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"La Dolce Vita", 2008.
This paper analyzes the history, culture and architecture of Italy in Federico Fellini's film "La Dolce Vita".
1,889 words (approx. 7.6 pages), 2 sources, MLA, $ 60.95
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Abstract
The paper examines Federico Fellini's Italian film "La Dolce Vita" within the context of its times. The paper looks at how the architecture in the film gives the movie greater resonance and depth and reveals the limitations in the character Marcello's pleasure-seeking view of the world. The paper is of the opinion that the film is a masterpiece by a master-craftsman that uses the architecture of Rome as a most effective tool.
From the Paper
"The period 1950-1960 was a difficult one in some respects for Italy. The nation's glory as the seat of power for the Roman Empire was obviously far in the past and the country was still suffering the lingering effects - loss of life and international disgrace - of Mussolini's unhinged efforts to gain for himself (and, secondarily, his country) power and standing by aligning (however uneasily) with Hitler; moreover, the country's embarrassing foray into North Africa during the war years (and during the lead-up to the war) was still fresh in mind. While it can be over-stated, one is tempted to suggest that the events of less than two decades earlier - along with the terrible human toll they exacted - fed a burgeoning cynicism that made Italian young people of the age disinclined to accept the mores of their parents; after all, the Second World War had been, for all intents and purposes, their parents' war. When viewed within that context, the spiritually bankrupt nature of many of La Dolce Vita's characters and the sense of decadence which pervades the film throughout seems to hint at a culture that has lost its way and turned against the strict injunctions and moral coda of earlier times."
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The Meaning of Comedy, 2007.
A review of the films "Sherlock, Jr." directed by Buster Keaton and "Bringing up Baby" directed by Howard Hawks.
966 words (approx. 3.9 pages), 6 sources, MLA, $ 34.95
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Abstract
This paper examines Aristotle's definition of comedy using two classical cinema comedies - "Sherlock, Jr." and "Bringing up Baby" - to illustrate this definition. The paper explains that Aristotle believed that comedy shows people engaged in ridiculous activities, but this ridiculousness is not painful or destructive and the comic action must be without bad intent. The paper looks at how in each movie the lead character is ridiculous, but always portrayed without malice. The paper points out that in "Bringing up Baby", a longer film than "Sherlock Jr.", and one in which sound allows for the speedy development of more characters, the subordinate characters draw heavily on classical models such as Shakespearean figures like Dogberry and Verges in "Much Ado About Nothing". The paper notes that these characters too are ridiculous although not malicious, and clearly inferior in the nonsense they act out, but saved in the end through the resolution of the plot. In conclusion that paper shows that Aristotle's definition is general, even imprecise, but it is clearly a definition which is well illustrated in these two films.
From the Paper
"These people act without malice. Keaton wants to be a detective, but is outdone by the "sheik," who gets him blamed for the theft of a gold watch, and by his girlfriend, who shows his innocence. In his dream, he is a great, if bumbling detective. Grant tries mainly to avoid Hepburn, but cannot extricate himself from her. Hepburn means well, repeatedly offering to help him get the funding for his museum which is his main hope. Sherlock Jr. begins with scenes of Keaton sweeping the theatre, beset by people who claim to have lost money in his trash pile. The scenes are funny: they show an inferior person, an inept sweeper, being ridiculous. They do little, however, to advance the main plot."
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Dream and Cinema, 2008.
This paper examines the utilization of dreams in American cinema, focusing on David Lynch's "Eraserhead" and Nina Menkes' "The Bloody Child".
1,230 words (approx. 4.9 pages), 5 sources, APA, $ 41.95
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Abstract
The paper discusses the use of dream as a visual device in David Lynch's film "Eraserhead" and Nina Menkes' film "The Bloody Child". The paper analyzes Lynch's use of the dreamscape as a means to facilitate symbolic substitution and Menkes' use of the dream concept as a means of actual narrative.
From the Paper
"Dream and cinema seem to go together. Film has long been considered a type of fantastic representation of what people experience, to one degree or another, when they sleep. Film seems to have the ability to bring dreams to life or to reduce life to the palatable state of a dream. In this light, dream must be understood to be an alternate form of reality; if not physical then certainly conceptual. To better grasp the psychological importance and the subjective realities that dreams, through film, can and do represent, one need look no further than the Native American religions where dreaming is seen as, "a source of personal empowerment"(Irwin, 1994, p.231). Viewed in this light, the utilization of dreams in American cinema and especially in the films of David Lynch and the lesser known Nina Menkes, must be examined from a much more rational and empirical perspective."
