| Papers [106-120] of 2755 :: [Page 8 of 184] | | Go to page : <— 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 —> | |
|
|
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
»
Click here to show/hide summary
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."
| |
|
Film-Making College Application, 2007.
The paper concerns a college application regarding studies in film-making.
926 words (approx. 3.7 pages), 0 sources, MLA, $ 32.95
»
Click here to show/hide summary
Abstract
This article concerns a personal statement in which the writer states a life-long desire to be a film-maker. This article serves as a college application in the field of film-making. The writer states a belief that everyone has the potential never to stop growing until the day one dies and that is a reason why film appeals to the writer so. The application is concluded stating the writer's sincerity and great love for the art of making films, which resonate long after the final credits have rolled and the lights have dimmed.
From the Paper
"As a film-maker, I want to be able to resurrect a great figure, pull back the veil of mystery surrounding a famous crime, or capture the spirit of a by-gone era. For reasons such as those, I am especially interested in cinematography and in editing - but I am eager to explore and to learn about all aspects of the film-making process."
"As a citizen, my goal is constant personal evolution. I believe that each of us has the potential to never stop growing until the day we die and that is one other reason why film appeals to me so: at its core, it is the most dynamic of all the creative arts - it gives life and motion to words on a page, after all - and I want to experience the pleasure of constantly molding and crafting a living, breathing, growing film until I am finally satisfied that it has been "done right"."
| |
|
The Right to Die, 2007.
This paper explores the concepts of physician assisted suicide, euthanasia and voluntary death in the United States.
1,418 words (approx. 5.7 pages), 4 sources, MLA, $ 47.95
»
Click here to show/hide summary
Abstract
The paper discusses the film "The Sea Inside", which explores one man's struggle to end his own life after becoming a quadriplegic at the age of 26. The paper looks at how the character, Ramon Sampedro, fights for years for what he believes is a right that all human beings have to stop living when the conditions of life become unbearable. The paper then explores the controversial issue of physician-assisted suicide and euthanasia. The paper includes appended resource material.
From the Paper
"The issue of physician assisted suicide and euthanasia has been a growing debate throughout the country for many years. Emanuel (1997) states that the concept of the right to die, or euthanasia began in 1870 with a man named Samuel Williams (p. 73). Williams proposed that there euthanasia be considered "in all cases of hopeless and painful illness to bring about a quick and painless death" (Emanual, 1997, p. 73). Over time the concept that Williams voiced was considered by many, especially the press. However, when the idea was placed into proposed legislation in Ohio in 1906, the bill was defeated (Emanual, 1997, p. 73)."
| |
|
Big Business in the Media, 2007.
A discussion of the merit of the portrayal of big business in the mass media.
2,078 words (approx. 8.3 pages), 13 sources, MLA, $ 65.95
»
Click here to show/hide summary
Abstract
This paper discusses the portrayal of big business in the mass media. It discusses why films and books about big business are gaining widespread attention, when they appear to have less entertainment value than traditional films and novels. The paper argues that popular media that attack big businesses are making a valid point and serving a useful purpose as globalization spreads.
From the Paper
"Unfortunately, another aspect of all this is that many fast food companies actively promote unhealthy eating habits, despite the fact that there is a growing obesity epidemic in North America. This was highlighted by another movie that enjoyed widespread viewing, Super Size Me. This film made the point that McDonald's penchant for encouraging us to super size our meals is contributing to gluttony, and to an epidemic of obesity and ill health - but it is making McDonald's shareholders very, very wealthy. Independent US filmmaker Morgan Spurlock proved the point by eating nothing but McDonald's food for thirty days. The film records how his health deteriorated under this regime - he put on 25 pounds of fat, he became moody and sexually inadequate, and he almost destroyed his liver. This film performs a very valuable function in highlighting the selfish greed of corporations such as McDonald's, which makes its money by aggressively encouraging people to become unhealthy."
| |
|
Classicism and Art Cinema, 2007.
