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Science Fiction Dystopia, 2008.
A review of two films, "Punishment Park" directed by Peter Watkins and "Demolition Man" directed by Marco Brambilla and a comparison of their themes with Aldous Huxley's "Brave New World."
3,977 words (approx. 15.9 pages), 11 sources, MLA, $ 108.95
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Abstract
This essay considers two science fiction films that have referred back to Aldous Huxley's chilling novel, "Brave New World", written in 1932. The two films discussed are "Punishment Park", directed by Peter Watkins and released in 1971, and "Demolition Man", directed by Marco Brambilla and released in 1993. This essay compares and contrasts the themes, narratives, characterization, setting and plot of these three works and, in the process, reaches some conclusions about what elements are necessary to create a believable and useful dystopia.
From the Paper
"Thus, we see that Huxley's Brave New World most definitely belongs in the genre of science fiction, and indeed is the subtlest form of science fiction, in that Huxley plainly used it as a medium for social comment. The novel deals with a range of key social and political themes, including the possibility that we will be dehumanized by scientific progress (by for example automating natural human processes like reproduction); the implicit dangers of mass production (for example that it will generate a overwhelming need for a consumerist society); and the possibility that we could end up in a totalitarian dictatorship (which would be propped up by extreme methods of socialization, such as Pavlovian conditioning). As will be dealt with further below, Huxley was on the money with several of these key themes (Huxley)."
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Bad Women, Spies and Vamps, 2008.
A proposal for an early cinema series for Cinematheque Ontario whose theme would appeal both to those interested in early cinema as well as those interested in gender issues and feminism.
2,387 words (approx. 9.5 pages), 3 sources, MLA, $ 73.95
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Abstract
In this article, the author explains that, if asked to program an early cinema series for Cinematheque Ontario, the them she would choose for the program would be "Bad Women, Spies and Vamps: Female Gender Transgression in Early Cinema." The author then goes on to explain why she thinks this theme is appropriate for this cinema and then identifies a number of films to be screened in the program, as well as some issues and information that would be included in the pamphlets accompanying the films.
Outline:
Introduction
Bad Women and New Women: Traffic in Souls
She Spies, Shoots and Saves: Serial Queens of the Early Cinema
Pearl of the Army
The Perils of Pauline
The Early Cinema Femme Fatale: Les Vampires
Conclusion
From the Paper
"One of the interesting features of these films is that their narratives are often dominated by the dynamic tension between two figures: the Bad Woman and the New Woman. It should be recalled that this was a period when the traditional gender norms were under assault; most notably in the form of the Suffragette movement in the United States and Great Britain where women were protesting for the right to vote. As a result, there was a great deal of uncertainty as to what were the proper gender roles for women in this changing society. In this environment, reformers were at pains to distinguish between the New Woman - who was demanding unprecedented rights and privileges - and traditional Bad Woman who violated gender norms for different purposes. The issue of moral regulation was a central concern in this debate, as is illustrated in the words of one reformist text from 1913 .. "
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Semiotics in Science Fiction Films, 2008.
An analysis of visual semiotics and popular culture in modern science fiction films.
2,277 words (approx. 9.1 pages), 6 sources, MLA, $ 70.95
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Abstract
This paper explores science fiction films. It particularly discusses semiotics and how it expands our understanding of popular culture and visual signs in our mass media culture. The paper argues that modern cinematic technologies allow directors an unprecedented capability to shape the visual cinematic codes and iconography of their works and thereby multiply the levels of signification upon which their films operate.
Table of Contents:
Introduction
The Cinema of the Mind's Eye
Special Effects and the Post-modern
Conclusion
From the Paper
"In this regard, the assertion that "films are metaphorical mirrors of life" (Danesi 88) is placed under significant pressure as the "real-life activities" (Danesi 88) that are represented in the science fiction film increasingly bear no connection at all to real-life as we understand it in the modern world. In particular, with the advent of digital technologies, entire cinematic environments can be created in which - while the characters are still recognizably human and have human concerns - the visual signification is alien to anything in our existence. In this way, science fiction films can be seen as visual signs of postmodernity, simulating a reality so perfect that it is indistinguishable from our own and yet, at the same time, utterly alien, that it calls into question our understanding of reality itself."
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Mass Media and Semiotics, 2008.
A discussion of semiotics and consumption in the age of mass media.
