| Papers [436-450] of 2770 :: [Page 30 of 185] | | Go to page : <— 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 —> | |
|
|
Blacks in ?The Big Easy?, 2006.
An analysis of the representation of black people in the 1989 movie "The Big Easy".
1,616 words (approx. 6.5 pages), 0 sources, $ 52.95
»
Click here to show/hide summary
Abstract
"The Big Easy" is a 1989 film about police corruption in New Orleans, a city that is known for its high crime rate as well as its high percentage of black residents. This paper looks at how the black race is presented throughout the film as being involved in both petty and serious crimes and how this is a recurring motif throughout the film.
From the Paper
"The first representation of blacks as criminals occurs early in the film, when the prosecuting attorney is mugged as she walks down the street in the French Quarter, known as a hotbed of petty street crime. It is doubtful whether a savvy prosecutor would walk be herself in this district at night, and the scene is included as a means of establishing the background of the story. However, it would seem that white muggers (or Asian, Hispanic or Middle Eastern) could have been used to the same affect. While it is true that New Orleans has a large black population, it also has a large immigrant segment originating from many cities and areas of the world, as most urban areas in the United States do."
| |
|
"Blade Runner", 2005.
This paper discusses the characters in the film "Blade Runner", directed by Ridley Scott.
1,300 words (approx. 5.2 pages), 4 sources, MLA, $ 43.95
»
Click here to show/hide summary
Abstract
This paper explains that, in "Blade Runner", the audience realizes the fundamental moral problems of the film through the main character Rick Deckard's point of view: The definition of life and the moral and ethical codes governing that life. The author relates that key to the film are the replicants, which are androids with four-year life spans who look and act exactly like humans, replete with human memories, but lacking in empathy, a quality, which ostensibly belongs only to humans. The paper describes the characters of two replicants, Rachel Rosen and Roy Batty, whose ethical transformations are the core of the film.
From the Paper
"The ethical crisis that arises involves Deckard's ability to define himself - is he human or replicant? - and involves the justice of his task - is it right to kill a replicant when they are, in most ways, indistinguishable from humans? The first crisis develops subtly. When Rachel Rosen, a replicant, asks Deckard if he has ever taken the Voight-Kampff test, which would determine if he is a replicant or a human, he doesn't answer but grows uncomfortable. The Tyrell Corporation gives all replicants false memories and even pictures of their "childhoods" and "families." Deckard has a row of pictures atop his piano, and various shots in the film show him studying the pictures in earnest, almost as if he were trying to determine whether or not they are real. Ethically, if Deckard is a replicant, then the whole moral structure of his job is ersatz: he should be the victim, not the hunter."
| |
|
Supernatural Films, 2005.
Explores the history of films with supernatural themes.
2,781 words (approx. 11.1 pages), 5 sources, MLA, $ 83.95
»
Click here to show/hide summary
Abstract
Supernatural films are those which include gods or goddesses, ghosts, apparitions, spirits, miracles and other similar ideas or depictions of extraordinary phenomena. They may be combined with other genres, including comedy or horror. The paper shows that, interestingly however, supernatural films are usually presented in a comical, whimsical, or a romantic fashion and few are really designed to frighten an audience. The paper traces the history of supernatural films from the pre-WWII era to the present day New Age genre. It gives examples of films through the ages.
From the Paper
"Of course, you don't talk about slasher films without including Halloween. This is perhaps the most influential film on the subgenera of kill-the-teens horror flicks from the eighties. It introduced the cliche of the killer repeatedly coming back to life just when you thought he was dead. The film was directed by John Carpenter, who has since then moved on to such tripe as Escape From L.A. and Village of the Damned."
| |
|
"Meet the Parents", 2005.
Examines why this comedy was hailed one of the funniest films of the year.
1,132 words (approx. 4.5 pages), 0 sources, $ 39.95
»
Click here to show/hide summary
Abstract
The 2000 movie, "Meet the Parents", is a comedy relating the visit of Greg Focker to his potential in-laws in a bid to ask for their daughter's hand in marriage. The paper examines the excellent casting of the movie and other methods used to make this film so successful at the box-office.
From the Paper
"However, although these instances make the movie unsuitable for young children, much of the violence, profanity and nudity lend a realistic slant to the movie. One instance is the confrontation between Jack and Greg regarding their difference of opinions about cats. Although many cat-lovers may be reluctant to outwardly threaten someone who doesn't feel the same, it is likely that the intensity of their feelings is no less than Jack's when he opines that Greg's dislike for cats is a weakness. Another realistic scene from the movie takes place at the dinner table when Jewish Greg tries to pretend that he is able to say the blessing for this very WASP-y family."
| |
|
"My Left Foot", 2005.