A comparison of Hollywood classicism and art cinema using the films "Singin' in the Rain," directed by Gene Kelly and Stanley Donen and "My Life to Live" (Vivre Sa Vie) directed by Jean-Luc Godard.
2,114 words (approx. 8.5 pages), 6 sources, MLA, $ 66.95
»
Click here to show/hide summary
Abstract
This essay attempts to broadly define the characteristics and underlying principles of both Hollywood classicism and the art cinema. It references one film from each category - "Singin' in the Rain," directed by Gene Kelly and Stanley Donen and "My Life to Live" (Vivre Sa Vie) directed by Jean-Luc Godard, respectively. The paper argues that the predominant stylistic distinction between the two modes lies in the art cinema's subversion of logical causality.
Table of Contents:
Introduction
Hollywood Classicism
The Art Cinema
Conclusion
From the Paper
"Moreover, Godard is also situating his work in the context of New Wave cinema for his audience. This is evident towards the end of My Life to Live in which - in one of the moving, documentary-like boulevard-scanning shots that are commonplace in the film - Godard shows and has his characters comment upon a line-up of movie patrons to see Truffaut's Jules et Jim; a work by his New Wave rival. Within the broader span of cinematic history Godard situates his protagonist, Nana, in a mirror relationship to the protagonist of La Passion de Jeanne d'Arc. As Nana watches her cinematic predecessor crying in closeup there is a closeup of a tear running down Nana's face as well; a referential cinematic relationship that Godard's audience would both expect and understand."
| |
|
Masculinity in "Jane Eyre.", 2007.
This paper analyzes Franco Zefferelli's 1996 production of Charlotte Bronte's "Jane Eyre."
846 words (approx. 3.4 pages), 1 source, MLA, $ 30.95
»
Click here to show/hide summary
Abstract
The paper examines the characters of Jane and Rochester as portrayed in Franco Zefferelli's 1996 production of "Jane Eyre." The paper contrasts Rochester's power with that of Jane Eyre. The paper explains that the fact that being a man in the 19th century was sufficient to give Rochester the power to define rationality and sanity, while at the same time allow him to behave abominably towards women.
From the Paper
"Charlotte Bronte published her novel Jane Eyre in 1847. Men in this time period had complete control of all aspects of society, including money, education, commerce, politics, and inheritance. The character Edward Rochester, after a difficult start, has become the epitome of this kind of powerful man, and indeed he may be said to embody the kind of rationality and power we associate with Enlightenment era men. Yet of course this power and rationality was a product of the intensely patriarchal society that shaped it. Rochester's power, and his ability to define what is rational and sane, may thus be said to be at the expense of women such as Jane Eyre, who are eminently rational, yet who lack power."
| |
|
The Female Beauty Myth, 2007.
This paper explores the motives behind the way women are portrayed in the popular media.
2,492 words (approx. 10.0 pages), 10 sources, MLA, $ 75.95
»
Click here to show/hide summary
Abstract
The paper discusses the views of Naomi Wolf in her book "The Beauty Myth" that the enforced version of female beauty helps to maintain male economic and political power. The paper also discusses Noam Chomsky's argument that the powerful elite of our society deliberately manipulate the media they control in order to maintain the current status quo. The paper examines current popular media, especially television and film, to investigate whether these allegations appear to be valid. The paper concludes that the beauty ideal is indeed a myth that the elite of our society convey to us via the popular media in order to keep women in their inferior place.
From the Paper
"In her book The Beauty Myth, Naomi Wolf argues that the ideal of female beauty that is projected in modern mass media is simply the latest method of keeping women in a subservient role within the patriarchal system. Wolf sees the aggressive pushing of a particular form of beauty as an important part of a backlash against the successes that have been achieved by the feminist movement. She believes that this enforced version of female beauty helps to maintain male economic and political power, by keeping women busy with diet and exercise, or keeping them so consumed by anxiety that they are unable to act effectively in the worlds of business and politics. Wolf argues this point with reference to many aspects of the popular media, noting that they all send the message that it is vitally important for women to be beautiful; and that in order to beautiful, women must be thin (and preferably also young, white and blonde). In considering these allegations, we also need to keep in mind that theorists such as Noam Chomsky have argued persuasively that the media is controlled by the powerful elite of our society, who deliberately manipulate the media they control in order to maintain the current status quo."
| |
|
African-Americans in Film, 2007.