2,199 words (approx. 8.8 pages), 8 sources, MLA, $ 68.95
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Abstract
This paper essay examines how the study of the sign and semiotic theory may be applied to mass media texts and, in particular, to television. The paper argues that, while there exist two distinct textual forms in television media - advertising and programming - a semiotic analysis reveals the ways in which these forms structurally reinforce each other in creating a semiotics of consumption for the mass media audience. The paper explains that the particular signs, signifiers and referents may change over time as television mythologies evolve, but a constant through this entire evolutionary process has been the "language of consumption". The paper looks at how semiotics allows us to understand how the medium of television operates in our collective consciousness.
Outline;
Introduction
The Sign and its Field of Study
Television and Semiotics
Television and the Culture of Consumption
Conclusion
From the Paper
"Given the prominence of mass media in our society, it is perhaps not surprising that semiotics should have focused considerable attention upon the most dominant of these media: television. The field of media semiotics, as pioneered by French semiotician Roland Barthes, has focused particular attention upon the production of meaning in the area of pop culture in which television assumes obvious prominence (Danesi 240). Barthes argues that the "semiotic method" takes the form of two investigative processes:
- the study of the historical (and thus highly connotative) origin of meaning systems;
- unraveling the nature of signification in human activities, whether it manifests itself as a word, a novel, a TV program, or some other human artifact."
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Invasion and Colonialism in Science Fiction, 2008.
A discussion of invasion and colonialism themes in science fiction.
1,565 words (approx. 6.3 pages), 10 sources, MLA, $ 51.95
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Abstract
This paper examines the theme of invasion in science fiction and how it is, in fact, a colonial topic. The paper also takes a look at related themes such as infestation and infection. It draws upon famous film examples such as "Robocop", "Invasion of the Body Snatchers", and "Alien" to illustrate the symbolic significance of the invader's appearance and what it represents. To conclude, the paper asserts that battles against slick and slimy science-fiction monsters and bad guys reflect the West's battle against outside religious extremists.
From the Paper
"Invasions taking over the mind or body, in an offensively intimate way, are all part of the colonial horror. We are beguiled by a slick oppressor. Memorable science fiction films hone in on this theme of the intruder's allure. A storm trooper is as glossy as a Nazi soldier's boots. There is a brutal anonymity to their sheen, which makes viewers feel dishevelled yet intrigued with what lies beneath. On the other hand, the monster in Alien is covered in slick ooze (Pickover 99). The monster resembles a malignant organ. Ridley Scott's monster is like the lost part of our civilized psyche's missing mojo, and we almost want to stuff it back in, though the monster's only goal is to destroy (Mulhall 47). It is like an AIDS virus: death within temptation. In my opinion, this connection between bodily fascination and death has helped keep the Alien franchise lucrative."
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Imamura's "The Pornographers" and Japanese Culture, 2008.
A review of the psyche of the protagonist in Shohei Imamura's film, "The Pornographers."
1,710 words (approx. 6.8 pages), 3 sources, MLA, $ 55.95
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Abstract
This paper examines Shohei Imamura's most well-known film outside of Japan, the 1966 film, "The Pornographers." It views the film from the perspective of a series of interlocking journeys through the psyche of the protagonist. The paper suggests that the journey that Imamura's protagonist takes through this often nonlinear narrative structure is what makes the story so compelling, both as a film and as an example of Japanese culture in the middle of the 20th century.
From the Paper
"The closure to Ogata's long and oftentimes nonlinear psychic journey comes when Ogata makes a life-sized "sex doll," at the cost of great time and effort, in a vain hope to cure his (no doubt psychologically-induced) impotence. This is a powerful image in the film, and shows as well as anything else the transformation of the character's inner obsession into outer, material manifestations. On the surface, it seems that Ogata has reached his final destination: in leaving the real world with real women, he continues to suffer from flashbacks and his lifelong isolation and masochistic traumas seem no closer to resolution. Yet he continues to manipulate his appetite for sex, as if Imamura were using Ogata to make the statement that such primal appetites are in fact fundamental and unavoidable. As he drifts out to sea in his boat, the audience must sense a new and final journey has begun."
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Film: "Eternal Sunshine of the Spotless Mind", 2008.
A look at how the film "Eternal Sunshine of the Spotless Mind" conforms to traditional attachment theory and is in fact a graphical illustration of that theory.
