A Journey with Jeffery Thomas' by Ali Kazimi that quietly illustrates one man's struggle to change the stereotypical image of Native cultures and people in North America, while also reflecting on the relationship of culture as the director shares his cultural background. The writer concludes that through different uses of the documentary genre, all three films effectively use the factual background to establish strong views of multicultural identity.
From the Paper
"As a film style, documentaries are tied to stricter guidelines than other films because they must adhere to fact to some respect. While many filmmakers might see this as a problem or hurtle, well-made documentaries take advantage of this factor as strength. American director St. Clair Bourne explains that the making of a fictional movie is much more demanding because the background and context must all be created from scratch; he finds documentaries to be more about interpretation and bringing out the real story that already exists within a context. This is the case with the three films discussed here, though each film faced different challenges in creation, and succeeded in different aspects. Each of these films takes the raw material of the history involved and shapes it to create a story with whatever intentions exist from the directors."
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Mythical Opposition in Western Film, 2007.
An analysis of John Belton's theories of the western movie genre, focusing on mythical opposition of nature and characters in the movie "Shane".
1,615 words (approx. 6.5 pages), 2 sources, MLA, $ 52.95
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Abstract
This paper analyzes the western movie genre. The paper specifically examines John Belton's theories in relation to how nature and the main character are engaged in mythological opposition using the 1953 movie "Shane." The paper describes the movie and discusses how the various scenes add to the theme of mythical opposition.
From the Paper
"Every good western movie has a final showdown. The final showdown symbolizes the final battle between the two opposing forces of the movie. In this case the Ryker gang symbolizes chaos and stands in the way of the march of civilization. The Ryker gang is as untamed as the forces of nature. In the final showdown of Shane the Ryker gang and the homesteaders Knight in shining armor come face to face. The scene takes place in a saloon and Shane is at first outnumbered. He stands very little chance of success, yet it feels compelled to continue because he feels that he must win this one for the homesteaders. The Ryker gang cannot prevail and continue with their reign of terror. Shame faces an enemy of mythological proportions and yet somehow manages to overcome them in the final scene."
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"The Importance of Being Earnest", 2007.
A comparison of the effectiveness of Oscar Wilde's play "The Importance of Being Earnest" with the film directed by Oliver Parker.
1,630 words (approx. 6.5 pages), 2 sources, MLA, $ 53.95
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Abstract
This paper discusses how well the 2002 film directed by Oliver Parker, "The Importance of Being Earnest" dramatizes the original play written by Oscar Wilde. The paper describes the basic plot of the play and then discusses instances where the plot is not able to be played effectively in the film. It discusses the reasons why these acts are less effective in film than in the dialogue of the play and why certain imagery in the film does not work well.
Table of Contents:
Introduction: Synopsis
Act I: Bunbury, Interrogation and Refusal Scenes
Act II: An Interjection Of Ballooning And Flashbacks In The Cicely's Education, Diary Writing, And Fight Scenes With Gwendolyn
Act III: The Introduction of Archery, Unraveling, and Christening
Conclusion--Summing Up
From the Paper
"The drive to physicalize the verbal wit of the Wilde play is made further evident in the Act II war of words over Gwendolyn and Cicely's tea party, where the jazzy music on the soundtrack and the clattering cutlery draw the viewer's attention away from what the characters are actually saying that is clearly not in the play. (Fifth difference) Finally, the film's dramatization of Act II includes a ballooning sequence that seems completely at odds with the plot, and serves only to show Algernon in different attire than what Algernon wears in the drawing room that is not in the play. (Sixth difference) While it is helpful to show the characters assume different costumes in different locations, just as they assume different personas, the activity is so strange to the eye; it is hard to focus on exactly what is occurring on the level of dialogue during the sequence."
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