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Violence on Television, 2007.
An analysis of the violence on television and films that children are exposed to and how parents can combat the effects of this exposure.
1,661 words (approx. 6.6 pages), 13 sources, APA, $ 54.95
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Abstract
This paper reports on violence on television and the effect it has on elementary school-aged children. The paper also discusses what parents and educators can do to protect children from these negative images and influences. The paper presents examples from television and videos, as well as from music videos, of the types of violence to which children are exposed.
From the Paper
"It seems very clear that there is too much violence on television, and that children are therefore exposed to far too much violence. It is also clear that this is impacting them negatively. Moreover, this is becoming more pronounced because violence on television is increasingly glamorized, such as in the Matrix movies, or in music videos (as children obviously tend to admire the famous music stars and their glamorous lives). However, there is hope. It seems clear that if parents and educators work together, they can protect children can be protected from the violence they are exposed to on television."
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"Hamlet" in Film, 2007.
An analysis of how the characters of Ophelia and Gertrude differ in different film versions of William Shakespeare's "Hamlet".
1,018 words (approx. 4.1 pages), 7 sources, MLA, $ 36.95
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Abstract
The paper discusses how different productions of a play such as "Hamlet" by William Shakespeare will have differing interpretations of characters. The paper focuses on the central female characters in "Hamlet," of Ophelia and Gertrude. It then looks at how they are portrayed differently in two film versions of the play - the 1949 version directed by and starring Laurence Olivier and the 1990 version directed by Franco Zeffirelli and starring Mel Gibson.
From the Paper
"The role of Ophelia differs in the two versions as well. In keeping with the play, the Olivier version shows the deterioration of Ophelia as she descends into madness with the death of her father and other events in the play. The Zeffirelli version treats her in a manner similar to Claudius and Gertrude in that she starts at a high level and stays there. In the Zeffirelli version, Ophelia is distracted from the time we first see her so that her madness seems already entrenched and only needs a push to become full-blown. Her madness does not develop in the time of the play but is part of her make-up from the beginning, so just as we immediately see Claudius and Gertrude as guilty, we see immediately see Ophelia as insane."
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Blaxtiploitation and American Film, 2007.
An analysis of the steps taken to eliminate blaxtiploitation from American filmmaking.
2,291 words (approx. 9.2 pages), 8 sources, APA, $ 70.95
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Abstract
This paper discusses the exploitation of Blacks in the American filmmaking industry and looks at the role of the Civil Rights movement in eliminating blaxtiploitation. It describes and discusses different films that were created in response to this phenomenon of exploitation and their impact on it. The paper specifically focuses on the Oscar award that was awarded to Sydney Poitier and its impact on the filmmaking industry.
From the Paper
"It is evident that in the progress of Black filmmaking in the nation there was a great upheaval in the country and that few Black individuals were ever recognized for their efforts. Sydney Poitier and Hattie McDaniel were capable of receiving Oscars for their work, although the massive amount of other Black actors and filmmakers were ignored. While many would contend that blaxtiploitation films played a significant role in brining the plight of Black filmmakers to the nation, the fact is that most blaxtiploitation films were created by whites. Yet, the period of filmmaking is significant because through it emerged a new philosophy about portraying cultures in cinema and that philosophy was finally to tell the story as it really occurred. Once this happened the films of individuals such as Burnett and his counterparts were capable of presenting the views of varied lives before the public in a manner that educated and informed."
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Canada, Movies and Migration, 2007.
A critical analysis of two movies on migration: "Who Gets In?" and "Freedom's Land: Canada and the Underground Railroad".
1,302 words (approx. 5.2 pages), 3 sources, MLA, $ 43.95
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Abstract
The paper discusses how the two films "Freedom's Land: Canada and the Underground Railroad" and "Who Gets In?" present distinct views on issues of migration and oppression from the perspective of the Canadian context. The paper reviews both works with respect to their presentation, their major themes and an evaluation of their respective effectiveness. The paper argues that "Freedom's Land" is notably lacking in critical focus on its major themes relating to Canada's historical role of receiving slaves. In contrast, the paper asserts that "Who Gets In?" is more effective and powerful, due to its close critical focus on its major themes of bureaucracy and selectivity.
From the Paper
"Freedom's Land: Canada and the Underground Railroad is a production of the Canadian Broadcasting Corporation that attempts to depict the history of Canada's involvement in the Underground Railroad that, in the 19th century, assisted many African American slaves in escaping from the oppression in the slave states of the American south. The film is structured in cohesive sections, beginning with a general depiction of the institution of slavery, and then progressing through to Canada's role as a refuge for slaves fleeing the United States, and featuring as a core element a lengthy depiction of the failed "rebellion" of John Brown in his raid on Harper's Ferry that was a major event during the period leading up to the American Civil War."