An analysis of Eddy Murphy's representation of African-Americans in the film, "48 Hours."
1,259 words (approx. 5.0 pages), 1 source, MLA, $ 42.95
»
Click here to show/hide summary
Abstract
This paper examines the representation of African-Americans in film, focusing specifically on the 1982 comedy, "48 Hours," starring Eddie Murphy. The paper explains the storyline of the film and how Murphy is presented as a character in the film. The paper also looks at the light in which African-Americans are presented in general through films and in this film in particular.
From the Paper
"Although the film gives Murphy equal billing, and the film undoubtedly would be impossible without a talent like Murphy to hold his own against Nick Nolte, ultimately it is not a step forward in representing African Americans in their complexity. If it is funny, it requires audiences to know, understand, and to a certain extent accept stereotypes of African-Americans as lawless, funny, and ultimately under the control of Whites in everything but their language, not with their political or physical strength. Murphy is always foul-mouthed and overly sexualized and a "brother" in contrast to Nolte's "country boy" cop. Nolte's own strident masculinity within the context of the law and even infidelity is validated without condemning his character, while it marks Murphy as a criminal. Murphy's apparent freedom and force of personality, like the transitory freedom of the character during the "48 Hours" is no real freedom of expression at all. It is a sad continuation of a long tradition of representing African-Americans in crime films as criminals, sidekicks, and powerless. According to the stereotype sadly embodied by Murphy, Blacks in this genre are only apparently powerful with weapons, information or menace, and this power is transitory."
| |
|
Chaplin's Vision of Compassion and Success, 2007.
This paper discusses Charlie Chaplin's vision of compassion and success, while looking at the films "The Kid" (1921) and "The Gold Rush" (1925).
942 words (approx. 3.8 pages), 5 sources, MLA, $ 33.95
»
Click here to show/hide summary
Abstract
In this article, the writer notes that Charlie Chaplin was one of the most successful performers of the silent era of film. The writer discusses that two of Chaplin's most famous film comedies show that wealth does not always equal success. The writer notes that even when his famous character, The Little Tramp was poor, he still had great compassion for others, and a sense of humor that enabled him to survive against all odds. The writer concludes that both of Chaplin's films show that when people are poor, cold, and hungry, they are always thinking about becoming wealthy, comfortable, and well-fed, but that does not mean that money and success are as necessary as love. The writer maintains that the films demonstrate that without love, happiness is impossible.
From the Paper
"Amongst the discarded trash that no one else wants except poor people like the Tramp, Chaplin finds a treasure--a baby. The baby has been thrown in the alley by thieves, who value an expensive car more than a human life. The baby's wealthy but unwed mother left the child in her car with a note pleading to take care of the child. She went off to commit suicide, but could not bear to do it. When she returned to where she left her baby, the child was gone. The image of Chaplin's character finding the baby in the alley shows that the Tramp has found real, human riches that have been discarded like garbage because he is always able to spot treasure amongst trash, like good cast-off gloves. Afterwards, everyone mistakes the baby for the Tramp's child, and the boy and the Tramp become inseparable."
| |
|
"Raging Bull" and "Full Metal Jacket", 2007.
This paper analyzes, compares and discusses the films "Raging Bull" and "Full Metal Jacket."
