| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "ART FILM GENRE": |
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The Art Film and the Genre Film, 2004.
Art and genre criticism in four classic films.
3,048 words (approx. 12.2 pages), 48 sources, MLA, $ 89.95
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Abstract
An analysis of two genre films and two art films - Antonioni's "Blow Up," Kelly/Donen's "Singin' in the Rain", Truffaut's "The 400 Blows", and Sirk's "All That Heaven Allows". The validity of both genre and art film criticism are examined.
From the Paper
"By its failure to accommodate the excess generated by its subject matter, All That Heaven Allows is not only critiquing the genre of melodrama, it also exposes the contradictions and conflicts present in American bourgeois society (Bourget, 1995, 45). However the subversive excess and contradictions present in the film prevent it from being ?just another melodrama?. Sirk worked within yet against the constraints of the Hollywood studio system to subvert the genre, and although the film is superficially a generic 1950s Hollywood melodrama, Sirk?s characteristic stylistic technique marks him as an auteur, a position usually associated with the art rather than the genre film."
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The War Film Genre, 2002.
An examination of the war film genre, which is the most prevalent and often used genre in most films produced in the 21st century.
1,888 words (approx. 7.6 pages), 6 sources, MLA, $ 60.95
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Abstract
This paper provides an in-depth analysis of the war film genre, its history and examples of some of the films that have been identified as a war film genre. The writer provides a list of common characteristics of the genre and examines several historical as well as modern war movies -19th century ?Tearing Down the Spanish Flag"; ?The Birth of a Nation? (D. W. Griffith); ?Full Metal Jacket"(Stanley Kubrick) and ?Life is Beautiful? (Roberto Benigni).
From the Paper
"The war film genre is also referred to as the anti-war film genre, since some of the war films do not only discuss war sentiments, but anti-war sentiments as well. War as a film genre ?often acknowledge the horror and heartbreak of war, letting the actual combat fighting (against nations or humankind) provide the primary plot or background for the action of the film.? Furthermore, war films can also be ?paired? with other film genres, wherein the topic of war can be interspersed with comedy, drama, or romance as a co- or sub-genre of the film. Tim Dirks, in his article about the war film genre, enumerates several characteristics and themes that can often be found in war film genres:"
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Gangster Film Genre, 2008.
An analysis of the historical context of the rise of the gangster film genre in the United States and its development from 1930 to 1960.
1,897 words (approx. 7.6 pages), 9 sources, MLA, $ 60.95
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Abstract
This paper looks at the history of the gangster film genre in the United States from the 1930s to the 1960s. It specifically looks at the impact that this film genre has had on American society and culture. The paper discusses the historical context of the rise of the gangster film genre and why it appealed to Americans at that time in their history. It gives specific examples of films and characters that fit into this category.
Table of Contents:
The Rise of the Gangster Genre
The Postwar World
1960's and Beyond
From the Paper
"As World War I ended, the 18th Amendment ushered in Prohibition and with it a wave of crime matched only by the drug and gang wars of our own era. Where brewing and distilling were once respectable trades, the importation, production, transportation and sale of alcoholic beverages was taken over by criminals during the 1920s. In big cities like New York or Chicago, headline grabbing mobsters battled for control of this illegal market. Competition among newspapers sensationalized and romanticized the stories of events like the St. Valentine's Day Massacre or the exploits of "Scarface" Al Capone. Our contemporary war on drugs can be seen as a parallel event - both of which run counter to the dominant free market and individual free choice ideology of the United States. Just as ethnic minorities were disproportionately represented as violating prohibition in the 1930s, those portrayed in modern gangster films are disproportionately Latino and Black or immigrant."
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Rock and Roll Film Genre, 1982.
This paper examines the Rock and Roll film genre and the correlation between movie outlaws and Rock and Roll music by looking at films: ?The Wild One?, ?Rock around the Clock?, ?Shake, Rattle and Roll? and ?Hot Rod Gang?,
1,125 words (approx. 4.5 pages), 1 source, $ 39.95
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From the Paper
"The rock and roll film came into being at the same time as the music began to make itself known. The use of "Rock Around the Clock" in The Blackboard Jungle was one of the first instances of this type of music serving as background to a film, though it was only used in the titles and was not embedded into the film itself in any significant degree. The music was popular, though, and within a short time films specifically about the music were being produced. The early films were primarily intended to assuage parental concerns, though they usually had an attitude of defiance as well. Over time, though, rock became more and more associated with the idea of the outlaw. Performers in the early films were clean-cut types trying to make a success with something new and innovative, but over time this image shifted to the musician as ... "
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Western Film Genre, 2008.
An analysis of Andre Bazin's "The Western: Or the American Film Par Excellence" in which he analyzes the western filmmaking genre.