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"Drums Along the Mohawk", 2007.
A review of the arguments in Robin Wood's essay, "Drums Along the Mohawk".
1,519 words (approx. 6.1 pages), 2 sources, MLA, $ 50.95
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Abstract
This paper discusses Robin Wood's essay, "Drums Along the Mohawk", in which he presents a wide-ranging critical analysis of the work of John Ford in his 1939 drama of the same name. The paper describes Wood's analysis of the film and the arguments that he presents. It then critically analyzes the article and presents the writer's point of view as to the article's validity.
From the Paper
"These strengths related to the conceptual framework of the film also highlight a key weakness in Wood's text: its lack of extensive discussion of the cinematic aspects of the work. Indeed, with the exception of a brief discussion of composition in Ford's work (Wood 176), there is little discussion of the film as film instead of in terms of its conceptual framework. Despite film being a visual medium, with only a handful of exceptions Wood's text does not address the visual qualities of Ford's achievement."
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Contemporary Feminism, 2007.
An analysis of "Others in their Own Land: Second Generation South Asian Canadian Women, Racism and the Persistence of Colonial Discourse" by Angela Aujla, "Why I'm a Feminist" by Lauren Anderson, and the film "Iron Jawed Angels" by Katja Von Garnier.
1,507 words (approx. 6.0 pages), 4 sources, MLA, $ 49.95
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Abstract
The paper examines two articles and a film: Angela Augla's article, "Others in their Own Land: Second Generation South Asian Canadian Women, Racism and the Persistence of Colonial Discourse", Lauren Anderson's article, "Why I'm a Feminist", and the film "Iron Jawed Angels" directed by Katja Von Garnier. The paper focuses on key concepts in these texts and explains how they are significant for contemporary feminism. The paper discusses Aujla's concept of "othering", Anderson's talk of solidarity, and the film's portrayal of the many enormous challenges to solidarity among women.
From the Paper
"In her article, Aujla focuses on how racist and colonial discourses inherited from the past continue to influence dominant discourses today, and on the way in which South Asian Canadian women are still perceived by the dominant culture. These discourses function to keep South Asian Canadian women marginalized within Canadian society, and ensure that no matter how many generations of their family have lived here, they are still never truly Canadian enough, or white enough, to be part of the dominant culture and dominant discourse. They are thus permanent "others" in their own countries."
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Michael Collins, 2007.
This paper discusses the guerilla tactics used by Michael Collins in Ireland.
713 words (approx. 2.9 pages), 4 sources, APA, $ 25.95
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Abstract
The paper shows how, like most controversial political figures, Collins was both admired and despised. The paper explains that loyal supporters of Collins saw him as a fighter for Irish freedom and independence, while the British and some in Ireland saw him as a violent radical. The paper discusses the film "Michael Collins" by Neil Jordan that illustrates Collin's tactics of guerrilla warfare and shows how violence inevitably has tragic consequences.
From the Paper
"Like most controversial political figures, Michael Collins was both admired and despised. The adage that one man's terrorist is another man's freedom fighter definitely applies to Collins, for he was idolized across much of Ireland as a patriot, but was condemned by the British as a villain. Loyal supporters of Collins saw him as a fighter for Irish freedom and independence, while the British and some in Ireland saw him as a violent radical."
"In his film "Michael Collins" Director Neil Jordan (1996) portrays the violent final hours of the Easter Rising, during which British troops suppressed the rebellion and executed the Irish leaders by firing squad. Jordan's portrayal of the guerilla tactics of Michael Collins reveals why the British considered him a terrorist, for he targeted the British leadership in Ireland for assassination in order to create chaos and compel the British to grant the Irish independence."
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My Darling Clementine, 2007.
This paper discusses the western movie "My Darling Clementine".
1,203 words (approx. 4.8 pages), 2 sources, MLA, $ 41.95
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Abstract
In this article, the writer analyzes the classic film "My Darling Clementine". The writer discusses the way in whcih the elements of style are used in the film to elucidate its central themes. The writer looks at the themes of the settlers' civilization of the West, the character of the lone cowboy or fugitive who doesn't fit into the developing social community, and the violent clash between the Clantons and the Earps that exemplify these disparities.
From the Paper
"In the first scene each of the Earp brothers on the cattle drive is introduced by a low-angle medium shot profiled on horseback against the sky. Somehow the short take, the brief isolation of each one, exposes a premonition of mortality, which is heightened by the ominous arrival of Old Man Clanton and his son Ike hunched over on their buckboard, in a medium shot seen from the back. They, their rig, and their horses are dark figures in the gathering dusk of the hills as Wyatt Earp rides up from the daylight plain to speak to them in low-angled closeup."
