| Papers [121-135] of 2755 :: [Page 9 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 —> | |
|
|
"Rush Hour 2", 2007.
A film review of "Rush Hour 2" focusing on its representation of African-Americans.
1,214 words (approx. 4.9 pages), 4 sources, MLA, $ 41.95
»
Click here to show/hide summary
Abstract
This paper analyzes the representations of African-Americans in the film, "Rush Hour 2", starring Jackie Chan and Christ Tucker. The paper suggests that rather than going against common racial stereotypes, the film instead seems to confirm or play into these negative assumptions about African-Americans. It analyzes specific aspects of the film and quotes film critics in its review of African-American representation.
From the Paper
"This film shows African-Americans in a way, despite the badge that Tucker carries, that is comfortable to American audience stereotypes, rather than in a way that challenges their cultural assumptions. The badge Tucker carries becomes an excuse for allowing a stereotypical depiction of a black man, just as the plot itself is merely an excuse for showing martial arts action sequences, and conventional comic routines that confirm stereotypes yet seem edgy because of the language that is used by Tucker's character. European audiences, reared on American cultural stereotypes, were equally, sadly, receptive to this depiction while uncomprehending Asian audiences merely waited for their beloved Jackie Chan's more culturally comprehensible next film."
| |
|
Canadian Cinema, 2007.
This paper discusses the themes of identity, race and ethnicity in Canadian cinema.
2,166 words (approx. 8.7 pages), 2 sources, MLA, $ 67.95
»
Click here to show/hide summary
Abstract
In this paper, the writer notes that identity is tied to the construction of ethnicity in the art of 20th century Canadian cinema and notions of modern Canadian ethnicity are created through the vehicle of art. Young Canadians must come to grips with their senses of themselves as both Canadian and a member of a particular ethnic group, or a hyphenated ethnic group. The writer maintains that art, although an imperfect medium, becomes a fertile but problematic place to engage in self-analysis and a search for national identity. The writer concludes that what is interesting in the films mentioned in the paper, however, is not their final thesis, or the characters' ultimate destination, but the willingness to struggle with complicated notions of ethnicity and identity in art, even while the postmodern and self-referential aesthetic of the films ultimately suggests that to find a final answer is impossible.
From the Paper
"This theme is most potently evidenced in Egoyan's 1993 film entitled "Calendar." In this self-referential film, Egoyan casts himself in the role of an Armenian-Canadian filmmaker, who has been commissioned to produce a series of artfully staged pictures of churches for a touristy calendar. These photographs are, the film suggests, a manufactured art, and are meant to embody the way that an 'other' ethnicity is often rendered palatable to a mainstream audience in Canada, as a commodity rather than as a living, evolving product of humanity. Buildings, rather than human beings are the focus of the photographer's frame, and the cinematic techniques of the film force the viewer to see the churches through his orderly, artistic gaze as he renders Armenia beautiful, static, and unchanging."
| |
|
"Boyz N the Hood", 2007.
An analysis of the representation of African-American manhood in the film, "Boyz N the Hood"
1,290 words (approx. 5.2 pages), 1 source, MLA, $ 43.95
»
Click here to show/hide summary
Abstract
This paper discusses how "Boyz N the Hood" (1991) is a film that attempts to speak truth to power, and counteract some of the negative stereotypes of young black men in Hollywood films. It looks at how, instead of ignoring the plague of violence and hopelessness in the inner cities of America, the film takes these stereotypes on and attempts to render the difficulties and challenges of the African-American experience with dignity and hope.
From the Paper
"The title frame statistic also politicizes the representations of the characters in the film. These characters are not simply individuals enduring their own psychological turmoil rather the struggles the characters face are endemic to a larger social condition in America. It is often considered dismissive to say that someone is merely a statistic. But these young men are potentially statistics, the film suggests, and that is not a reduction of their plight, rather it is a claim for the film's relevance beyond its duration on a screen. The film is a call to action. Whether the characters go to college, care for their children, or end up in the gutter is not merely 'their' business, or an interesting plot twist, their lives and by extension black lives in the hood are something that is vitally important for all Americans, particularly black Americans to care about and change. "
| |
|
"Colors", 2007.