777 words (approx. 3.1 pages), 1 source, MLA, $ 27.95
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Abstract
This paper discusses the evolution and success of the western genre of filmmaking. It discusses Andre Bazin's "The Western: Or the American Film Par Excellence" in which he analyzes this genre. It describes Bazin's arguments, as well as his comparison of the western to the courtly romances of the medieval era in their focus on the chaste woman and his comparison of them to the Russian revolutionary genre.
From the Paper
"To Bazin, the only other modern epic cinema was the Russian revolutionary genre, which had some parallels to the western: both showed a new society undergoing its tumultuous birth pangs, imposing a new order and morality upon a vast canvas of human activity during a fleeting historical moment. Bazin concludes that, like the mythologized history of the Russian revolution, the story of the American west would have been relegated to much lesser international prominence were it not for the power of the moving image to universalize human experience."
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Film Genres and Subjects, 2008.
A discussion of popular film genres, as well as common and uncommon film subjects.
1,150 words (approx. 4.6 pages), 2 sources, MLA, $ 39.95
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Abstract
This paper describes some common film genres and subjects. It also discusses some generally untreated subjects, such as Native Americans. In addition, the paper provides a list and overview of the top Oscar winners of all-time. It concludes that the subjects, which filmmakers choose and audiences most enjoy, are those that are larger than life.
From the Paper
"These are only five broad genres of film. We could add to these several additional genres and many sub-genres, which are more narrowly focused on specific subjects or people. Westerns, for example, were very popular during the 1940's and 50's. They focused on the cowboy and portrayed Native Americans in a generally unfavorable way. While some later films, such as Dances With Wolves (1990) with Kevin Costner treated Native Americans more favorably. This would be one example of a subject long missing from American film. In this regard Mel Gibson's recent Apocalypto about Meso-Americans is a relatively untouched topic as well about Native Americans."
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Film Genres, 2002.
An analysis of different genres of films, including examples of various movies.
781 words (approx. 3.1 pages), 3 sources, MLA, $ 27.95
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Abstract
This paper examines film genres and indicates that they cannot be clearly identified to the exclusion of all other possibilities because genres overlap and intermix. The paper explains that genres are identified by plot elements, style of presentation, and tone, and many genres include several sub-genres identifying different plot types within the more general category. Several different movies are described in relation to their genres. The paper claims that intermixing genres and sub-genres keeps the art of film fresh and can produce entirely new genres.
From the Paper
"Film genres are as often as not selling tools, ways of identifying the type of film offered to a potential audience. Yet, there are different genres in any art which involve repeated patterns of plot and tone. Film genres are differentiated according to plot and style, and there are many ways genres can overlap. A film can be identified as a mystery if it contains the elements of a mystery--a crime, a puzzle to be solved, suspects, a detective--but a film can have all these elements and be a comedy, using the mystery elements in a comic framework."
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The Film Genres, 2002.
Looks at to which genre the film "Gone With the Wind" belongs and details the concept of 'genre'.
1,150 words (approx. 4.6 pages), 4 sources, MLA, $ 39.95
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Abstract
A very basic and instinctive part of analysis of any type of information or data is to first categorize it according to some common factor. The paper shows that in relation to the field of the arts however, such classification becomes difficult, because art has more to do with perception than hard-core facts. That is why the study of genre has been so controversial and as yet inconclusive. This paper looks at the classic film "Gone With the Wind" and after analyzing the film, shows that it is made up of different genres and should therefore be classified as an epic.
From the Paper
"Drama Films are supposed to be serious presentations, portraying realistic characters, settings, life situations, and stories. It follows a character's development with all the accomplishments and failures inherent in a life.(2) Due to the varied and complex syntax in "Gone With the Wind" it could very well fit this category. The movie dealt with issues of the era it represented. Societal problems such as slavery, poverty, civil war, inequality of races and gender, etc. were all dealt with at some level while entwining with the story faultlessly. It deals with the maturation and changing relationships of human beings according to situation and passage of time. The film dealt with important issues and gave distinct messages on each through the actions of its characters. However it became more than just a war drama with a strong backbone of romance by the scale on which it was produced."
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European Film Genres, 2003.
Discusses outstanding films of Germany, France, and Italy.
2,475 words (approx. 9.9 pages), 5 sources, $ 87.95
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Abstract
The paper examines German Expressionism and cinematic images that evoke psychological states of being. It also discusses the French avant-garde of the late 1920s and the "absurd realism" cinematic art form, as well as Italian films of the same period.
From the Paper
"FILM GENRES OF EUROPE
While Americans were laughing at Chaplin and Keaton and the Keystone Kops, and being awed by the spectacles of Griffith, and DeMille, European cinema was much more stark and dark and realistic. From the post-World War I product..."
