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The CSI Effect, 2006.
An analysis of the impact of the CSI Effect on the judicial system.
3,891 words (approx. 15.6 pages), 8 sources, MLA, $ 106.95
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Abstract
It is often said that art imitates life, but the onslaught of televisions shows that deal with crime scene investigation have jurors expecting for life to imitate art. This is described as the CSI Effect named after a popular CBS television series. This paper explores the impact that the CSI effect has had upon jurors and the judicial system and also investigates the impact of the CSI effect on prosecutors. It also explores the some of the positive factors that have come about as a result of the CSI Effect.
Outline
Introduction
CSI Effect
Pressure Placed On Labs and Forensic Experts from Jurors Suffering From the CSI Effect
Positive Impact of the CSI Effect
Coping with the CSI Effect
Conclusion
From the Paper
"Although the creator of CSI asserts that the technology and types of forensic evidence shown on the television program are not realistic, there are many who disagree. In fact some experts that have worked on the show and other similar shows have quit because they believe that the shows are detrimental to the judicial system and may influence potential jurors in a negative way (Botluk & Mitchell (2005). In addition, some experts believe that the shows can unknowingly be teaching criminals how to get away with crimes (Botluk & Mitchell (2005). For instance, a criminal may watch the show and learn how crime scene investigators find perpetrators."
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"Groundhog Day", 2006.
A look at some of the psychological issues in this film starring Bill Murray.
1,118 words (approx. 4.5 pages), 4 sources, MLA, $ 38.95
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Abstract
"Groundhog Day," directed by Harold Ramis, is a humorous look at how the main character relives the same day over and over again until he gets it "right". This paper examines how this character, played by Bill Murray, deals with stress and stressors in the move. This paper approaches the film from a psychological perspective.
From the Paper
"One of the coping mechanisms Phil used was suicide as a way out of his problem. That did not work so he had to find another way to deal with his dilemma and his stress. He also uses manipulation as he tries to get to know Rita and make her fall in love with him. He manipulates her day after day to learn everything about her and become the "perfect" man for her. However, he finds that finally this does not work anyway, and he becomes the perfect man by altering his own personality and his own way of thinking."
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"Judgement at Nuremberg", 2006.
An historical review of the 1961 film "Judgement at Nuremberg".
2,900 words (approx. 11.6 pages), 4 sources, APA, $ 85.95
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Abstract
This paper discusses the historical veracity of the 1961 movie "Judgment at Nuremberg", a fictionalized account of the post-World War II Nuremberg Trials. The film focuses on an actual trial of judges who carried out the laws promulgated by the Nazi State. The paper provides an extremely detailed outline of the movie's plot development, delving into an analysis of the characters and their actions and motivations. The paper concludes by examining how the movie parallels -- and deviates from -- history.
From the Paper
"Assigned to the trial as Chief Judge is Dan Haywood (Spencer Tracy), a low profile justice, who by his own admission, was not the original or subsequent choice. The prosecutor is Col. Tad Lansing (Richard Widmark) an "army man" who vows to convict the four ex-German Judges. Defending the accused is Hans Rolfe (Maximilian Schell) who must convince the court that the defendants were acting only for the love of their country. Among the defendants are respected Judge Ernst Janning (Burt Lancaster) who has written several books on law accepted the world over. Lawson accuses the defendants of signing orders for the sterilization of innocent men and the execution of those who opposed to the Reich and the extermination of the Jews. He puts Rudolph Peterson (Montgomery Clift) on the stand as a victim of sterilization. Rolfe manages to expose the pitiful Peterson as mentally challenged. Later Irene Hoffman (Judy Garland) is put on the stand to explain her alleged affair at the age of 16 with an elderly Jew. As his coup de grace, Lawson shows a film depicting the horrors of German concentration camps.
In between the sessions, Judge Haywood strikes up a friendship with Madame Bertholt (Marlene Dietrich) the widow of a former German general, in whose former home the judge is staying. In spite of their differences they begin to grow fond of each other."
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The Motion Picture "Catwoman", 2006.
A paper on the reasons why "Catwoman" was not a successful film.
3,850 words (approx. 15.4 pages), 11 sources, MLA, $ 105.95
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Abstract
This paper examines the reasons that in an age of wildly successful comic-book based movies, such as "Batman" and "Spiderman," "Catwoman" was not a successful movie. The author examines such issues as the writing of the movie, technical editing issues, and special effects. The paper contends that the movie is a cinematic disaster despite an all-star cast, a high budget, and good subject matter.