Argues that the movie, "My Left Foot", is not a progressive representation of disability.
1,221 words (approx. 4.9 pages), 0 sources, $ 41.95
»
Click here to show/hide summary
Abstract
The movie, "My Left Foot", stars Daniel Day Lewis as the real life Irish cerebral palsy survivor, Christy Brown. Greatly encouraged by his mother, he becomes a noted painted and author. The paper shows how the movie uses Christy's life to bring across the message that even the disabled can succeed in a competitive and often unforgiving society; however, the movie's perspective comes across as idealistic and unattainable. The paper argues that the movie fails to address the fact that not all disabled persons have such special talents as Christy and therefore does not represent the disabled sector of the community correctly.
From the Paper
"The other progressive aspect that we have to study from the movie is society. In the movie, society does not reject Christy because of his disability. In real life this factor is rare because the harsh reality is that people will discriminate. During Christy's childhood, the children really enjoyed playing with him, expressing no misgivings, as children might, about playing with a disabled child. The children in the movie never ask or express any curiosity, in regards to Christy's handicap. It's almost as if the producers of this movie try to sugar-wash this aspect in order to convince the audience that society has no problem with the disabled."
| |
|
"Sense and Sensibility", 2005.
Compares Jane Austen's novel to the film version by the same name.
2,095 words (approx. 8.4 pages), 0 sources, $ 65.95
»
Click here to show/hide summary
Abstract
"Sense and Sensibility", Jane Austen's classic novel has been filmed more than once. Most recently, Emma Thompson adapted the novel; she wrote the screenplay for the most recent filming, which is titled, as is the book, "Sense and Sensibility". The paper shows that the book and movie are not identical and that there are several important changes made by Thompson and director Ang Lee, particularly involving the two main characters, Elinor and Marianne Dashwood. The paper shows that, although in general the film follows the novel, Thompson and Lee alter the characters slightly. In particular, in the movie version, Elinor is made to be both more humorous and more emotional than in the novel.
From the Paper
"The greatest difference between the character of Elinor in the book and in the film is in the amount of emotion she displays. In the novel, Elinor is almost always in complete control of her emotions. Her self-control is enormous. It is not that she is emotionless. In fact, Austen explicitly writes that Elinor's "feelings were strong;" it is just that she has learned to control them (7). In the film, this self-control is less obvious. First, Elinor broods more over Edward's absence in the film than in the novel. In the novel, we learn about Marianne's obsession with the fact that Willoughby has not visited the Dashwood sisters in London, but we know less about Elinor's feelings when Edward has to leave Norland for London. This longing for Edward is more pronounced in the film."
| |
|
Film Style Comparison, 2005.
Examines the difference in styles between the directors of "Jaws" and "Jaws 2".
1,502 words (approx. 6.0 pages), 0 sources, $ 49.95
»
Click here to show/hide summary
Abstract
This paper analyzes the opening scenes of "Jaws" and "Jaws 2". It shows that the styles of Steven Spielberg and Jeannot Swarc are different primarily because of the abilities of the two directors. The paper argues that although both movies are similar in every respect, Spielberg's achievement is superior to Swarc's.
From the Paper
"Other characters will be killed; some will have perilously close calls; sometimes people will be in danger and not know it. But the audience knows the danger and therein lies the suspense. The opening sequence sets the stage for what is to come and defines the intensity of emotion that will be sustained throughout the film. Jaws 2, on the other hand, compares to its predecessor in only one way. It sets the tone for the film, which is poorly paced throughout, and crassly depicts the violence of the shark attacks and other traumatic events that are so unrelated to the elemental force of the shark as to be ludicrous."
| |
|
"The Road Warrior", 2005.
A review of this action movie directed by George Miller.
985 words (approx. 3.9 pages), 4 sources, MLA, $ 34.95
»
Click here to show/hide summary
Abstract
The paper shows that in "The Road Warrior", George Miller ushers in one of the best action films shown on screen. The paper argues that Miller's post-apocalyptic movie provides viewers with unequaled full-throttle highway chases that thrilled fans across the globe. The paper shows that the plot of "The Road Warrior" is as minimal as the special effects, so the movie relies heavily upon action sequences and characterization.
