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Movie Director's Notes, 2007.
A presentation of a movie director's notes for shooting a film beginning on an airplane.
1,194 words (approx. 4.8 pages), 0 sources, $ 40.95
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Abstract
This paper is written as a creative writing piece. It presents instructions for a director for shooting a movie that begins on an airplane. It describes the scenery, the types of shots that should be taken and how the characters should be positioned in the shots. The paper presents details for three scenes in this short movie.
Table of Contents:
Airplane Scene One
Scene Two: Having fun in Europe
Final scene
From the Paper
"The next scene spins in showing dancers with the mountains visible out the windows but only lit by the lights of the slopes. We identify the couple as they dance by the camera and the next scene spins in showing a 45 degree angle shot of the couple at a table is a nice restaurant with a different view out the window. The lighting is romantically low and warm, but not dark. The story action can be continued here, as the camera moves to full frontal table shot and then dollies in until we have full frontal couple shot. The camera angles alternate between full frontal couple, and individual head and shoulder shots as they talk while drinking wine and sampling hors d'ouvres. They are seated almost as closely as the airline seats enforces. Outside the large windows it is dusk and we see a cityscape of Paris."
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John Ford?s ?The Searchers?, 2002.
The paper analyzes John Ford?s movie ?The Searchers? (1956) by using the ideas of feminist film theorist Laura Mulvey from her famous essay, ?Visual Pleasure and Narrative Cinema?.
1,815 words (approx. 7.3 pages), 2 sources, MLA, $ 58.95
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Abstract
The paper explains Mulvey believes that the dichotomy between narrative and spectacle echoes the division between men and women such that men control and forward narrative and women exist as spectacle or objects of visual pleasure at which to look. The author points out many examples where John Ford?s ?The Searchers? sometimes simultaneous adherence to and subversion of Mulvey?s observation and theory. The author finds that the film itself suggests the link between the pleasure of sight and power.
From the Paper
"In examining the film with Mulvey?s structure in mind, what are we to make of the fact that the female characters in the film are infrequently spectacles? Mulvey writes that, ?Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen.? Although the whole movie is about Ethan Edwards? obsession with avenging the rape and murders of female kin, as well as rescuing one of them, the camera barely lingers on the women. Their relevance is not as visual objects of pleasure either for the camera?s masculine gaze or for the male characters (which presents a stark contrast to the work of Hitchcock that Mulvey dissects as empirical evidence for the structure she describes)."
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John Ford's Film "The Searchers", 2005.
This paper discusses the masculine hero of the American West as presented in John Ford's classic film "The Searchers".
1,060 words (approx. 4.2 pages), 0 sources, $ 37.95
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Abstract
This paper explains that the John Ford classic western "The Searchers" focuses on the relationships and motivations of Ethan Edwards, played by John Wayne known for his super-masculine characters, and Martin, a young, part-Cherokee man, who is accompanying Ethan. The author points out that this relationship between surrogate father and son shaped the young man's view of what manhood truly encompasses. The paper stress that the use of this relationship in the film allows the trait of masculinity to be witnessed through its early development and permits the viewer to decide the positive and negative aspects of masculinity's eventual, albeit extreme, culmination.
From the Paper
"Eventually, Ethan comes to fully surpass his brother Aaron as patriarch of the household. The family comes to see him as the protector, or "man of the house." When a posse arrives hunting for what appear to be cattle rustlers, Ethan forbids his brother to go along, shouldering the responsibility himself. As he leaves, Aaron's wife embraces Ethan, for which she receives a kiss on the forehead. At this instance they undeniably appear to be man and wife. Later, when the family senses danger of an attack, Ben, the young man of the house, says, "I wish Uncle Ethan was here," despite the fact his father is present and holding a gun. By the traditional ideals of masculinity, being the head of a household is a cornerstone of being considered a man, so Ethan's usurping of his brother's position suggests his natural prowess at playing the masculine role."
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John Ford, 1990.
Discusses John Ford from the perspective of auteur theory. Focuses on how Ford worked with a regular coterie of writers and analyzes the films "Stagecoach", "Searchers", "She Wore a Yellow Ribbon", Fort "Apache", "The Quiet Man" and others.
2,250 words (approx. 9.0 pages), 3 sources, $ 79.95
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From the Paper
"The auteur theory developed by French film critics beginning in the 1950s is partly a convenient way of categorizing and analyzing films, collecting titles as the body of work of the director. More than this, though, the theory holds that it is the director more than anyone else who is responsible for the completed film, since he or she is the one who determines visual style and other matters in the course of production. The theory finds that the director expresses meaning through visual style and that analyzing the visual style of a given director reveals consistent thematic concerns, similarities in character development, and other repeated and recognizable signs of a single intelligence at work. At the same time, though, film remains a collaborative medium, and it would seem that directors would be influenced by their..."
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D.W. Griffith, John Ford, Orson Welles, Alfred Hitchcock and Ingmar Bergman, 1999.
Examines these five directors' major films, contributions to cinema, innovations, styles and techniques.