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The Qin Dynasty, 2007.
This paper explores ideas of space and time that are intertwined in the Qin period in China.
2,171 words (approx. 8.7 pages), 6 sources, MLA, $ 67.95
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Abstract
The paper examines the film, "Hero," set in the Warring States period in China. The paper describes the Qin effort to unify the warring principalities that the character "Nameless" defeats, towards the rise of what came to be a Chinese nation-state. The paper highlights Chinese ideas of place and belonging, of how the world should be, the usual insignificance of persons and the strong chance of bad order as only the heroic can offset it and put in place new systems of order that will fit with both human need and the will of the cosmos.
Outline:
Introduction
A Southern Epic
Later, Historians and History
Qin Rule and Dissent
Conclusion - On Heroic and Other Myths
From the Paper
"East Asian pre-modern ideas of time offer more than one conception of Time, and discussion of it, as evidenced in the 2002 film, Hero, set in the Warring States period. The principal character, "Nameless" is presented to the reader as not just a mercenary of the Qin state but as a kind of divine appointee. As an English subtitle explains "this land does not know a real hero - yet." (2004) All characters within this epic story seem to know they are part of a still unknown momentous outcome, part of a far longer epic of China's history, in the Qin effort to unify the warring principalities that Nameless defeats, one by one, towards the rise of what came to be a Chinese nation-state. Nameless, an orphan, had no family name to live up to, so devoted years to mastering the sword, aware of some particular purpose, a time in which he would serve a noble cause. Once competent, he presented himself to the Qin court with the swords of the Qin's adversaries. As Stephen Owen commented of very old Chinese ideas of the self and its purpose, "the ancients tell us that there are three kinds of achievement by which a person may hope to endure - moral power, deeds, and words." (p.72)"
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Richard III, 2007.
This paper compares and contrasts five dramatic and historical interpretations of Richard III.
1,482 words (approx. 5.9 pages), 5 sources, APA, $ 48.95
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Abstract
The paper examines four productions and one biography of Richard III.
The paper explains that a controversial historical figure like Richard III, whose flawed character and life was filled with intrigue, betrayals, confrontations and battle has provided ample opportunities for playwrights, biographers, novelists, and filmmakers to interpret him and the events of his life in a variety of ways. The paper shows how some interpretations rely upon an understanding of the historical Richard III, others rely upon the characterization of him in William Shakespeare's famous play, while others have chosen to rely less upon traditions and more upon innovative approaches.
From the Paper
"Carefully examining the 1954 and 1995 films, both entitled Richard III; as well as Shakespeare's Richard III, Al Pacino's Looking for Richard, and historical and biographical accounts of Richard III provides many opportunities to compare and contrast these various interpretations. William Shakespeare's play is the best known of these productions, and justifiably so, for it created a memorable and lasting image of Richard III that renders the historical figure virtually irrelevant to most people. Shakespeare's interpretation of Richard is so powerful, vivid, and overwhelming that no biography or historical account can even begin to compare."
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Maurice Bishop and the United States, 2007.
This paper explores the 1983 film, "Grenada P.M. Maurice Bishop, Speaker at Hunter College".
987 words (approx. 3.9 pages), 4 sources, MLA, $ 35.95
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Abstract
This paper describes the personal reaction of the writer to the film "Grenada P.M. Maurice Bishop, Speaker at Hunter College". The writer is of the opinion that this is a fairly provocative film that portrays Bishop as an aggressive leader of some ability but with a questionable background. The writer also learns how U.S. foreign policy is often misguided, aiming to punish unpopular regimes but also punishing innocent peoples.
From the Paper
"To begin with, my reaction was a mixed one. In the opening minutes of Grenada P.M. Maurice Bishop, Speaker at Hunter College, Mr. Bishop urges Americans to engage in a more productive "dialogue" with their Grenadian counterparts; he also implores Americans to engage in a mutually trusting and "normal" relationship with a Grenadian nation that had been wracked by a number of political uprisings and disturbances in recent years. Not to be overlooked, Bishop points out to listeners that Grenadian trade, social services and the economy more generally has been debilitated by the U.S. reluctance to trade with the tiny nation. To bolster his claims that Grenada is a great place to invest, he reports on how capital investment is gaining momentum in Grenada and how government policies are finally pushing the country in the right direction despite various obstacles."
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"The Black Dahlia", 2007.
An analysis of the application of Laura Mulvey's theory of the gaze to Brian De Palma's 2006 film, "The Black Dahlia".