Table of Contents:
Executive Summary
I. Introduction
II. Situational Analysis
A.SWOT External
1. Economy
2. Society
3. Technology
4. Industry
B.SWOT Internal
1. Capital
2. Personal
3. Product
III. The 4Ps of Marketing
IV. Recommendations
From the Paper
"Catwoman, directed by the French Director Pitof, makes a climbs-down with the audience to the point of starting when Joel Schumacher puts rubber nipples on the bat suit and treated his fetish for neon-lit sets. Catwoman is Batman and Robin once again excitedly crapping over all the well-treasured achievement of 'serious' comic book movies and approaching with full vigor. Taking into account the marketing aspect, it is an easy thing to put the blame on the actress on Halle Berry due to the awesome debacle of a film. This is due to the fact that she is the one who is running around the 'nameless computer-generated city" draped in an ill fitting leather attire and doing the role of embarrassing scenes in whish she gulps down 6 cans of Tuna fish or at times she is crazy for a catnip. To discharge this role, Berry was paid millions. The audience rightly was not prepared to accept this rubbish. The true wedgie in the crotch of Catwomen is director Pitof, who had experience with special effects and Hollywood hack, who has a difficult time in feeling confident with the obsolete filmmaking devices such as "acting, "drama", & self-control for a long period to really make a movie out of this Bob Kane created character. (Catwoman: www.filmfodder.com)"
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Darkness in War, 2006.
A review and comparison of the movie "Apocalypse Now Redux" and the Joseph Conrad book "Heart of Darkness".
1,020 words (approx. 4.1 pages), 2 sources, APA, $ 36.95
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Abstract
This paper examines the shared central theme of both Joseph Conrad's book, "Heart of Darkness", and Francis Ford Coppola's film, "Apocalypse Now Redux". The paper studies the Kurtz character, who comes to be criticized for continuing to do what he had done previously under army control, but now on his own authority. The paper studies how the other characters react to Kurtz and his ensuing madness. In both the book and the movie, there are numerous possibilities for an endless abuse of power by foreigners in a primitive jungle setting. The paper demonstrates how this setting tends to bend their minds and release their dormant savage energies. For example, the paper shows how in "Heart of Darkness", gun-crazy members of the company are depicted firing wildly upon anything and everything as they progress up the river. Likewise, the paper analyzes how the men in the patrol boat rigid (PBR) in "Apocalypse Now Redux", act even more brutally, due to the circumstances of the Vietnam War.
From the Paper
"The dominant theme of Heart of Darkness is man's vulnerability to his own darker nature and the various ways in which this terrible, savage, proto-man can be unleashed; power, the jungle, "the Company," all serve as catalysts for the emergence of this hidden, voracious id-thing within us all, most realized in Kurtz. In Apocalypse Now Redux, Coppola is right on target in exploring this theme, his choice of Viet Nam in the sixties providing all the requisite elements: madness, power, the jungle, and "the Company" are all present, the latter being represented by the United States (US) Army, or perhaps the USA as a whole. This last touch is ingenious, as it calls up a whole series of speculations regarding the various forms of imperialism. In Conrad, set at the turn of the century, the imperialism is traditional, overt. In Coppola, the US presence is just as overt, yet the pretense upon which it is based is more ideological, geopolitical."
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Alfred Hitchcock, 2006.
This in-depth paper analyzes the film techniques of one of America's greatest filmmakers and directors, Alfred Hitchcock.
3,058 words (approx. 12.2 pages), 6 sources, MLA, $ 89.95
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Abstract
This paper details Hitchcock's unique talent for drawing the audience into his characters' thoughts, actions and emotions. This paper focuses primarily on three of the director's films, "Rear Window," "Notorious" and "Vertigo." The writer of this paper delves into Hitchcock's use of the subjective approach which when done correctly lets the viewing audience see into the minds of the characters on the screen. The writer contends and explains how Hitchcock's subjective storytelling and proper camera angles allow the viewer to see the point of view of the characters. This paper analyzes the director's use of subjective cinema which presents an idea in the mind of the character without the need for dialogue while at the same time using a point-of-view shot camera sequence resulting in a build-up of suspense. This paper contends that Hitchcock's use of the subjective approach is a powerful method of filmmaking, even more so than the actual acting. This paper details how the subjective approach along with specific camera angles in "Vertigo" allow the viewers to identify with the protagonist Scottie while the cinematography gives the audience a true sense of the dizziness and fear of falling felt by the character.
From the Paper
"The poison scene with its sequences of Alicia knowing what is happening is another example of the subjective techniques used by Hitchcock. As noted above, the audience has information that even the protagonist does not have. At the start of the scene, the audience knows that Alicia is being poisoned by Sebastian and his mother, because they know she is working for the Americans. The scene also shows the different type of actual camera shots: The establishing shot opens the sequence, frequently an exterior and sets the scene. The long shot (LS), which shows all or most of a fairly large subject (for example, a person) and usually much of the surroundings and extreme long shot where the camera is at its furthest distance from the subject, emphasizing the background."