From the Paper
"One of the movie's strengths is the action sequences. Miller provided viewers with some landmark chase sequences that have yet to be equaled, even though technology has been greatly improved. At the movie's climax, a convoy with twenty-five vehicles' barrels across the desert at break neck speed and edited to maximize the intensity. "Miller's film is light on frills - its been trimmed to the bare, raw bone, and the skeleton remaining is just enough to support some of the very best chase sequences ever filmed"(Banka). No matter what the critics said about the other elements of the movie, the chase scene, with its pounding sound, leaping fights, various car crashes, great photography-prolonged for 20 minutes---is undeniably fine film making."
| |
|
"One Day in September", 2005.
An analysis and critique of this documentary which deals with the murder of the Israeli athletes in the 1972 Olympic games.
2,554 words (approx. 10.2 pages), 4 sources, MLA, $ 77.95
»
Click here to show/hide summary
Abstract
This paper argues that the Academy Award winning documentary film "One Day In September" is nearly as famous for what it does not say as it is for the message it brings to the world. The author of this paper is of the opinion that although a factually correct work, the film fails - and many scholars state "miserably," - to project the warnings and other signals that are forthcoming from terrorist groups.
Paper Outline:
Thesis Statement
The Background
The Tactical Errors
The Israeli View
Comparison with Other Documentaries
Bibliography
From the Paper
"He explains - and with passionate realism - precisely the conditions that not only we as Americans but also nearly all developing nations overlook or at the very least ignore, particularly when any crisis passes. The explanation too shows the depths of the yearning within the human soul for belonging to something greater than oneself and the desperation that leads one to engage in such terrible acts of terrorism with little regard for their own lives. This depiction too is an example of how poorly the world is equipped to cope with the terrorist's mindset and becomes - for this writer at least - the primary reason for the film's vast acclaim."
| |
|
"Unforgiven", 2005.
Examines the use of symbolism in Clint Eastwood's film, "Unforgiven".
1,038 words (approx. 4.2 pages), 1 source, $ 36.95
»
Click here to show/hide summary
Abstract
This paper shows that "Unforgiven" is not just a western; it is a perceptive and monumental study of the corrosive effect a lifetime of violence can have on the human spirit. The paper shows that the themes of justice, feminism, gun control, revenge, reform, honor, morality and corruption are all examined in both overt and symbolic forms in the film. Despite the fact that there is plenty of gratuitous violence provided, the principal and most powerful theme of the movie is that there are more constructive ways to resolve conflict that bashing someone's brains in or gunning them down in the street.
From the Paper
"Unforgiven is a compelling film in many rights, but its symbolism is one of its most masterful features. Because of its revisionist attitude towards violence, the film's portrayal of violence as an inappropriate method of conflict resolution is ironic in that the brutality is so gorily depicted. Yet the film's intent is a dogged attempt to show how violence and revenge can ruin a person's life. Still, by portraying violence in an entertaining manner, the message of the film is somewhat negated. In addition, while the film does portray many conventional elements of the western genre, it at the same time obliterates the requisite stereotypes which generally permeate these types of films."
| |
|
"The Matrix": A Warning, 2005.
Argues that this film, "The Matrix" should serve as a warning of how technology can eventually take control of our lives.
1,324 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
»
Click here to show/hide summary
Abstract
On the surface, "The Matrix" (directed by Andy and Larry Wachowski)may seem like just another science fiction film. It involves ultra hi-tech computer gizmos, an alternate universe of sorts and some esoteric references which only genuine "tekkies" can discern. The paper shows that with impressive martial arts demonstrations, honest-to-goodness bullet-dodging and a love story thrown in for good measure, the film was bound to be a hit. The paper argues, however, that there may be a deeper meaning in "The Matrix". In this age where it is becoming increasingly difficult to separate the "sci" from the "fi" in such films, the subtler message seems to be that we must be ever vigilant lest computer technology advance faster than the new morality we are necessarily creating to govern it.
From the Paper
"While the ultimate "man against the machine" contest wages on, the viewer is afforded glimpses of what technology at its worst can bring to fruition. While we may bemoan the looser morals of a particular generation or even of the world in general, one fact is clear: machines have none. The human element is indispensable if machines are to be utilized responsibly. Though the viewer is repeatedly "wowed" by what the machines can do, the filmmakers interject indicators of their limitations. For example, when various members of the Resistance need to know a route through which to escape a dangerous situation, they must contact an actual human being at the control center."
| |
|
"Emma" and "Clueless", 2006.
A comparative analysis of the film version of the novel "Emma" by Jane Austen and the modern day movie adaptation "Clueless".