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Gangster Film Genre, 2008.
An analysis of the historical context of the rise of the gangster film genre in the United States and its development from 1930 to 1960.
1,897 words (approx. 7.6 pages), 9 sources, MLA, $ 60.95
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Abstract
This paper looks at the history of the gangster film genre in the United States from the 1930s to the 1960s. It specifically looks at the impact that this film genre has had on American society and culture. The paper discusses the historical context of the rise of the gangster film genre and why it appealed to Americans at that time in their history. It gives specific examples of films and characters that fit into this category.
Table of Contents:
The Rise of the Gangster Genre
The Postwar World
1960's and Beyond
From the Paper
"As World War I ended, the 18th Amendment ushered in Prohibition and with it a wave of crime matched only by the drug and gang wars of our own era. Where brewing and distilling were once respectable trades, the importation, production, transportation and sale of alcoholic beverages was taken over by criminals during the 1920s. In big cities like New York or Chicago, headline grabbing mobsters battled for control of this illegal market. Competition among newspapers sensationalized and romanticized the stories of events like the St. Valentine's Day Massacre or the exploits of "Scarface" Al Capone. Our contemporary war on drugs can be seen as a parallel event - both of which run counter to the dominant free market and individual free choice ideology of the United States. Just as ethnic minorities were disproportionately represented as violating prohibition in the 1930s, those portrayed in modern gangster films are disproportionately Latino and Black or immigrant."
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The Documentary Film, 2008.
This paper looks at the six different modes of documentary filmmaking, with a focus on the documentaries "Out of Control: AIDS in Black America" and "Other Faces of AIDs".
2,614 words (approx. 10.5 pages), 8 sources, MLA, $ 78.95
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Abstract
The paper discusses the documentary film's six primary modes of filmmaking and illustrates some of these modes with reference to different documentaries. The paper then applies the data to two specific documentaries; "Out of Control: AIDS in Black America" and "Other Faces of AIDs," which address the growing AIDs crisis in the African-American community. The paper shows how in both films the expository mode takes over, creating a sense that the white reporters and filmmakers are lecturing, which undercuts the effectiveness of the message and separates the black community.
Outline:
Introduction
Six Primary Modes of Documentary Filmmaking
Conclusion
From the Paper
"The classification of documentary films into six modes was proposed and explained by Bill Nichols. As Nichols describes these six modes, he suggests that each of the six corresponded to a particular period in documentary filmmaking when that mode prevailed, though all persist and may be found in some films at any given time. The observational mode is considered by some to be the truest form, given that it involves the least direct interference or interpretation by the filmmaker. As Nichols writes, these are films that "eschew commentary and reenactment [and] observe things as they happen" (Nichols, Representing Reality: Issues and Concepts in Documentary 138). This is considered by many to be the most "documentary-like" of all the documentary forms, and perhaps the best-known practitioner of this form is Frederick Wiseman."
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Disneyfication of "Beauty and the Beast", 2008.
A comparative analysis of Madame Leprince de Beaumont's "Beauty and the Beast" and the Disney film version.
1,898 words (approx. 7.6 pages), 2 sources, MLA, $ 60.95
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Abstract
This paper examines the Disney adaptation of Madame Leprince de Beaumont's "Beauty and the Beast" . The paper contends that an analysis of Belle's character reveals that Disney's treatment of the fairy tale entirely neuters the story, taking away its dramatic, harsh moral lessons, and diminishing its female role model to an idle idiot who should not have survived the first ten minutes. The paper continues to discusses how this is further exacerbated by the introduction of cute, irrelevant animated characters who only serve to trivialize the film further. The paper concludes that, while traditional fairy tales offered chicken soup for the soul, Disney offers canned soup for the soul.
From the Paper
"Beaumont's Beauty has many other good qualities besides, and demonstrates them consistently throughout the story. For example, she is patient when her shrewish sisters berate her. She is considerate when her father offers her gifts, requesting almost nothing for fear it might be beyond his means. She does ask for a rose, not because she wants one, but because she does not want to show her sisters up. Thus, in somewhat Christian fashion, she turns the other cheek, meeting her sisters' insults with kindness and consideration. Disney's Belle gets no such opportunity to show Christian charity - this lucky young woman is an only child, unburdened with mean-spirited sisters! Again, the Disney character is denied the opportunity to model strength of character to viewers, and instead remains comparatively insipid. "
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"Cyrano", 2008.