An analysis of the disputes portrayed in the film "Colors," directed by Dennis Hopper.
703 words (approx. 2.8 pages), 2 sources, MLA, $ 25.95
»
Click here to show/hide summary
Abstract
This paper discusses the 1988 film, "Colors," directed by Dennis Hopper and starring Sean Penn and Robert Duvall. It describes the film's portrayal of the relationship between the police and gangs, as well as the relationship between the police and young men in "the neighborhood." It also briefly discusses gender differences in the way people handle disputes.
From the Paper
"Moreover, Bell & Forde (1999) report on a research study that shows gender differences in the way people handle disputes. Aggression is strongest in male-male confrontations. For this reason, it would make sense to put more women on police forces. Women know how to bring calm to stressful situations. They tend automatically to use communication to solve problems to begin with rather than escalating bad situations with physical force. Physical force is not all there is to being "tough." The world needs more moral courage and less physical. Police officers who are level-headed and know how to relate to people are going to be more effective than hot-heads who are continually feeding their own egos. Training in effective communication skills could help police officers in getting information to combat crime. And intensive training in decision making while under pressure would also be very useful."
| |
|
Antidote for Gangs, 2007.
This paper suggests that a lack of emotional connections is the reason why children join gangs.
750 words (approx. 3.0 pages), 3 sources, MLA, $ 26.95
»
Click here to show/hide summary
Abstract
In this article, the writer points out that the future of society depends on our children's achievement today. However, the writer notes that some children do not get the opportunities they need in order to achieve success. Further, the writer discusses that a disorderly environment is not conducive to good citizenship, good health, or emotional balance.
Looking at the film "Boyz in the Hood', the writer notes that typically, society responds to the problems of youth by constructing some sort of program to meet the individual problem (such as teen pregnancy or gang involvement).
From the Paper
"Such programs may have limited value, however, because they simply treat the problem and not the whole person. Society itself doesn't change. Moreover, children "at risk" are more than their problems--they are whole human beings with infinite potential. They need adults to believe in their potential and not treat them as though their problems were all that is important about them. A child like Darrin in the film whose mother hates him for some reason and who has no father to show him how to be a man is not simply vulnerable to gang membership and delinquency. His whole situation--his lovelessness and the ugliness of his environment--needs to be addressed."
| |
|
"A Face in the Crowd", 2007.
This paper analyzes the character and leadership of Lonesome Larry Rhodes in Elia Kazan's 1957 production "A Face in the Crowd."
861 words (approx. 3.4 pages), 0 sources, $ 30.95
»
Click here to show/hide summary
Abstract
The paper portrays how Lonesome Larry Rhodes' power-hungry and self-centered attitudes cause his downfall. The film shows how a lack of personal integrity can lead to failure and discusses how Machiavellian leadership is fundamentally amoral. The paper examines the other characters and shows how Marcia Jeffries comes to terms with her own power-hungry and selfish attitudes while Mel and Joey also participate in the American quest for fame. The paper discusses the film's secondary message that the media is used as a means for social control.
From the Paper
"A Machiavellian leader is unavoidably a lonesome leader, like Lonesome Larry Rhodes in Elia Kazan's 1957 production A Face in the Crowd. Played by Andy Griffith, Rhodes is an unlikable and sleazy character much like a Machiavellian ruler who looks down on the rest of the world. Moreover, Rhodes becomes a Machiavellian leader by emphasizing power over everything else, including ethics. Even when Lonesome Rhodes is first discovered in prison he was a power-hungry and arrogant man. The changes that take place during the course of A Face in the Crowd are not deep character transformations."
| |
|
"Many Lives of Marilyn Monroe", 2007.
This paper discusses the book "The Many Lives Of Marilyn Monroe" by Sarah Churchwell.