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Monsters in Literature, 2006.
This in-depth paper analyzes various works of Western literature in which the authors utilize monsters or images of evil to symbolically represent the dark side of humanity.
4,151 words (approx. 16.6 pages), 11 sources, MLA, $ 111.95
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Abstract
The writer of this well-researched paper contends and explains the manner in which the theme of monsters in classic Western literature originates from religious, cultural and linguistic sources. This paper focuses primarily on Mary Shelley's "Frankenstein" and Victor Hugo's "The Hunchback of Notre Dame," both classic romantic novels which clearly depict dark and gothic images. This paper explores Shelley's writing style which illustrates how evil can emerge from the human psyche literally as well as symbolically. The writer discusses and details the similarities in both novels. This paper analyzes Hugo's intention when describing Quasimodo who is slightly more appealing than Frankenstein, albeit Quasimodo's appearance does convey a certain amount of fear. This paper contains several selected portions of text from both novels which are relevant to the specific topic detailed in this paper. The writer also discusses how this particular style of dark writing has evolved in more contemporary and up-to-date works by authors such as Stephen King as well as in films such as "Fatal Attraction" and "Silence of the Lambs."
Table of Contents:
Introduction
Frankenstein: Who Was the Real Monster?
Victor Hugo's Hunchback: An Illustrative Device
Allegory or Entertainment?
Modern Monsters: The Theme Continued
Conclusions
Works Cited
From the Paper
"There is little question that Hugo fully intended Quasimodo to evoke horror in his readers. He creates Quasimodo as a grotesquely deformed, almost non-verbal, and deaf. Interestingly, Hugo assigns the character a friend, if not a creator as in Frankenstein, but as a protector--one who supposedly has the best interests of the monster at heart. This friend, Dom Claude Frollo, ironically on some levels represents the "best" of humanity as is exemplified by his devotion to the Church and a life of God. However, the reader soon sees the irony, as well as the inherent evil of the human heart not in the monster, but in the supposedly "good" human man. This, the reader sees most clearly in the following passage, perhaps one of the most striking in the novel, when Frollo, a supposed beacon of hope and mercy, passes by Quasimodo being tortured by a terrible mob."
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"Heart of Darkness" and "Apocalypse Now", 2006.
A comparative analysis of Joseph Conrad's novel "Heart of Darkness" and the movie "Apocalypse Now".
1,296 words (approx. 5.2 pages), 2 sources, MLA, $ 43.95
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Abstract
This paper examines how both "Heart of Darkness" and "Apocalypse Now" depict the inherent cruelty and devastation of colonialism and imperialism: "the horror, the horror" of hostility, violence, murder, rape, and destruction. It discusses how neither Conrad nor Coppola suggest that any good comes from colonization even if war does permit heroes to emerge and how in addition to the macro-cosmic consequences of colonization, both "Heart of Darkness" and "Apocalypse Now" show how imperialistic practices wreak havoc on the individual and collective psyches of the oppressor and the oppressed.
From the Paper
"Both Coppola and Conrad use nature, notably the jungle, to emphasize the eventual meaninglessness of human activity, to strengthen their portrayals of basic human instincts like anger and fear, and to draw out the differences between the European colonizers and their victims. Especially in Heart of Darkness, the jungle also serves as a means to explain some of the motives behind colonization: the desire to rape natural resources and the symbolic desire to tame wild people. The Africans have been living in "the heart of darkness" for thousands of years; for the European invaders, the jungle is another enemy; it is hostile and they view it as such."
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"Heart of Darkness" & "Apocalypse Now", 2006.
This paper reviews and analyzes both Joseph Conrad's 1902 novel "Heart of Darkness" and Francis Ford Coppola's 1979 film "Apocalypse Now."
1,302 words (approx. 5.2 pages), 3 sources, APA, $ 43.95
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Abstract
This paper details the plot and the main characters of Kurtz and Willard in Coppola's film which focuses on America's involvement in the Vietnam War. This paper also examines the plot and main characters of Kurtz and Marlow in Conrad's novel which depicts the devastation in central Africa brought on by colonialism and imperialism. This paper analyzes the similarities in the characters of Kurtz in both works. This paper discusses the similar endings in both stories in which Conrad and Coppola succeed in offering the reader and viewer a small glimmer of hope. This paper explores the manner in which Coppola and Conrad use nature, primarily the jungle, to depict basic human instincts such as anger and fear. This paper also analyzes Conrad's and Coppola's similar portrayals of the cruelty and devastation of colonialism and imperialism albeit in different parts of the world and in different eras.