A comparison of the plot, the ending and the performances in the films "Cyrano de Bergerac," directed by Jean-Paul Rappeneau and "Roxanne," directed by Steve Martin, in order to analyze which is the more romantic film.
777 words (approx. 3.1 pages), 3 sources, MLA, $ 27.95
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Abstract
This paper compares and contrasts the films "Cyrano de Bergerac," directed by Jean-Paul Rappeneau in 1990, and "Roxanne," directed by Steve Martin in 1987, with respect to the question of which was the more "romantic" film. The paper discusses the plots, the ending and the character performances in the films. It concludes that based on these three considerations, the French version is the more romantic.
From the Paper
"Finally, one cannot compare these two films without considering the performances of their protagonists. While Steve Martin delivers a fine performance as C.D. Bales the fire fighter, Gerard Depardieu's swashbuckling Cyrano - strong, noble, and extraordinarily sensual - is brilliant. The figure of the swashbuckler has been an icon of romantic film from the time of Errol Flynn. The scene in Cyrano de Bergerac where Cyrano fends off multiple attackers reveals him as a figure appealing not only to women but to men as well: women want him, and men want to be him. In this sense, it may be argued that a great romantic hero has to appeal to both sexes; like Humphrey Bogart's Rick in Casablanca or Clark Gables' Rhett Butler in Gone with the Wind."
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Globalization's Hybridization in Films, 2008.
This paper evaluates the globalization process of hybridization in films by using the examples of "Mulan" and "Crouching Tiger, Hidden Tiger".
1,650 words (approx. 6.6 pages), 4 sources, MLA, $ 53.95
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Abstract
This paper explains that globalization has resulted in tremendous cultural exchange and adaptation that many people view as an unfortunate dilution and abridgment of culture. The author points out that "Mulan" is easy to dissect for its inaccuracies and misrepresentation of Chinese culture; however, this is pointless because the film industry forever has sought dramatic stories that are then fitted into the differing aims of film. The paper states that the very popular, 2001 Chinese-made masterpiece "Crouching Tiger, Hidden Tiger" very obviously was created to appeal to what was known of the North American imaginary view of China. The author reflects that, although both films can be seen as 'hybridized', they should be evaluated as Hollywood outsourced products carefully designed and marketed to acquire profits.
Table of Contents:
Introduction
"Mulan"
"Crouching Tiger, Hidden Tiger"
Reflections
Concluding Discussion
From the Paper
"This video, like the film that is discussed presently, was a Disney production meant for a non-Chinese market, released in 1998. The film centers on a legend of the Wei Dynasty (386-534 AD), its heroine a girl to join the army, taking her father's place and obscuring her gender. Mulan was such a good soldier that she was later decorated by the emperor and was offered a court position which she declined in order that she returns to her family. After a fascinating progression of much daring-do and matters of who suspected or did not suspect that Mulan was actually a young woman, ..."
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Film: Andrei Tarkovsky's "The Mirror", 2007.
This paper reviews Andrei Tarkovsky's 1975 film "The Mirror" by citing two critics of this film.
950 words (approx. 3.8 pages), 2 sources, MLA, $ 33.95
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Abstract
This paper explains that, in his film "The Mirror", Andrei Tarkovsky provides his audience with a collection of his childhood memories. The author points out that Tarkovsky tries to remember his childhood home exactly as it was in his past but some of his memories are not as pleasant as he hoped; therefore, he relies on his imagination to create a new vision that will always be pleasant and desirable. The paper relates that the film is unconventional because of his use of a "creative relationship" to form the timeline. The author relates that critic Peter Green believes that Tarkovsky's intention when planning his film was to reflect his mother; therefore, his obsession with his mother is important to the film. The paper states that critic Ian Christie stresses the importance of the actual place where the filmmaker spent his childhood.
From the Paper
"When remembering his father the images reflect his emotions, "expressing hope and despair". In the establishing shot, a man is walking towards what Tarkovsky describes as his childhood home. Metaphorically, this could be the filmmaker seeing the father he was so desperate to see returning home. The very first shot is a young boy at the doctor's office. At first, he is unable to talk, but once he is cured, he is portrayed as perfect. This sequence could once again be translated as Tarkovsky sending a message to his father, that he wants his dad to be proud of him and see him as intelligent."
