| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "AMERICAN CINEMA": |
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Italian-American Women in Cinema, 2002.
A compare and contrast analysis of the role of Italian-American women and American women in cinema.
1,373 words (approx. 5.5 pages), 5 sources, MLA, $ 45.95
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Abstract
This paper discusses the role of the Italian-American women in American cinema and the functions that they fulfill within the Italian-American community and draws a comparison between Italian-American female roles and the parts played by American actresses. It examines some of the more famous Italian-American female characters in films such as cinematic masterpieces such as ?The Godfather" and ?True Love? and how they are usually portrayed as working class and victims of violence. It shows how both Italian-American and American female characters in movies are challenged by a patriarchal society. The only difference is that the American character is free to do something about it even if all odds are against her whereas the Italian-American female characters on the other hand do not possess that luxury because their cultural norms do not allow such liberties.
From the Paper
"Then there are directors such as Martin Scorsese and Francis Ford Coppola who have made powerful Mafia movies ?Goodfellas? and ?The Godfather? respectively. Even though the main theme of their movies is the havoc that the mafia wrecks in the lives of Italian-American immigrants there always exists a strong underlying theme that relates the role of the mothers, daughters and wives of these mafia members. In short the role of the ?family?. For example in a comic scene in the ?Goodfellas? Scorsese makes a connection between food and death when Tommy?s mother serves them a mouth-watering meal just after her son and his friends have returned from trying to commit murder."
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American Cinema, 2004.
An overview of American films, with a focus on ? The Killing? and ?Touch of Evil?.
1,348 words (approx. 5.4 pages), 5 sources, MLA, $ 45.95
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Abstract
This paper discusses various American films and the American cinema in general, highlighting the features of two films, ? The Killing? and ?Touch of Evil?. It looks at how the two films belong to the 1940s and 1950s, an era in which American cinematography was beginning to gain a new momentum and was thus highlighting a new beginning in cinemas and films. It shows how both films are American classics and highlight the problems of society and the corruption found during those days.
From the Paper
"?The Killing? depicts a society, which is greedy for money and will do anything and everything in their power to get hold of easy money by wrong means, even if it calls for the shedding of innocent blood. The movie has symbolized the various aspects of the society while showing the greed for money exists in every class of the society from the rich to the poor. ?The Killing? is not exactly a murder plot, but instead is the ?kill for money?, it has also narrated the horse racing culture, which was found during the 40s and 50s; and how ordinary people bet large amounts of money during these races. These people can go to extreme measures for attaining the money they wish to win."
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Afro-Americans in American Film, 2002.
An overview of the stereotyping by American cinema of African Americans through a review of the movie "Black identity".
900 words (approx. 3.6 pages), 3 sources, $ 35.95
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Abstract
This paper will discuss the idea of film playing a part of in the media in the creation of stereotypes of harshness in "Black identity". By examining some of the film, which led to this, we can learn much about blacks are portrayed as 'hoods' or associated with crime in some or another. By making this distinction in film, we can learn how this image is clearly projected in black culture by white dominated media.
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The Hero in American Film, 2005.
This paper examines the post-Vietnam era evolution of the Western hero in American culture and cinema.
675 words (approx. 2.7 pages), 3 sources, $ 26.95
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Abstract
This film study reflects the central American identity of the conscientious loner that must explore the new frontiers of the Old West. The films analyzed here depict a post-Vietnam point of view of the western hero, which define an American identity that becomes increasingly Leftist in a political and social context. However, the violent and oftentimes white hero of the Old West is still preserved, since the World War II Era heroics of John Wayne.
From the Paper
"This film study will analyze the evolution of the western film genre through a heroic perspective. The centrality of the American western was a major part of historical and social of western heroes, such as John Wayne, after WWII. The evolution of Eastwood's hero in the 60s makes no less a reflection American life, as does Costner does in the Post-Vietnam Era. In essence, although the social context of the various western hero changes in how filmmakers approach this issue, the lone frontier explorer is an important mythos that is central to American cultural identity. The western hero after WWII was an independent, but loyal solider or frontiersman that was not truly concerned with a conscientious view other races or cultures in American society."
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"Slam", 2002.
A look at the portrayal of African Americans in the cinema through a review of "Slam" by Henri Kressler and Mart Levin.
650 words (approx. 2.6 pages), 1 source, $ 26.95
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Abstract
This paper will discuss the film "Slam" and its authors Henri Kressler and Mart Levin. By understanding the main themes in the film, we can see the nature of this film on African American life in the cinema. The major scenes will covered, and will show how they affect the thesis of Kressler and Levin in the making of it. By understanding the ideas and technique in this film, we can partake in the ideology that the creators of the film intended.