3,566 words (approx. 14.3 pages), 4 sources, APA, $ 99.95
»
Click here to show/hide summary
Abstract
This paper examines how Jane Austen appears to have enjoyed a revival in contemporary cinema and how her novel "Emma" has been adapted in two different ways - "Emma" the film and "Clueless". It discusses both films and the novel upon which they are based in order to draw parallels and to determine the nature of the works in their capacity as entertainment and art.
From the Paper
"The film Emma was released in 1996, with Gwyneth Paltrow and Jeremy Northam in the starring roles. It is a romantic comedy about Emma Woodhouse, a 19th century woman who attempts to play the matchmaker for her friends. She has succeeded in this by having a hand in the marriage of her governess, Anne Weston, who is played by Greta Schacchi. Her next target is Harriet Smith played by Toni Collette. In this task Emma picks various men as possible candidates for Harriet. One is Mr. Elton and the other is Frank Churchill. They are however occupied by other loves in their lives. When the two fall for the same man Emma is forced to choose between friendship and love."
| |
|
World War II Films, 2005.
A comparative analysis of the films "Saving Private Ryan" and "The Thin Red Line".
1,225 words (approx. 4.9 pages), 0 sources, $ 41.95
»
Click here to show/hide summary
Abstract
This paper looks at how Steven Spielberg's "Saving Private Ryan" is about the mission to find and retrieve one man Private James Ryan and how Terrence Malick's "The Thin Red Line" tells the story of the first Marine invasion of Guadalcanal, the small atoll of the Solomon Islands, on August 7, 1942. The author points out that some of the most remarkable similarities between the two films are the incredible production teams, excellent cinematography teams and brilliant composers.
From the Paper
"Still, one of the most obvious differences lies in the star appearances within the films. Specifically, in "The Thin Red Line", the miscast John Travolta and the misused George Clooney plague the film. Indeed, while these two leading actors are both tall, dark, handsome, thereby making them nearly indistinguishable, they are also merely star cameos. Moreover, they are annoying and they nearly undermine the credibility of the entire affair. Conversely, in "Saving Private Ryan", the actors are believable and strong. Tom Hanks is especially solid in his performance as a man on the verge of a breakdown who keeps it all together for the sake of his crew. Ultimately, he does not look like a glorified hero; instead, he looks like an ordinary man outside of his comfortable environs."
| |
|
Existential Films, 2006.
A look at the existential themes in films by Ingmar Bergman, Francois Truffaut and Howard Hawks - "The Seventh Seal", "The Four Hundred Blows" and "Rio Bravo", respectively.
2,415 words (approx. 9.7 pages), 6 sources, MLA, $ 73.95
»
Click here to show/hide summary
Abstract
This paper analyzes the films of Bergman, Truffaut and Hawks as they focused on telling stories of an existentialistic nature. These films search for a deeper meaning behind life's questions. It explains that these films could not be more different in content and style but also hit a nerve: A rawness that penetrates the film-goers mind and makes them ponder not only the film's meaning but also their own meaning.
From the Paper
"The post-Second World War climate was that of tremendous transition and change for its people. The world was full of tension and uncertainty. Much of how people were functioning had a direct relationship with the outcome of the war and new realities associated with war such as technologies like the nuclear bomb. By going to the movies, one could forget about the reality of what was happening. Movies created a place for people to escape the worries of their lives and forget about the everyday hardships. Many people went to the movies to regain something they had lost during the war. "
| |
|
Free from an Ordinary Life, 2006.
A comparison of James Thurber's short story, "The Secret Life of Walter Mitty" and the film "Fight Club", directed by David Fincher and written by Chuck Palahniuk.
1,148 words (approx. 4.6 pages), 2 sources, MLA, $ 39.95
»
Click here to show/hide summary
Abstract
This paper compares these two stories about ordinary men with ordinary lives seeking to free themselves from their mundane existence. The paper asserts that, while both works display the breakdown of the human psyche that can occur when individuals see themselves as more than their actual reality allows them to be, both works achieve this display in different ways. The paper also asserts that both the film and the play are successful at portraying to the audience the mental breakdown of their characters.
From the Paper
"In "The Secret Life of Walter Mitty", the main character, Walter, is getting older. His everyday existence involves mundane activities, such as buying overshoes and driving his overbearing wife to the hairdresser. In response to this, Walter's mind begins to fantasize about a life in which he is not an everyday man. In his mind, he can become anything in relation to the world around him, from a naval officer, to a doctor, to a Capitan in World War II."
|
|
|