822 words (approx. 3.3 pages), 1 source, MLA, $ 29.95
»
Click here to show/hide summary
Abstract
In this article, the writer notes that Sarah Churchwell's work on Monroe could very well have redefined our understanding of this enigmatic figure. The writer maintains that Sarah Churchwell's book "The Many Lives of Marilyn Monroe" is the most comprehensive look at the life of the iconic movie star ever produced. The writer relates that Churchwell's premise within the book is that the real Marilyn Monroe is an individual who had immense psychological and personal problems, which she dealt with through the glitz and glamor of her celebrity profile. The writer concludes that Churchwell paints a story that does not rely on fiction and mystique. Rather, in the final analysis, one encounters the story of the real Monroe and finds that the truth is in fact even more impressive than fiction.
From the Paper
"She explores the central premise behind Monroe by examining her deeper motives. Monroe is exposed as an individual who is very uncertain of her identity. Perhaps because of her beauty, she is revealed to be an individual who has had little to no deep personal connections with others. It is only through the power of her body that Monroe possesses the fame that she won in her audiences. The strength of this power is also what alienated her from the rest of the world, as people treated her as a glamour figure and sexual icon rather than an individual with her own personality and thoughts. Churchwell dwells especially on Monroe's strong desire for motherhood. She interprets this action as a yearning for closeness with someone. Monroe saw motherhood as a mechanism to find the missing pieces within her life and to bind a truly cerebral relationship with someone. With the failure to become pregnant was when she seriously became depressed and eventually prepared for her death."
| |
|
Laura Mulver and 'Some Like It Hot', 2007.
This paper analyzes "Some Like it Hot" in light of Laura Mulvey's essay 'Visual Pleasure and Narrative Cinema'.
3,059 words (approx. 12.2 pages), 10 sources, MLA, $ 89.95
»
Click here to show/hide summary
Abstract
In this article, the writer notes that criticizing film is a very recent phenomenon, and potential critics are testing all possible avenues of criticism and methods of analysis. The writer discusses that Laura Mulvery tried, in her essay 'Visual Pleasure and Narrative Cinema', to base a feminist analysis of film in Sigmund Freud's theories of penis envy and sexual deviation. The writer relates that the problem of analyzing the film "Some Like it Hot" in relation to Laura Mulvey's writing is that she does not prove her point very well in her essay. The writer concludes that this essay does not claim that narrative film has had no effect upon perpetuating anti-feminist attitudes, but maintains that when people become aware through media literacy, it has little effect.
From the Paper
"Ultimately, the creator(s) of the narrative, whether in a book, a poem or any other medium, will both mirror and attempt to modify the culture of their audience. The techniques used by directors and cinematographers enhance the narrative messages and themes, but are not responsible for them unless the messages and themes of the visual form of the film are in direct opposition to those of the narrative. In this sort of case, which is very rare, the audience may leave with many different impressions, according to the baggage they bring with them (Rosenblatt 1935), and how they viewed the film, as in paying more attention the narratives of either the visuals or the text. One possible example of this technique is the film "Apocalypse Now", directed by Francis Ford Cuppola, where Cuppola often had visuals on the screen which contradicted the text, in addition to using camera angles, frames and other cinematographic techniques to negate the message of the text."
| |
|
Rebellion in Canadian Cinema, 2007.
An analysis of the representation of rebellion in Canadian cinema as compared to American and British cinema.
1,911 words (approx. 7.6 pages), 0 sources, MLA, $ 61.95
»
Click here to show/hide summary
Abstract
This paper argues that Canadian films such as "Goin' Down the Road"(1970), directed by Donald Shebib and "Nobody Waved Goodbye"(1964), directed by Donald Owen, ultimately suggest that Canada has not yet found its solution to the problems of societal rebellion and tension and neither adolescents nor adults can articulate an ideology of meaningful resistance.
From the Paper
" The film's jerky camera motions, overlapping dialogue, and clumsy scene splicing highlights this unfinished nature as well. Peter is an unfinished person, isolated even from other people his own age, and the only coherent windows on his life are provided by the jumps and jerks of the confined black-and-white cinematic lens. Unlike the delinquents of America who gleefully flee to the open road with a sense of possibility, to Peter the nation of Canada is so vast, so isolate and rural, that he feels he has nowhere to go within its borders, even when he is driving in a (stolen) car. "
| |
|
Archeology in Film, 2007.