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Rule Utilitarianism and the State, 2008.
A review of the film, "Judgment at Nuremberg," directed by Stanley Kramer and the ethical or normative theories that affect construction of a desired society.
2,036 words (approx. 8.1 pages), 4 sources, MLA, $ 64.95
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Abstract
This paper discusses four major ethical or normative theories to the problem of the construction of a desired society. It looks at the significance of realism in normative analysis. The paper analyzes the film, "Judgment at Nuremberg," directed by Stanley Kramer in order to illustrate the challenges of devising a normative ethical viewpoint given the ethical complexity inherent in modern society.
From the Paper
"While Nazi Germany is an extreme example it is, unfortunately, representative of many tyrannies in human history in which a minority has seen its rights stripped, and claims of justice and community values/virtue dismissed, to supply the happiness or greater utility of the majority. The system of slavery in the American South prior to the Civil War represents precisely a model of precisely such a challenge."
"In this regard, a normative analysis would suggest that rule utilitarianism offers a stronger and more viable principle of utility than pure utilitarianism. Modern rule utilitarians, for example, "place heavy emphasis on human rights and freedoms" (Dwyer 163) which can be incorporated in this normative theory in a way they cannot be in pure utilitarianism."
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Film: "Judgment at Nuremberg", 2007.
This paper argues the broader implications of Stanley Kramer's 1961 film "Judgment at Nuremberg" not only in the context of its original release at the height of the Cold War but also in the milieu of the 21st century War on Terror.
1,965 words (approx. 7.9 pages), 3 sources, MLA, $ 62.95
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Abstract
The paper explains that "Judgment at Nuremberg" is remarkable for its willingness to consider the collective guilt of the German people and, even more troubling, of people from other countries. The author points out that the power of this film lies in the complexity with which it represents such issues as responsibility, accountability and guilt in the context of a Hollywood social problem film and within the conventions of courtroom drama. The paper concludes that the film also reflected the events of the early 1960s, at the time "Judgment at Nuremberg" was made, which included the trial of Eichmann in Jerusalem and the enduring injustices in the United States that would become the Civil Rights struggles. The author believes that this film still has implications in the 21st century social, legal and political debates over the treatment of terror suspects in the War on Terror and the extent to which elected representatives should be held accountable.
From the Paper
"From a theatrical perspective, the casting of prominent Hollywood stars on both sides of this question is significant. It can be cynically said, as critic Pauline Kael quoted in her review, that this film is "an All-Star Concentration Camp Drama" given the number of stars involved. However, the casting of such an "heroic" leading man as Burt Lancaster as a prominent German leader can be read as a theatrical "sign" to the audience from the outset of the drama that "judgment" in this film will be more complex than if the Germans were stereotypical villains."
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A Comparison of "Pleasantville" and "The Zoo Story", 2007.
An discussion of the similarities and differences between the film "Pleasantville" written and directed by Gary Ross and Edward Albee's play "The Zoo Story".
1,353 words (approx. 5.4 pages), 3 sources, MLA, $ 45.95
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Abstract
This paper compares Edward Albee's 1959 play "The Zoo Story" and the 1998 film "Pleasantville", written and directed by Gary Ross. The paper explains that though it is fairly obvious that they were created in different forms, one as a stage play and the other as a film, both began life as different forms of the written word, and both manage to handle and deal with various angles of human life and behavior, but they do it in two very different periods: one in the 1950s, the other in the late 1990s. The paper looks at how "Pleasantville", in an ironic way, tends to undermine and examine some of the social and personal realities of the 1950s, whereas "The Zoo Story" examines these realities in a more subtle way appropriate to a comedy/fantasy aimed at a mass audience. The paper also compares the actions, reactions and attitudes of the two protagonists, Jerry in "The Zoo Story" and David in "Pleasantville".
From the Paper
"The Zoo Story holds a mirror up to the culture of the late 1950s, with its well known constraints in the political, social and cultural spheres of life - constraints most ironically illustrated in 1950s television series such as "Leave it to Beaver," "I Love Lucy," etc. It is some of these constraints that the play works against, for instance, in its criticism of middle class life and the ordinary, conformist lifestyle as typified by the character of Peter. Notice how Jerry asks him where the dividing line is between "upper middle middle class" and "lower upper middle class," for example, showing that Jerry is very aware of these fine class differences."