2,820 words (approx. 11.3 pages), 13 sources, MLA, $ 83.95
»
Click here to show/hide summary
Abstract
The paper discusses how the purpose of the film "Full Metal Jacket" is different than that of the film "Raging Bull." The paper explains that in "Full Metal Jacket" the creation of an atmosphere is essentially more important then the narrative or story itself, while in "Raging Bull" the narrative structure and the story of an individual's life is at the artistic center of concern. In this light, the paper highlights the differences between the films, such as the usage of background and support elements and different approaches to technical issues such as lighting, camera angles and editing.
Outline:
Introduction
Full Metal Jacket
Raging Bull
From the Paper
"An analysis of these two films reveals that there are obvious differences in terms of their usage of background and support elements, such as setting and decor, as well as different approaches to technical issues such as lighting and camera angles and editing. These aspects of cinematic art are inextricably related to the style of the director as well as to the aims and intentions of the film. In any successful film aspects such as setting and environment are artistically linked to the various thematic and ideological undercurrents in the film. Background and set for example can be as important as script and acting in conveying certain moment of insight and perception in a film like Full Metal Jacket, for example. Therefore various aspects such as scenic environment, decor and sound should be borne in mind. A comprehsive analysis of a film cannot neglect these aspects and they are often integral to the shape and narrative trajectory of the film as a whole."
| |
|
Thelma & Louise and Scarecrow, 2007.
This paper discusses two different films 'Thelma & Louise' and 'Scarecrow'.
1,003 words (approx. 4.0 pages), 4 sources, MLA, $ 35.95
»
Click here to show/hide summary
Abstract
In this article the writer discusses the two films "Thelma & Louise" and "Scarecrow". The writer points out that these films involve entirely different characters, settings, and outcomes, but notes that they have several themes that connect them in meaningful ways. The writer looks at the similarities and connecting themes. The writer then discusses ways in which the films are dissimilar.
Outline:
Picaresque Theme
Search for a Dream
Episodic 'Road Movie' Theme
Dissimilar Aspects of the Movies
Conclusion
From the Paper
"In 'Thelma & Louise', the women start out searching for some enlightenment, seeking some fresh moments that will change their boring existences from stale to fresh, from dreary to exciting. When the only thing you have in life that is enjoyable is the company of another woman, going away with her for a spontaneous and impulsive journey is wonderful, even dream like (although that dream turns into a nightmare).
In Scarecrow, the two drifters have a dream of opening up a car wash that actually has real nylon brushes."
| |
|
Jacques Demy's Film "The Umbrellas of Cherbourg" (1964), 2007.
This paper describes Jacques Demy's film "The Umbrellas of Cherbourg" and compares it to the film "Moulin Rouge" directed by Baz Luhrmann.
945 words (approx. 3.8 pages), 3 sources, APA, $ 33.95
»
Click here to show/hide summary
Abstract
This paper explains that, because the film's dialogue is sung rather than spoken, which suggests a romantic comedy or Hollywood musical, French director Jacques Demy's film, "The Umbrellas of Cherbourg", (1964), a tale of thwarted young love set to music, is more heart-wrenchingly realistic and bittersweet than the fantastic presentation more typical of this genre. The author points out that this film's most obvious contemporary parallel would be Baz Lurman's "Moulin Rouge" (2001) in that it, too, is largely sung rather than spoken and has a cast of largely poor young people and a heroine who must choose between a poor man she loves and a rich man who can provide her with worldly comforts. The paper relates that the greatest difference between the plot of "The Umbrellas of Cherbourg" and "Moulin Rouge" is the portrayal of the 'other' love interests.
From the Paper
"At the beginning of the film, at first, Genevieve believes that love can conquer all. She only alters her point of view after she receives a few spare letters from Guy when he is away, and she wonders if she will be left pregnant and alone. Again, the theme of Guy and Genevieve as star-crossed lovers, a la Romeo and Juliet, is suggested by the plot. The viewer is called to wonder, if only Guy had not been drafted, if only Genevieve had not become pregnant and thus would have felt more secure waiting, if only her mother had not pressured her daughter for so long..."
| |
|
Hollywood Propaganda and WWII, 2007.
This paper demonstrates how Walt Disney cartoons and films were utilized as a form of propaganda during World War Two.