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?The Birth of a Nation?, 2002.
A paper that discusses the social impact of D. W. Griffiths? film "The Birth of a Nation" and how it changed American cinema.
1,665 words (approx. 6.7 pages), 11 sources, APA, $ 54.95
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Abstract
The paper argues the fact that the movie "The Birth of a Nation" - made in 1915 to give the American audience a new perspective to racial issues - left a deep impact on the American society long after its production and encouraged audiences as well as filmmakers to take a different view of cinematography. The essay first identifies the culture prevalent in American society at the time and then argues how the film guided cinematography from entertainment to a narrative portrayal of history.
From the Paper
"Griffith?s portrayal of a parallel social theme made a deep impact, as Hollywood had not yet been institutionalized and such a realistic representation of the American governance and U.S. imperialism only magnified the social ramifications of racism. Later, movies tried to follow the same path as Griffith but were incomparable in their technique. Filmmakers could not recreate the depth of the concepts as portrayed by Griffith. For example, ?The Birth of a Race? was an attempt to counteract the implications as presented in ?The Birth of a Nation?. The production of the film directed by an African American manages to only depict what had already been realized in Griffith picture."
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Early American Film History, 2008.
An overview of the history of the American film industry from the late 1890s to the 1920s.
1,848 words (approx. 7.4 pages), 7 sources, MLA, $ 59.95
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Abstract
This paper discusses how American cinema from 1896 and thereafter really has its roots in Thomas Edison's early inventions relating to film projectors. The paper then takes a look at the development of early film and cinematography throughout the 1880s and 1890s, starting from the invention of the kinetophonograph. It also tracks the history of films beginning with the first motion picture called "Monkeyshines", filmed in 1891, through the building of the first film studio and movie theaters. In addition, the paper discusses how, by the 1920s, American film and cinematography seemed to mature as an industry and how the technology had advanced to such a degree that producers and directors could shift their attention from the technology to the actual making of a film and directing of the storylines.
From the Paper
"The development of cinema into an art form in its early years is inextricably related to the development and advances associated with the film technology itself. Eventually the dominance of the East coast film companies which had advanced various film projection technologies in tandem with film production such as Edison's own Edison Company and the American Mutoscope Company among others, gave way to film production companies which began to concentrate solely on film production rather than on the technology development as well as film production. This shift in focus from the film projector itself to actual film production began in earnest in the US with the work of Edwin Porter who is known as the father of the story film (Bordwell 57)."
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The American Film Industry, 2006.
This paper examines the portrayal of Latinos and Asian Americans in the American film industry during the 1930s-1950s.
1,800 words (approx. 7.2 pages), 3 sources, $ 71.95
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Abstract
The paper portrays how the United States in the twentieth century was characterized by a degree of political and social upheaval, which effected an equivalent response of the mass media to such turmoil. The paper describes how over the period spanning 1930-1960, Americans reeled in response to World War II, flocking to the cinema against a backdrop of major political and economic change, which in turn colored the cultural trends of the period.
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Cinema du Look, 2003.
An overview of the key features of the cinema movement known as Cinema du look.
1,652 words (approx. 6.6 pages), 6 sources, MLA, $ 53.95
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Abstract
The paper examines how snubbed by French film academics, lovingly received (generally) by the audiences, Cinema du look at first appears as a triumph of style over substance. It systematically identifies the main features of the cinema movementby referencing the works of three main directors (Besson, Beineix and Carax) and demonstrates how the movement is not simply a triumph of style over substance. It shows how beneath the surface of these films (and these directors) is an interconnected postmodern reflection of contemporary society.
From the Paper
"Cinema du look, to some extent, can also be viewed as a return to the early days of cinema, where the spectacle of the movies was paramount. The ?cinema of attractions? as it is known. What is on the screen is there to amaze and astound the viewer, to be pleasing to her eye. Science fiction movies and other spectacle movies like The Fifth Element (1997), which I would argue definitely shares qualities with other cinema du look texts (fantastic colours, the ?Diva? who sings an operatic number, the lack of attention to characterisation and a wafer thin story) are viewed as being in a formulaic genre. The history of French cinema, and accordingly the attitudes of French establishment film critics, is the history of the auteur, and may go some way to explaining the hostility met by cinema du look amongst the French critics of the time."
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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
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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. "
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Iranian Cinema, 2005.
This paper discusses the history of Iranian cinema especially the period after the revolution.