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Violence in the Media and the Effect on Children and Adolescents, 2006.
An examination of the relationship between exposure to violent television and video games and the development of aggression in children and adolescents.
2,878 words (approx. 11.5 pages), 8 sources, APA, $ 85.95
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Abstract
This paper examines the amount and types of violence children and adolescents are exposed to, and whether there is a relationship between this exposure and the development of aggression in children and adolescents. The paper explains that thousands of research studies have demonstrated that exposure to violent television and video games tends to lead to the development of aggression in some children and adolescents, however there is no simple causal relationship, i.e. we cannot say for sure that exposure to such violence will lead to aggressive behavior. The paper notes that multiple variables have an impact, such as age and gender of the child, and level of mediation done by parents, and that different media have different effects. In conclusion, the paper shows that research has established that exposure to television and video game violence can lead to the development of aggression in children and adolescents and such exposure tends to desensitize them to violence, and dis-inhibit them from committing acts of violence.
From the Paper
"Violence on television is the most commonly experienced exposure to violence in the lives of most children. While it is common knowledge that there is a great deal of violence on television, it is important to bear in mind that there are many different kinds of violence on television. For example, some shows feature human actors, acting out brutally violent acts, such as murder, rape and torture. While these may not be intended for young children, the reality is that many such children have access to them. At the other extreme, even cartoons usually portray at least some violence. Often this is extreme violence, such as pianos dropping on heads. However, the characters usually do not bleed or die, and they are in any event clearly fictional, so one might expect that the impact is not as great as graphic violence with human actors."
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British Film Industry, 2008.
This paper provides a critique of the processes of British film in
respect to the influence of American film.
1,783 words (approx. 7.1 pages), 5 sources, MLA, $ 57.95
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Abstract
In this article, the writer maintains that the British film industry often frames itself in respect to its counterpart, the American film industry. The writer notes that movies made in the United States typically gross larger sums than British films, a point that has long motivated the British film industry to identify American movie-making as a more profitable model. The writer argues, however, that the emulation of American films by British studios has typically fallen short of projections: the British film-going audience, which hungrily devours American blockbusters, is surprisingly hesitant to engage in films that are made in Britain and utilize American-style plots, cinematography, acting, and special effects.
Outline:
Introduction
British Film Media
Issues of Consideration in British Film
British Film and American Film
Summary
From the Paper
"When this process occurs, the value of a film made by a British film studio is challenged. The outcome is problematic, as the film itself may contribute to the British film industry as a composition with significant artistic merit, but the lack of financial incentives indicates that there is a strong potential for the film to get "lost" in the cinematic archives. Films that have permanency within an audience are not necessarily those with the greatest intrinsic merit but are instead those that have had backing through a strong studio and have created a market identity through advertising, widespread distribution, and so on. A film that communicates a strong message or has profound artistic composition will not necessarily become a permanent achievement in the film industry, and for most investors and studios an obscure picture might as well have never been made."
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Family Dynamics, 2008.
This paper explores the dynamics of familial interactions and characterization in National Lampoon's film "Christmas Vacation."
2,281 words (approx. 9.1 pages), 4 sources, APA, $ 70.95
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Abstract
The paper addresses the family dynamics of the Griswold family in National Lampoon's classic parody of Christmas films, "Christmas Vacation," using Dorthea Orem's model of universal self-care. The paper provides an experiment into the functionality of a fictional family through exploring the characters of Clark Griswold (husband and father), Ellen Griswold (wife and mother), Audrey Griswold (teenage daughter), Rusty Griswold (son in early adolescence) and Eddie Johnson (cousin-in-law).
Outline:
Introduction
Cultural Assessment of Family Structure
Universal Self-Care Requisites
Developmental Self-Care Requisites
Nursing Systems Used to Meet These Issues
Conclusion
From the Paper
"The Griswold family is a traditional nuclear family consisting of father, mother, and two siblings (male and female). Typically, all interaction within this family is expressed between the four primary members. In the film, circumstances are altered so that the immediate family is changed and multiple members of the extended family are brought into stay within the same household. This affects the dynamics of the immediate family and impedes normal behavior. According to Orem's theories, it is now no longer possible for the Griswold family to engage in their conventional stable roles within this setting. However, the actions of the immediate Griswold family indicate that their roles are highly defined and that they are attempting to conform to them. This is especially evident in the actions of Clark and Ellen."
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