From the Paper
"For Conrad and Coppola, colonialism and imperialism destroys the psyches of both the oppressor and the oppressed. In Heart of Darkness and in Apocalypse Now, the protagonists struggle between their sense of duty, loyalty, and obligation with their sense of compassion and sheer disgust. Marlow and Willard both signify the probable state of mind of many American soldiers during the war in Vietnam, and of many European traders during the colonial era. Their illusions shattered by what they encounter in the jungle, Marlow and Willard can nevertheless not completely wrest themselves from their origin and cultural identity. One of the reasons Kurtz is such a legendary figure in both stories is that the man attempted to traverse the worlds. Both Kurtzes suffer immensely as a result, and both come across as being egomaniacal and completely deluded. The Kurtzes simultaneously despise the native peoples and love them, but their love is not borne of respect."
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Film: "Lone Star", 2005.
This paper discusses the film "Lone Star", directed and written by John Sayle (1996), a story about the Texas-Mexico border and its people.
935 words (approx. 3.7 pages), 1 source, MLA, $ 33.95
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Abstract
This paper explains that, in the film "Lone Star", the town of Frontera is inhabited by people from different races includes Mexicans, Mexican-Americans and Native Americans. The author points out that, because of the different races there are a lot of misunderstandings and uneasy relationships perhaps caused by the differences in the peoples' culture thus the diverse races and cultures became the border within Frontera's community. The paper suggests that history can create a burden depending on how the people create things out of what happened in the past. Several long quotations.
From the Paper
"The pictures that John Sayle had drawn in the Lone Star, showing how the peoples' lives, culture, and racial differences, had demonstrated how the people were compelled to live in a troubled community. This was particularly shown in the character of Charley Wade, who was described as a racist and unfair sheriff. However, despite of the racial differences, Tomas Sandoval indicated how the story had also shown that the borders were not barriers between people, but it was the people and from the history, that they live with them that creates barriers between themselves."
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Ron Howard's "The Paper", 2006.
An analysis of the film, "The Paper" and how it depicts issues such as race relations, gender relations and ethnic diversity.
866 words (approx. 3.5 pages), 2 sources, MLA, $ 30.95
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Abstract
This paper examines Ron Howard's treatment of race relations, gender relations and ethnic diversity in his 1994 film "The Paper". Specific examples from the film are cited in order to illustrate Howard's sometimes fair and sometimes stereotypical treatment of each of these social issues and explains that, while the film is an imperfect one that somewhat glamorizes the work of daily news reporters, it does manage to successfully show how politics, gender, and race relations strongly influence the outcome of editorial decisions and journalism in general.
From the Paper
"Ron Howard's 1994 film The Paper exposes the inner workings of a fictitious New York daily newspaper, the Sun. "The Sun: It Shines for All," reads the sign atop the New York Sun's office building. The staff of the Sun is a varied bunch, including protagonist Henry Hackett (Michael Keaton), who is the paper's intrepid Metro Editor, Bernie White (Robert Duvall), the old-school Editor, and Alicia Clark (Glenn Close), the pugnacious Managing Editor. Reporters, including Hackett's wife Martha (Marisa Tomei), also vie for their bylines. In addition to inter-office politics, Howard's film depicts gender relations, race relations, and ethnic diversity. In some cases, the depictions are fair and positive. For example, The Sun's office is diverse, comprised of a range of people of all ages, ethnicities, and backgrounds. However, some of the portrayals of women are unfair, such as Close's character Alicia Clark, a testosterone-driven managing editor who contributes to the belief that women can't be good leaders unless they act like jerks. Similarly, Tomei's character comes across occasionally as the typical nagging pregnant wife whose life goes on hold during her maternity leave and who pressures her husband into taking a job at a competing newspaper."
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Two Literary Lovemakers, 2005.
This paper briefly discusses the parallels between Jane Austen's "Emma" and the film "Clueless" directed by Amy Heckerling.
800 words (approx. 3.2 pages), 2 sources, MLA, $ 28.95
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Abstract
This paper explains that the didactic approach is strong in both Jane Austen's "Emma" and the film "Clueless" because each of the protagonist characters, Emma and Cher respectively, works to help others in her social circle obtain true love without regard for her own need for love. The author points out the similarities in the main characters: Emma is part of the rich, upscale society of a "large and populous village" in nineteenth century England; whereas, Cher lives in rich, upscale Beverly Hills. The paper relates that in both the novel and the film the minor characters work to illustrate the main characters and continue the pace of the storyline.