3,825 words (approx. 15.3 pages), 9 sources, $ 135.95
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Abstract
"This paper is a discussion of the works of five of the greatest directors in international cinema. D. W. Griffith, John Ford, Orson Welles, Alfred Hitchcock, and Ingmar Bergman have each had enormous influence in their art because of their individual vision and striking approach to filmmaking.
From the Paper
"This paper is a discussion of the works of five of the greatest directors in international cinema. D. W. Griffith, John Ford, Orson Welles, Alfred Hitchcock, and Ingmar Bergman have each had enormous influence in their art because of their individual vision and striking approach to filmmaking. Their visual concerns have been dramatically different, but the commitment of each has led them to create powerful, effective films that continue to affect the work of filmmakers in every genre and every nation today. All five have made significant contributions toward turning filmmaking into an art, while developing different aspects of cinema and varying genres, and all five can be considered great artists.
David Wark Griffith was born in Kentucky on January 22, 1875. He began his career as an actor in small touring ..."
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"Hippolytus" ( Euripides ), "King Lear" ( Shakespeare ) and " 'tis Pity She's A Whore" ( John Ford ), 1999.
Compares the treatment of the themes of illegitimacy and incest in three plays, focusing on "Hippolytus".
2,925 words (approx. 11.7 pages), 3 sources, $ 103.95
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Abstract
This study will explore the themes ofillegitimacy/legitimacy and incest in three plays, Euripides's Hippolytus, Shakespeare's King Lear, and John Ford's 'Tis Pity She's a Whore.
From the Paper
"This study will explore the themes ofillegitimacy/legitimacy and incest in three plays, Euripides's Hippolytus, Shakespeare's King Lear, and John Ford's 'Tis Pity She's a Whore. The study will focus on Hippolytus and the several illegitimate children in that play, followed by comparisons of that play with the latter two. The argument of the study will be that the issues of illegitimacy and incest have more to do with love rather than sex, or even with morality, and, therefore, investigation of those issues will focus on the roles which illegitimacy and incest play in the expression of love and in the obstacles to love.
Hippolytus is the illegitimate son of Theseus, but an obsessively virtuous man who incurs the wrath of Aphrodite because of his rejection of her and his alliance with Artemis, a ..."
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Films of John Ford, 2003.
Analyzes themes and style in Ford's films.
2,250 words (approx. 9.0 pages), 7 sources, $ 79.95
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Abstract
Focuses on three films: "The Grapes of Wrath", "My Darling Clementine", and "Rio Grande". Discusses the common issue of family, including personal and greater families. Describes the similar use of traditional American music, stark black-and-white images, and sparse dialog.
From the Paper
"his paper analyzes John Ford's themes and styles in three of his most distinctive films, The Grapes of Wrath, My Darling Clementine, and Rio Grande. These three all focus on different aspects of one issue that reoccurs throughout his films, the issue of..."
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Relationship between American Films and American Ideas, 2000.
Examines the relationship between the establishment of American films and American Ideas.
3,366 words (approx. 13.5 pages), 0 sources, $ 95.95
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Abstract
This essay examines the relationship between the establishment of American films and American Ideas. It features the works of John Ford ("Birth of a Nation") and "The Iron Horse". In addition, the writer tackles the issue of the promotion of the American ideal in Europe and how this influenced immigration.
From the Paper
"This new and exciting medium offered a new method of presenting ideas. While there were many movies concentrated around melodrama and the vaudeville tradition, the opportunity was there for film-makers to present their own vision of America. This relationship between film-makers and American history was compounded by the similarity of their development. As with America, film making began in the east. The major studios were to be found in New York with Chicago and its suburbs also being colonised by production companies. At first locating in the east had advantages. It was the centre of American civilisation and had access to labour and supplies and as such was perfect for studio based film making. However, at this time all but the most affluent studios were without adequate lighting systems and relied upon good light to film. This was a problem in the north and east due to seasonal changes in light conditions."
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The Works of Ford Madox Ford, 2008.
A comprehensive analysis of the structure and texture in Ford Madox Ford's "The Good Soldier" and "Parade's End".
10,937 words (approx. 43.7 pages), 30 sources, MLA, $ 216.95
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Abstract
The paper explores the ways in which Ford designed and engineered what are perhaps his two greatest novels, "The Good Soldier" and the works comprising "Parade's End." The paper provides a rigid analysis of both the formal and textual aspects of Ford's work in order to expose those qualities that contributed to Ford's development as one of the pioneering authors of Modernism and literary Impressionism.
Outline:
The Good Soldier
Parade's End
Conclusion
From the Paper
"The plot of The Good Soldier is deceptively simple. It tells the story of two couples, one English and one American, who meet at a spa in Germany. Edward, the English male half, suffers from a heart condition, as does Florence, the female American. The two couples quickly form a friendship that endures for several years. Eventually, however, it is revealed that during this time, Florence and Edward have been carrying on an affair. Leonora, the English wife, knows about the affair all along, but the narrator of the novel - John Dowell, the American husband - does not find out until much later. It is only upon the death of both the adulterers that more about their affair is revealed, putting John in the unwitting position of a sort of detective."