This paper examines the portrayal of anthropology and archaeology in the film "Indiana Jones: Raiders of the Lost Ark" by Steven Spielberg.
1,557 words (approx. 6.2 pages), 8 sources, MLA, $ 51.95
»
Click here to show/hide summary
Abstract
The paper discusses the Hollywood image of the archaeologist and the discipline of anthropology. The paper defines archaeology and the role of anthropologists. The paper describes how the movie "Indiana Jones" makes archaeology look dangerous, exciting and extremely profitable while the realities of the discipline are totally different. The paper illustrates how Hollywood alters fact into fantasy to create its own version of anthropology and asserts that the character of Indiana Jones is not representative of the average archaeologist.
From the Paper
"Indiana Jones makes archaeology look dangerous, exciting, and extremely profitable. The realities of the discipline are far different, as most professional archaeologists know. While Jones always finds the treasure, gets the girl, and escapes from the enemy, the real world of archaeology involves patience, long, tedious hours of digging and recovery, and more hours cataloging and indexing, often with few monetary rewards. However, discovering missing items from the past is enough reward for many anthropologists. Unlike Indiana Jones, their greatest rewards come from finding links to tie together ancient lives, rather than treasure for display in the world's museums."
| |
|
The Film: "Henry V", 2007.
This paper discusses Kenneth Branagh's 1989 film interpretation of Shakespeare's "Henry V".
1,900 words (approx. 7.6 pages), 3 sources, MLA, $ 60.95
»
Click here to show/hide summary
Abstract
This paper explains that the modern, cinematic environment created by director Kenneth Branagh in his film "Henry V", juxtaposes the poetic language of Elizabethan theater with the visual language of film. The author points out that Branagh's plea for cinematic tolerance is especially apt because "Henry V" is a rather obscure film for an American or even European audience, less likely to be informed and interested in why England fought with France over a little patch of land, long ago. The paper describes the valid historicity of the film, the colors used, the techniques of warfare deployed, its Elizabethan language and modern cinematic techniques and looks at how they are all used used effectively to make this film a successful interpretation of Shakespeare's play.
From the Paper
"The camera work in the princess scene is especially quick and fleeting, as it follows the princess throughout the castle. Although the camera occasionally becomes anchored to Henry's face during a soliloquy, overall, the camera is a kind of peripatetic actor throughout most of "Henry V". The camera follows the horses as they gallop over the field of battle, wildly. The common soldiers on the ground, as when they are storming the castle walls of the city are shown from the ground up. The camera whizzes by the viewer's eye as it pans through time and from France to England and back again..."
| |
|
Police Ethics, 2007.
This paper examines the portrayal of police ethics in the film "The Untouchables" and the media portrayal of ethical lapses among police officers in Los Angeles' elite Rampart division.
1,635 words (approx. 6.5 pages), 4 sources, MLA, $ 53.95
»
Click here to show/hide summary
Abstract
The paper discusses the feature film "The Untouchables" that involves the police officer Jim Malone during Prohibition-era Chicago. The paper describes how Malone turns a blind eye to his fellow officers' corruption and the crimes of the most significant gangster of the time, Al Capone. The paper also examines widespread corruption in the Los Angeles police department's Rampart division. The paper maintains that the high moral standard to which we hold police officers must preclude such ethical lapses.
From the Paper
"Because they are charged with enforcing the law, police officers are held by society to a high moral standard. Unfortunately, police officers sometimes commit serious errors in judgment and their actions fail to meet that standard. Such ethical lapses are regularly portrayed in communications products, such as feature films, and in the news media. One prominent example of an ethical dilemma faced by a police officer in a feature film involves the character of Officer Jim Malone in The Untouchables. Malone is working as a cop in a corrupt police force during Prohibition-era Chicago. However, before meeting with Eliot Ness, Malone largely turns a blind eye to his fellow officers' corruption and the crimes of the most significant gangster of the time, Al Capone."
| |
|
War and Human Nature, 2007.