From the Paper
"Because of their wealth, both Emma and Cher are spoiled, in control socially, and tend to think too highly of themselves. This is a result of the lack of a maternal figure in their lives, as well as their fathers' over-indulgence. Cher has everything a teenage girl could want: money, her own Jeep, a huge wardrobe, et cetera. Like a lot of girls, she spends a large amount of time and money at the mall; however, she spends hundreds and thousands of dollars on her clothes, not the kind of money a typical teenager would spend."
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Gibson's "Passion of the Christ", 2006.
An analysis of Mel Gibson's controversial film, "Passion of the Christ".
4,366 words (approx. 17.5 pages), 5 sources, MLA, $ 115.95
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Abstract
This paper summarizes and analyzes Mel Gibson's movie "Passion of the Christ", explaining the film's theological, historical and artistic elements. The paper also explains that, while each of these elements are already controversial by themselves, in combination made the film even more prone to controversy.
From the Paper
"In the earlier category are moments like that in which Jesus falls and then speaks to his mother telling her that he will make "all things new." This quote is out of context, coming from considerably later in the Bible. The point is not that Jesus actually made all things new at this historical moment, but rather than Gibson wishes the audience to know that the purpose of this suffering is to bring about a state of newness and grace -- and not having time to make a film of the entire history of Christianity, he moves this vital point into the narrative, making it prophetic rather than active."
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The Forces of Nature, 2006.
This paper analyzes the power of nature in Robert Zemeckis' film "Cast Away" and Stephen Crane's novel "The Open Boat."
1,015 words (approx. 4.1 pages), 2 sources, MLA, $ 35.95
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Abstract
The writer of this paper examines the plots and main characters in both works while detailing the various similarities. Both stories revolve around the struggle to survive, both within and against nature, which becomes a dominant character in both respective tales. The writer contends that Crane's novel is naturalistic, as it describes circumstances where man learns the true power of nature. The same holds true for "Cast Away," which focuses on one man's survival against the elements of nature. This paper explores how both the main characters in each story are at first angry and defiant towards nature, yet within time, both become respectful and resigned to its forces. This paper discusses the powerful magnitude of the ocean in both works, while also detailing the fact that nature pays no attention to time, which seems to go by with agonizing slowness.
From the Paper
"In both works, time, of which nature pays no heed, goes by with agonizing slowness. Nature, after all, is indifferent to any of humanity's temporal, spatial, or physical needs, and reminds characters in these works of this often. The ordeal of "The Open Boat" is shorter than that of Cast Away, only one night as opposed to four years, but to the trapped men on the open sea, it feels interminable. They spend the night merely enduring their fate, guessing if someone has seen them from shore. In Cast Away, Chuck, in his pre-island life at FedEx, often told fellow employees, "Time is our enemy." Once alone on the island, however, it becomes Chuck's enemy (but eventually, his friend) in whole new ways. In both works, nature takes command of time, indifferent to human needs. Chuck initially spends his days just learning to survive."
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Organized Crime and the Catholic Church, 2006.
This paper analyzes the link between the Catholic Church and organized crime, as depicted in Francis Ford Coppola's film "Godfather III," as well as in real life.
2,646 words (approx. 10.6 pages), 4 sources, MLA, $ 79.95
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Abstract
This paper examines how actual events surrounding the Vatican gave director Francis Ford Coppola the creative license to fictionalize a series of conspiracy theories involving the mafia and the church. This paper explores and details the events of the Roberto Calvi case. Calvi's case, of an Italian businessman and banker, who was involved with the Vatican, was found hanged in 1982, is similar to one of the sub-plots in Coppola's film. The writer presents published material which suggests Calvi may have been killed, in order to stop him from revealing certain secrets about Italy's political and religious establishments. This paper also discusses other events from the film, which were played out in real life, including one involving the death of Pope John Paul I.
From the Paper
"The book contains a photo of the Pope taken reportedly three hours before his death, speaking "jovially" with a Cardinal, not looking like a man about to succumb. The official Vatican reason given for his death was a "possible myocardial infarction," according to press accounts of the Vatican announcement of Pope John Paul I's death. "Possible" myocardial infarction? And why, interestingly, was there no autopsy? These are all issues and questions that obviously played into Coppola's hands as he set out to produce the third in the Godfather trilogy.
The Pope was about to investigate the banking scandal, when he died on September 29, 1978. He was found by Sister Vincenza, at about 4:45 a.m., and according to Yallop's book. She was allegedly "forced to keep silent by the Secretariat of State, Cardinal Villot, who imposed a vow of silence upon her to cover up the whole affair," the reviewer continued."
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