2,480 words (approx. 9.9 pages), 6 sources, APA, $ 75.95
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Abstract
In a discussion and analysis of the film, "Eternal Sunshine of the Spotless Mind", this paper explains that this film depicts the human being as a web of emotional attachment that is unconsciously tied back to the parents and interlinked in very complex ways to external objects as well as to multiple areas of the brain. The paper then goes on to examine how "Eternal Sunshine of the Spotless Mind" not only conforms to attachment theory but combines that theory with cognitive-motivational structure theory.
Table of Contents:
Introduction
The Rationale for the Film
The Process of Erasing Attachment
Attachment Theory and the Main Characters
Two Patterns of Attachment Theory
Communication Style
Care-seeking at the Infantile Level
Conclusion
From the Paper
"According to Wampler and Riggs (2004), the techniques of the two individuals in seeking comfort and security from one another in their relationship often are similar. This is because they can switch roles. Research indicates that the majority of partners will assume both roles and move back and forth between the roles of support and comfort-seeking during any problem-solving discussion. Clementine is quite aggressive and is the one who suggests having a drink and spending the night at Joel's place. More importantly, she knows hoe to attack his defenses. She describes him as close-mouthed and herself as constantly anxious."
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"28 Days", 2008.
A film review of Betty Thomas' film "28 Days".
725 words (approx. 2.9 pages), 1 source, MLA, $ 25.95
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Abstract
This paper is a critical review of Betty Thomas' movie "28 Days", starring Sandra Bullock as the protagonist, Gwen. The movie tells the story of Gwen's struggle with accepting and overcoming an addiction. The paper comments that the movie seems to follow, in a relatively textbook manner, the road from living an addiction to establishing a new and strong, sober life. The paper maintains that the movie is successful in covering the process of coming to sobriety. Also, despite the textbook nature of the movie, the paper admits that the film provides interesting insight into the process of rehabilitation. The paper concludes by recommending that the reader see the movie.
From the Paper
"Gwen's return to her old life in New York is a time of re-evaluation for her. She meets with her boyfriend and realizes that they are no longer working out together. He won't stop talking, and keeps trying to tell her good stories. Gwen says, "I'm tired of stories. I've got enough stories to tell." This is critical, for it shows that rather than continue to live the lifestyle that she has in the past, she is choosing to live a new one. This symbolically is reflected in her ability to get the horse to raise its foot. Before, while she was in rehab, she could not get it to happen, no matter how hard she tried. Now, after coming to a deeper place of peace, is able to do it. At last, after all the pain, her internal thoughts match her external actions. It is with this knowledge that she is able to tell her boyfriend goodbye, and walk away into a new life. She, in this action, does not secure her future, but rather makes one more step forward in the recovery process."
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The Semiotic Role of Violence in American Films, 2008.
An analysis of film violence and its semiotic significance in American popular culture.
1,725 words (approx. 6.9 pages), 4 sources, MLA, $ 55.95
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Abstract
This paper examines cultural conflict through dramatic recreations or presentations of these conflicts in American film narrative. The paper holds that, in the popular media, violence has a semiotic role. To much of the world, the paper adds, film violence is a mark of American culture, and many social critics within the U.S. find the same to be true. The paper points out that many filmmakers state that they are not fostering violence but only exploring it, and with some films, the issue of using violence in popular culture is itself examined either directly as a subject or as an inherent element in the structure of the film. The paper concludes that violence is a particular sign in the film, a sign that may mean its direct cause, like anger and fear, or that may reflect something larger about society, such as alienation or lack of empathy.
From the Paper
"Consider Tarantino's "Reservoir Dogs", a film that takes a satiric look at itself, at the genre of the caper film and the dynamics of betrayal and the criminal code seen in such films. The film is extremely violent, which for many viewers may mask the satiric thrust of the story and the way the interplay of characters involves a twisted sense of morality, the so-called "honor among thieves" that here is a palpable presence holding together a group of professional criminals who have nothing else to believe in except that they will be able to rely on each other. As the film unfolds, though, they can rely on nothing in a universe of random events over which they have no control."
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Paranoid Schizophrenia in "Sophie's Choice", 2008.
An analysis of the indications of paranoid schizophrenia in the character of Nathan Landau in William Styron's 1979 novel, "Sophie's Choice" and the 1982 film adaptation directed by Alan J. Pakula.