A discussion of the documentary "Fog of War" directed by Errol Morris and Andrew Niccol's movie "Lord of war".
3,506 words (approx. 14.0 pages), 4 sources, MLA, $ 98.95
»
Click here to show/hide summary
Abstract
The paper discusses the central ideas of the movie "Lord of War" and of the documentary "The Fog of War: Eleven Lessons from the Life of Robert S. McNamara". The paper explores the common theme of human nature during war and the need for power, especially over other countries. The paper looks at McNamara's "eleven lessons" learned during his tenure as secretary of defense. The paper relates that "Lord of War" is the acknowledgment of humanity's darker nature; men created weapons of mass destruction and used them to kill. The paper portrays how both the documentary and movie are a study of the moral complexities of war and those who fight it.
From the Paper
"McNamara discusses his experiences and shares some lessons he learned during his tenure as secretary of defense. He talks about his work as a bombing statistician during World War II, his presidency at Ford Motor Company and the Kennedy administration's triumph during the Cuban Missile Crisis. On the other hand the documentary focuses primarily on his failures in Vietnam. The main themes of the movie are his "eleven lessons" learned during his time. Some of these include: understanding the enemy, accepting that in order to do good it is necessary to engage in evil and the fight to try to change human nature will always be unsuccessfully."
| |
|
War and Media, 2007.
An analysis of the way that society's view of war is shaped by the media, focusing on "The Battle of Algiers," directed by Gillo Pontecorvo.
2,965 words (approx. 11.9 pages), 3 sources, MLA, $ 87.95
»
Click here to show/hide summary
Abstract
This paper discusses the portrayal of war within media. It specifically focuses on and gives examples from the epilogue of "The Battle of Algiers," directed by Gillo Pontecorvo. It describes scenes in the film and the ways in which Pontecorvo illustrates many of the aspects of war. The paper finally discusses how the media affects the way that society sees the realities of war.
From the Paper
"Media both causes and expresses reality. The landscape and local identities of war have been reshaped for our consumption. Modern media is instrumental in legitimizing war wherever it takes place by outlining differences in culture and identity. In The Battle of Algiers we could see this as the commanding military officer and the press questioned spokesman for the resistance. One of the reporters asks, "Isn't it vile to have women carry bombs in their baskets?" The questions had little to do with the reality of bloodshed and suffering and everything to do with shaping cultural values. The role of media in war is to anchor conflicts in its own media landscape, and then adopt a critical stance, while at the same time it constructs identities discursively. This is a change from the older function of literature "to point to the ideals and values related to war beyond the literary constructions" (p. 487). Larsen (2004) tells us that the "modern function of literature is to remind us that the real landscapes, with real bloodshed and real persons, only reach us through the arbitrary and abstract constructions which are circulated by the media" (p. 488)."
| |
|
Effective Leadership, 2007.
This paper analyzes the film "Remember the Titans" by Gregory Allen Howard.
1,155 words (approx. 4.6 pages), 0 sources, $ 39.95
»
Click here to show/hide summary
Abstract
The paper examines "Remember the Titans", explaining that it demonstrates leadership styles, leadership ethics and leadership frameworks using the example of a high school football team. The paper describes how both of the coaches in the film, coach Yoast and coach Boone, become effective leaders who deal with change, uncertainty and hardship. The paper shows how the coaches exemplify ethical and practical principles of leadership in their daily lives and not just on the field.
From the Paper
"Remember the Titans demonstrates leadership styles, leadership ethics, and leadership frameworks using the example of s high school football team. Gregory Allen Howard's 2000 film starring Denzel Washington and directed by Boaz Yakin offers an entertaining but insightful glance at the challenges leaders face and optimal means of overcoming obstacles and interpersonal conflicts. Remember the Titans takes place in Alexandria, Virginia in 1971, during the integration of public schools. The ensuing racial tension creates volatile situations for the team, its coaches, and the community."
|
|
|