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Ford and Post-Ford, 2002.
The Federal state's approach to the welfare state in the Fordist and post-Fordist periods in Canada.
1,400 words (approx. 5.6 pages), 4 sources, $ 53.95
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Abstract
This paper discusses the federal state's approach to the welfare state during the Fordist and post-Fordist periods. It shows how the state intervened and regulated the economy from the end of the Second World War to the 1980s, when deficit mania led to a dismantling of the overseeing state. This led to cutbacks in all social programs.
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John Dewey and John Locke On Experience, 1999.
Compares their views on nature and the meaning of human experience. Discusses ideas, perception, knowledge, scientific inquiry and mind-body relationship.
1,350 words (approx. 5.4 pages), 2 sources, $ 47.95
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From the Paper
"Differing notions of experience divide philosophers John Dewey and John Locke. The views of both have meaning in terms of such human endeavors as scientific inquiry and relate to scientific meaning.
Locke's view of experience sees the world as preexisting and the mind as learning from experience. Locke believes that the mind at birth is a tabula rasa, a blank slate, and it is only through experience that knowledge is gained. Any knowledge possessed by the individual would be knowledge gained through experience. In the beginning, however, the individual has no experience. In the Garden of Eden, when Eve has experience of reaching for the extended red apple, it is a new one, the outcome of which will teach her a lesson she could not have gained otherwise. She has been told not to perform this action, and yet ..."
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John Cheever and John Updike, 1994.
A description and comparison of their short stories including narration, style and views on American society.
1,125 words (approx. 4.5 pages), 3 sources, $ 39.95
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From the Paper
"John Cheever and John Updike have both been cited as writers of American suburbia, and indeed they do delve into that area of American life in their works. The writers are very different in their style, tone, and the subject matter they tackle, however, and should not be mistaken for one another by any careful reader. They come from different generations as well, and yet Cheever's suburbia, holds the promise of a new form of the American dream, but, is treated by the author as the thing that destroys it. Updike's suburbia is treated more as a simple fact of modern life, although his characters find it difficult living up to the expectations of suburban life. An examination of several stories by each writer can show some of the ways each approaches their subject matter, their stylistic concerns, and their differences as writers."
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How Ford's Model T Changed American Society, 2005.
This paper studies the effect on the economy of Henry Ford's invention of the Model T.
1,808 words (approx. 7.2 pages), 3 sources, MLA, $ 63.95
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Abstract
The writer discusses Henry Ford's invention of the Model T. The writer looks at the profound impact on the economy and urbanization of America. This paper examines the many facets of that impact from the creation of a middle class to the integration of the automobile into the fabric of American life.
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"Tootsie"( Director: Sydney Pollack ) &" Six Degrees of Separation "( John Guare ), 1999.
Examines aesthetic visions, creative origins, plot and impostor protagonists of 1982 film & 1990 play.
1,350 words (approx. 5.4 pages), 4 sources, $ 47.95
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From the Paper
" This paper compares and contrasts the aesthetic aspects of Sydney Pollack's 1982 film, Tootsie, and John Guare's 1990 play, Six Degrees of Separation. Both are contemporary comedies, dealing in part with the nature of reality and the importance (or lack thereof) of truth. Both offer duplicitous characters who, by pretending to be someone they are not, change the lives of those around them. One becomes a better man as a result of the experience of pretending to be a woman; the other is not himself changed but instead forces the wealthy matron he encounters to try to make sense of her life and to expand her imagination. Each is an example of a distinct aesthetic object, Tootsie as a film and Six Degrees as a written play, a literary work that can be staged as a dramatic performance. Each is intended by the creating artist to provide an aesthetic experience for the.."
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"My Darling Clementine", 2002.
An analysis of director John Ford's 1946 Western film centering on the lighting.
900 words (approx. 3.6 pages), 3 sources, $ 31.95
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Abstract
Analysis of director John Ford's 1946 Western film centering on the lighting. How lighting conveys the theme and mood of the movie. Source of light; dramatic effect. Gives detailed examples of varioius lighting techniques used from several key scenes. How Ford and cinematographer Joseph MacDonald employed lighting and other elements to create a film that falls between the myth and reality.
From the Paper
"In John Ford's Western My Darling Clementine (1946), the lighting adds to the gritty and harsh nature of the landscape, the town, and the characters. Cinematographer Joseph MacDonald relies heavily on source lighting for dramatic effect. Much of the film is shot with low-key lighting without the use of much fill light for the same purpose. There are also strong signs of the direction of the light, suggesting where the source lies. Day-for-night photography is used for many of the exterior night scenes, giving added dramatic effect and making the night sky appear at times to be on fire.
The film is structured on contrasts, and the low-key lighting similarly creates visual contrasts: The film's theme is the coming of civilization to the West. The western town of Tombstone becomes in Ford's..."
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