1,577 words (approx. 6.3 pages), 9 sources, APA, $ 51.95
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Abstract
This paper introduces the topic of schizophrenia of the paranoid type as shown in the character of Nathan Landau in William Styron's 1979 novel, "Sophie's Choice" and the 1982 film adaptation directed by Alan J. Pakula. The paper describes the character of Nathan Landau and then looks at the indications of paranoid schizophrenia that are evident. The paper presents some personal concluding remarks.
Table of Contents:
Introduction
Nathan Landau
Indications of Paranoid Schizophrenia
Findings on Paranoid Schizophrenia
Concluding Remarks
From the Paper
"Indeed, this paper might have argued that Nathan Landau actually suffered from acute bipolar disorder, or bipolar disorder with psychotic features, but a start was made from the character of his brother and the revelation of paranoid schizophrenia. The latter suits a film set in the 1940s when a great many patients stood to be diagnosed with schizophrenia that might today be assessed differently and in the presence of drugs to reduce or eliminate symptoms, at any rate, making a precise diagnosis less important. Tsuang Et Al (2000) explained how psychiatrists in the present tend to diagnose broadly a psychotic disorder of particular features so as to not rule out the possibility of bipolar disorder or non-specific psychosis to create what may be paranoid or other features. At the same time, bipolar patients often present anger, but less often the persecutory delusions shown by Nathan Landau in different episodes in which Sophie is the target of his disordered thinking, accusations and emotional attacks."
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Obsessive Compulsive Disorder (OCD), 2008.
A critique of the film "What About Bob?" by Frank Oz and book
"Obsessive Compulsive Disorder: The Latest Assessment and Treatment Strategies" by Gail Steketee.
960 words (approx. 3.8 pages), 3 sources, APA, $ 34.95
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Abstract
This paper presents a critique of a film, What About Bob", and a book, "Obsessive Compulsive Disorder: The latest Assessmentand Treatment Strategies, which are both about obsessive compulsive disorder. The paper explains that the author learned from the film that the sociopathic, interpersonal behaviors, which the character of Bob in the film exhibits, are some of the symptoms of obsessive compulsive disorders (OCD). The paper then relates that a major area of contention in the book is the use of medications to help resolve the common symptoms of OCD. The author stresses that Steketee provides a great deal of insight about behavioral therapy, which provides far more solutions to OCD than the medicinal and surgical treatments often found in other studies done for patient treatment.
From the Paper
"Some of the others question about Steketee's reliance on behavioral therapy for treatment is the Appendix where she describes many of the findings of clinical studies that provide information about behavioral therapy. Certainly, the success rates of behavioral therapy need to be addressed far more often than the heavily sponsored pharmaceutical studies being done due to their massive financial resources. Steketee provides the foundation for behavioral studies that give her the premise of providing more behavioral solutions for patients that are suffering from this disorder."
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Existentialism in the Films of Akira Kurosawa, 2008.
A critical analysis of the dilemmas of identity that are portrayed within the two films, "High and Low" and "Ikiru," directed by Akira Kurosawa.
1,344 words (approx. 5.4 pages), 5 sources, MLA, $ 45.95
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Abstract
This film study analyzes the existentialism that arises within the social and individual conflicts that are found within the films "High and Low" and "Ikiru," directed by Akira Kurosawa. It analyzes the characters and their relation to the plot of these two films and thereby leads us to understand the dilemma of identity (society versus the individual) that surfaces in these existential films of the 50s and 60s.
From the Paper
"This type of filmmaking is reenacting the sense of loss that the Japanese suffered after World War II, which embody a sense of rebirth for Watanabe. Kurosawa sought to bring these social issues to the forefront of filmmaking, since it offered a new way to expose the social and individual problems that the Japanese faced in their culture. By understanding Watanabe's individuality, the premise of existential freedom becomes the premise of Kurosawa's desire to liberate the self from societal norms. This is how existential philosophy plays a key role in Kurosawa's films, as he explores how it is not society that dictates social norms; it is the individual actions of insightful and brave individuals that redefine Japanese culture."
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The Serial Killer, 2008.
This paper studies the serial killer and looks at the related psychopathology.
1,234 words (approx. 4.9 pages), 6 sources, APA, $ 42.95
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Abstract
In this article, the writer notes that the serial killer has become a staple in crime fiction, movies, and television shows, including the recent film 'Zodiac', which tells the story of a serial killer who terrorized San Francisco for almost a decade. The writer points out that as the latter shows, the serial killer is a reality and not just a plot device, and the psychopathology of this sort of killer has been studied closely for its cause and different ways in which it is manifested. The writer notes that such studies are of use to psychiatrists, of course, but also to a profiler who uses the data to make assessments of serial killer cases in order to hone in on a suspect and stop the crimes. The writer concludes that studies of serial killers are necessarily largely confined to those caught and convicted, leaving some uncertainty about killers who have not been caught and even more about the many who may not even have been discovered or recognized.