1,267 words (approx. 5.1 pages), 4 sources, MLA, $ 42.95
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Abstract
This paper discusses Brian De Palma's 2006 film, "The Black Dahlia". The paper also discusses Laura Mulvey's theory of the gaze and the application of her theory to classical Hollywood cinema. The paper then discusses the application of the same theoretical apparatus to a contemporary Hollywood retro-noir (a contemporary film that references classical Hollywood film noir texts within a modern context), particularly "The Black Dahlia", and shows how it opens new avenues for understanding the operation of the gaze in film.
From the Paper
"In conclusion, our application of Laura Mulvey's theory of the gaze to De Palma's The Black Dahlia reveals not only gaps in the theoretical model - notably its insufficient exploration of the castrating feminine power of the film noir femme fatale - but also how a modern film can compel us to open the theory to encompass homoerotic and lesbian aspects. While De Palma's use of "screen tests" in the movie represents an almost perfect example of the male gaze in operation - it may be speculated whether De Palma has read Mulvey, and deliberately crafts the scene with this theoretical model in mind? - in its broader frame the film compels us to open the heterosexual male/female binary implied by the model to take into consideration differently gendered approaches to the representation of sexuality, power and domination in cinema."
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"Farewell My Concubine", 2007.
A review of the film "Farewell My Concubine".
793 words (approx. 3.2 pages), 1 source, MLA, $ 28.95
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Abstract
This paper discusses the 1994 Chinese film "Farewell My Concubine", which is set against a violent background of political upheavals. Beginning during China's warlord era of the 1920s, the film spans 50 years, and includes the Japanese occupation and the Cultural Revolution. In particular, the paper argues that despite its background, the central theme of the film is the love affair between the two central male characters, Duan Xiaolou and Cheng Dieyi.
From the Paper
"It might be argued that the film is not so much about a love story as about Chinese history. After all, the film is one of the first to be bold enough to expose the "Cultural Revolution" for the fascist rampage that it really was. It also gives insight into what it was like to be an ordinary citizen during the most important historical event of the era - the establishment of the Peoples' Republic of China by Mao Zedong and his Chinese Communist Party in 1949. The film is certainly flooded with politics and traumatic events such as the Japanese occupation, and all of these events have a profound impact on the lives of the characters. However, it is argued that to the viewer the political details are much less important than the love story that takes centre stage."
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"Gladiator" by Ridley Scott, 2007.
This paper discusses the epic film, "Gladiator" by Ridley Scott.
1,718 words (approx. 6.9 pages), 7 sources, MLA, $ 55.95
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Abstract
The paper looks at the main character of Maximus in the film "Gladiator". The paper examines the reception of Maximus in three different nations; Canada, Great Britain and Australia and discusses how the respective cultures of each land embraced or rejected him according to their tastes. The paper shows how trans-national responses to Hollywood productions are culturally-determined responses that offer a great insight into the political economy of nations.
From the Paper
"Ridley Scott's "Gladiator" was one film that endured anything but an uneventful production and filming process. For one thing, veteran actor Oliver Reed died before he completed all of his scenes; for another, the elaborate battle scenes which are one of the chief attractions of the film were frequently logistical and artistic "nightmares". Additionally, the live tigers used in the making of those unforgettable scenes occasionally got "too close for comfort" - at least for Scott. Finally, the film was expensive, with the eventual production cost running to US$103 million (Mantz, para.5). With regard to other features of the filming and creation of the motion picture, it must be noted that the overall cost of not only making the film but also promoting it eventually ran to US$145.7 million. A pricey thing, to be sure, but the movie grossed $187 million in U.S. theatres and a further $269 million overseas ("Gladiator," sec.2), thereby suggesting that the film's main character of Maximus enjoyed an international following."
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Introducing Ballroom Dance to Children, 2007.
This paper compares the movies "Mad Hot Ballroom" and "Take The Lead".
1,214 words (approx. 4.9 pages), 2 sources, MLA, $ 41.95
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Abstract
The paper compares and contrasts two movies "Mad Hot Ballroom" and "Take The Lead", which deal with the ballroom dance school program and its impact on the children. The paper examines the importance that is placed on the voices of the children in both films. The paper relates that both films show how a short dance class can impact children and teenagers. The paper argues, however, that in "Mad Hot Ballroom" the voices of the children are better represented and the experiences and agendas of childhood are more realistically portrayed.
From the Paper
"Both films deal with the same topic: introducing ballroom dancing to children and the impact that this exposure has on the childern. However, there are many differences between the two films in how this is done. One of the biggest differences is in the age of the children. While the students of the documentary are 4th and 5th graders and thus 10-12 years of age, those of the "Take the lead" are older teenagers in high school. The children in "Mad hot ballroom" are from different social, economic, religious and cultural groups, while the children in "Take the lead" are "ghetto" children (at least "ghetto" in the Hollywood sense), mostly black, from lower social and economic groups."
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