1,790 words (approx. 7.2 pages), 6 sources, APA, $ 57.95
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Abstract
This paper discusses that, although cinema has not always been a part of Iranian culture, its growth was slow yet steady in a country ruled by Islamic rules and regulations. The author points out that the Islamic Revolution of 1979 brought an end to the already slowing cinema industry of Iran; theatres were destroyed believing they were symbolic of moral decay that had plagued the society. The paper relates that, after the revolution, the situation of the Iranian cinema gradually improved especially as women began to experience more freedom and interaction rules were relaxed; women became directors resulting in some famous movies including "Rakhshan Bani'etemad's Kharej AZ mahdudeh" ('Off Limits', 1987) and Nargess' "Tahmineh Milani's Tazeh cheh khabar" ('What's New?' 1992).
Table of Contents
An Introduction to Iran
Brief Overview of Cinema in Iran
Iranian Cinema after the Revolution
From the Paper
"The first film ever made in Iran was a silent movie produced in 1921 and talkies came later in 1933 when first sound movie Dokhtar-e-Lur came out. This marked the beginning of Iranian industry which was technically inferior to many advanced film industries of the world. While the industry was suffering because of lack of technical expertise, audience's appetite for foreign films didn't help the situation either. Most theaters therefore screened foreign films only and Iran rarely produced any movies for first fifty years. By 1947, Iran had produced only 2 films, in 1952 the number reached 20, by 1962 it increased to 30 and in 1971, Iran had produced 88 films. In 1977, the number of domestic films came down to 50 while foreign films during that period totaled 504."
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Third Cinema, 2003.
A summary of Scott Cooper's article on third cinema in the United States.
920 words (approx. 3.7 pages), 1 source, MLA, $ 31.95
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Abstract
This paper summarizes Scott Cooper's 1989 article third cinema in the United States". It emphasizes the need for disenfranchised peoples to tell their stories from their own perspectives. The author discusses the problems of ideology. The paper also explores common characteristics of Third Cinema and Third World Cinema.
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Italian Cinema, 2002.
A look at modern Italian cinema through the review of the style of three different directors, De Sica, Fellini and Tornatore.
1,650 words (approx. 6.6 pages), 4 sources, $ 62.95
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Abstract
This paper will explore three phases in modern Italian cinema as represented by the work of three directors. As will be seen, De Sica's neorealism, Fellini's auteur cinema and Tornatore's modern sentimental revisioning represent a complex progression in the concerns and aesthetics of Italian cinema.
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Cinema- Voice for Political and Social Issues., 2006.
An examination of cinema as a means to voice political and social issues.
3,690 words (approx. 14.8 pages), 5 sources, MLA, $ 102.95
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Abstract
In this paper the author highlights many of the uses of cinema as a means to political and social communication. He cites many examples of where politics have been affected by the use of cinema and social trends have been established as a result.The author also centres on cases where American movies have been banned due to political issues and influences. The paper concludes by stating that cinema is not the only influence on the changes that have occurred in politics and society.
From the Paper
"A lot of Canadians seem to be loyal to Canadian art, Canadian music, orchestras perform works by Canadian composers, and theatres that perform Canadian plays. But at the same time there are movies that are being now produced and shot in Canada when once they sued to be shot and filmed in the US. Although a lot of Canadians say that they would prefer to be distinctive of their own culture and society at the end of it seems like if they were given a choice they would rather opt for the American way of living."
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Classic Cinema, 2004.
A look at the definition of classic cinema and some older movies that deserve the title.
2,766 words (approx. 11.1 pages), 8 sources, MLA, $ 82.95
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Abstract
This paper discusses how classic cinema doesn?t simply happen and how it takes time, dedication, and a certain ?Je ne sait quoi? to create a theme, method, or a wave of influence that can be seen and felt years after its initial pass. It examines how classic cinema goes above and beyond the call of simple entertainment and how it creates a benchmark and platform, which future filmmakers will use to create new and interesting ways to tell a same story over and over again. In particular, it analyzes how films, such as "Birth of a Nation" (1915), "The Cabinet of Doctor Caligari" (1920), and "Battleship Potemkin" (1925) ,through their unique, pioneer, or innovative approach to the film medium, created ideas and methods that are still in use today and how they have bestowed upon themselves the right to carry the title of classic cinema.
From the Paper
"In the film "The Cabinet of Doctor Caligari" (1920) the most obvious image is that of surrealism. This movie is an eerie look into issues that revolve around insanity and hideousness. The set itself is incredibly expressionistic and offers the viewer many elusive and vague images. This fits in well with the location, which is, through most of the movie, an insane asylum. The doctor has hypnotic powers, which is depicted as the ultimate power over the bourgeois, violence and the fragile qualities of love. The film's background is also incredibly surrealistic, and for the time is was created this would be incredibly frightening."
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