From the Paper
"Victims may be chosen for their symbolic value as much as for any other reason. A series of murders undertaken for financial gain would not qualify. Cult murders would also be eliminated because there is a different motivation for that sort of crime.
"The serial killer is most often identified as a psychopath or sociopath. The criteria for this disorder have been identified by the American Psychiatric Association as follows. First, this individual shows a pervasive pattern of disregard for and violation of the rights of others. This would have been true since the age of 15."
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Life in Auschwitz, 2008.
A comparison of the "Memoir Auschwitz: A Doctor's Eyewitness Account" by Miklos Nyiszli with the film "The Grey Zone" directed by Tim Blake Nelson.
2,754 words (approx. 11.0 pages), 2 sources, MLA, $ 82.95
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Abstract
This paper examines and compares the "Memoir Auschwitz: A Doctor's Eyewitness Account" by Miklos Nyiszli with the film "The Grey Zone" directed by Tim Blake Nelson. The paper argues that the two differ significantly in their portrayal of the reality of the gas chambers and crematoriums of Auschwitz. The writer believes that the essence of the book is a stark portrayal of the brutal, belief-defying reality of Auschwitz, however the film in typical Hollywood style, fails to capture this essence. The writer explains that the film focuses on one act of rebellion that took place in the camp, thus focusing on heroism but glossing over the full reality and horror of the SS death machinery, as well as the mystery of why so many people walked passively to their death. The writer concludes that while "The Grey Zone" is a good film with strong acting from an accomplished cast, it is too trapped in the conventions of Hollywood to do justice to the essence of the book on which it is based.
From the Paper
"This is an example of the kind of evil that makes it inadequate to refer to Auschwitz as a moral gray area. Moreover, it should be noted that the detail of the murdered toddler twins is a good example of the way in which the film fails to capture the essence of evil that permeates the book. In the film, there is a very brief scene in which Oberscharfuhrer Eric Muhsfeldt (brilliantly played by Harvey Keitel in what must have been one of the greatest performances of his life) peeks at what looks like the corpse of a young woman on the dissecting table, and remarks that they are usually young. Nyiszli matter of factly explains that it is more usual to find twins together when they are young. This brief exchange does not remotely rise to the level of horror conveyed by Nyiszli's discovery that the twin toddlers have been killed with an injection of chloroform into the heart."
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Ethnic Stereotypes in the Movie "Smokin' Aces", 2008.
This paper examines the movie "Smokin' Aces" and discusses the ethnic stereotypical images portrayed.
1,377 words (approx. 5.5 pages), 9 sources, MLA, $ 46.95
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Abstract
This essay analyzes the use of stereotypes to portray different ethnic groups in the film "Smokin' Aces". The paper relates that the media is able to shape and influence our own perceptions of other people and cultures. The paper further relates that what we can see on the TV and movies produces a very powerful message, as we perceive the media as real even when we see a work of fiction. Additionally, the paper notes that the media is filled with stereotypes and stereotypical images. The essay then concentrates on three ethnic groups present in "Smokin' Aces", Italians, white Americans and African-Americans, and shows that they are portrayed through stereotypical images. The Italians are represented as mafia bosses, white men are good guys, while African American characters are criminals and sidekicks. The writer concludes that the construction of characters sends strong messages of racial ideology despite all the efforts put towards eliminating the racism.
From the Paper
"One of the first characters introduced in the move is an Italian Primo Sparazza. Sparazza is a mafia boss, a stereotypical role for an Italian in media. He is wanted by FBI and is known to be behind many crimes but, as usual, cannot be connected directly to any of them. As such he is untouchable, powerful person behind the mafia steel curtain. We do not know much about him, but some ideas that fit in the overall male Italian- mobster stereotypic character can be inferred from the plot. Thus, it is possible that Sparazza was an Italian immigrant since the FBI agents are tracing his illegal activities to 1950s. He made crime his career climbing up to a level of one of the American mafia bosses. As such, he is a typical non-American who presents a danger to American society and way of life."
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