1,265 words (approx. 5.1 pages), 6 sources, MLA, $ 42.95
»
Click here to show/hide summary
Abstract
The paper discusses how, during World War II, Hollywood was part of the war effort and produced a number of works intended to stir up the troops, encourage those at home to help in the war effort, and demonize the enemy. The paper examines the different types of propaganda and shows how Disney used films and cartoons in their fight against Nazi Germany. The paper discusses how these films show a side of the war that many may not realize was so powerful.
From the Paper
"We tend to think of propaganda as a tool used by the enemy, but America uses propaganda as well. During World War II, Hollywood was part of the war effort and produced a number of works intended to stir up the troops and often to demonize the enemy as part of the process. The most obvious such films were the wartime war movies that celebrated Allied victories and killed off dozens of the enemy. Cartoons were also used in service of the war effort, often involving racially charged images that do not fit well with today's culture and so are often not seen any longer. A number of Popeye cartoons involved denigrating images of Japanese people. At Warner Bros., the Private Snafu series for the army included not only similar racist images but some swearing. Walt Disney Studios also enlisted in the war effort and produced a number of films intended to support the troops and demonize the enemy."
| |
|
Film: "William Shakespeare's A Midsummer Night's Dream", 2007.
This paper compares Michael Hoffman's 1999 film, "William Shakespeare's A Midsummer Night's Dream" with Shakespeare's original play.
2,350 words (approx. 9.4 pages), 9 sources, MLA, $ 72.95
»
Click here to show/hide summary
Abstract
This paper explains that, for his 1999 film, "William Shakespeare's A Midsummer Night's Dream", Michael Hoffman rewrote the original Shakespeare play, put it into a more modern context and emphasized artistic visual expression over Shakespeare's expression through the poetry of language. The author points out that Hoffman modernized the gender roles by creating a dialogue for Bottom's wife, thus increasing her importance; wherein, in the original play, her role consisted of a stare. The paper relates that, to appeal to modern cultural standards, the movie has been made more aesthetically pleasing by the fantasy theatrics of the costumes and makeup.
From the Paper
"The first and most evident difference between the 1999 film adaptation and the original play by Shakespeare is the setting. Shakespeare's work is set in Greece, while Hoffman's is set in the turn of the 20th century Tuscany. It was also filmed in Tuscany. "Hoffman moves the action forward in time and sets it in late 19th-Century Tuscany" writes Welsh, but it is questioned whether this "new setting makes sense". Thus Hoffman's version has an immediate difference between that of Shakespeare's which took place in the traditional classical setting."
| |
|
Brazil, 2007.
This paper discusses the film 'Brazil' by Terry Gilliam.
2,620 words (approx. 10.5 pages), 6 sources, MLA, $ 78.95
»
Click here to show/hide summary
Abstract
In this article, the writer discusses that Terry Gilliam's 1985 black comedy 'Brazil' uses a bizarre, crowded, and largely dysfunctional urban environment of the future as a way of commenting on the urban environment of our time. The writer points out that the urban world shown in the film reflects a created culture that never existed but that still has familiar elements that would get a response from anyone today. The writer discusses that this film uses this city as a generic city, standing in for the modern city at a time of social unrest, terrorist activity, and the ascendancy of an authoritarian regime. In short, the writer maintains that many observers might see this film as more reflective of our time than when the film was made, though such a convergence would have to be largely accidental.
From the Paper
"In this view, the organic city has been overlaid with a created landscape, one shaped more by political forces and determined reformers of one stamp or another. In this view, these political forces pushed various populations deemed less important into some parts of the city while allowing and even encouraging white flight into suburban areas. In Los Angeles, the suburbs keep moving further from the city core, first into the Hollywood area and the San Fernando Valley, more recently into what is called Canyon Country to the north, as well as into outlying communities all around the city, such as Santa Monica, Culver City, Alhambra, and El Segundo, and others."
|
|
|