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New Genre Public Art and Social Policies, 2006.
A review of the history of new genre of public art.
979 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
This paper reviews and discusses a new genre public art, which developed as a result of artists becoming interested in addressing social issues and changes through their artistic endeavors. According to the paper, the evolution of art began in the 1950s. The paper concludes by discussing how new genre public art has come to encompass various social issues over the years including racism, violence against women, AIDS and environmental damage.
From the Paper
"Starting in 1974, the NEA began encouraging artists to develop artwork that was representative of the physical site on which it stood. This led to artists' differentiation between "public art" and "art in public places". "Public art" referred to sculptures occupying a public space that glorified one version of national history adhered to by members of the socially dominant group in society. The "cannon in the park" phenomena is an example of such art, in which America's military might and glory celebrated by its privileged members of society was put on artistic display in public spaces such as parks, plazas, shopping malls, and so on. In contrast to this, "art in public places" referred to artwork that sought to bring attention to the physical, visual, historical, and social properties of a particular site. This type of public art led to its burgeoning use in the seventies towards promoting social and historical concerns of groups traditionally under-represented in the art world, such as women and minorities."
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New Genre Public Art and Social Policies, 2006.
A review of the history of new genre public art encompassing various social issues.
972 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
This paper reviews and discusses new genre public art, which developed as a result of artists becoming interested in addressing social issues and changes through their artistic endeavors. The paper concludes by discussing how new genre public art has come to encompass various social issues over the years including racism, violence against women, AIDS and environmental damage.
From the Paper
"Starting in 1974, the NEA began encouraging artists to develop artwork that was representative of the physical site on which it stood. This led to artists' differentiation between "public art" and "art in public places". "Public art" referred to sculptures occupying a public space that glorified one version of national history adhered to by members of the socially dominant group in society. The "cannon in the park" phenomena is an example of such art, in which America's military might and glory celebrated by its privileged members of society was put on artistic display in public spaces such as parks, plazas, shopping malls, and so on. In contrast to this, "art in public places" referred to artwork that sought to bring attention to the physical, visual, historical, and social properties of a particular site. This type of public art led to its burgeoning use in the seventies towards promoting social and historical concerns of groups traditionally under-represented in the art world, such as women and minorities."
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Genre Conventions in Cinema and Film, 2002.
This paper looks at the depiction of women in the film making industry.
1,125 words (approx. 4.5 pages), 6 sources, $ 38.95
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Abstract
The author argues that the inferior societal role of women is still depicted in the way female characters are represented in films and that the male patriarchal dominance is still evident today. The paper focuses on two films: "Letter From an Unknown Women" and "The Piano", which speak for females and about females, and still fall victim to the male-dominated world in order to gain recognition and audience.
From the Paper
"Sex objects, housewives, heart broken lovers, and caring mothers this are the role of the female in Hollywood cinema and other film forms. The societal role of the women has changed yet social consciousness within the genre conventions of the women?s film has remained. The women?s film is made to target female viewers, by using topics, which the patriarchal Hollywood society of directors and producers feels are appropriate for the housewives of the post-war era to learn and be entertained about. With the evolution of the women?s film, ?women could ruin their lives ? get free of everything ? down at the movie house for twenty-five cents with butter on their popcorn.? (Basinger, 1993) A women?s cinema, is the first movement where women were making films themselves, for and about women. Although the women?s movement has been active since before the 1950?s when women were told to go back to the home and return to being both as consumers and items for consumption. Film and Cinema has continued to further suppress and enclose women within the male dominated hegemonic world, which continues to exist in the cinema with insignificant change or evolution."
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Art and Pop Art, 2002.
A comparative analysis of art with pop art using the works of Andy Warhol and Leonardo Da Vinci.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
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Abstract
This discusses art and pop art, and distinguishes between the two by noting the characteristics of each form. As examples of each, two works of Andy Warhol are compared and contrasted to Da Vinci's "Last Supper" and Rembrandt's "Syndic of the Clothmaker's Guild.
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The "Art" of Art Forgery, 2002.
Shows that forgery is more than just a copying process, involving complex techniques found in art.
2,900 words (approx. 11.6 pages), 5 sources, $ 106.95
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Abstract
This paper examines the skill involved in producing 'true' forgeries within the world of art. It is stressed that the forger is to be seen as an artist, in that he or she must sometimes enter the mind of the original artist, master his or her techniques,and otherwise execute works that can withstand the expert eye. Forgery is a normal aspect of the art world.
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The 'Buddy Picture' Genre, 2006.
A look at the homosexual and the homosocial relationships in the film genre of the 'buddy picture'.
2,082 words (approx. 8.3 pages), 4 sources, MLA, $ 65.95
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Abstract
This paper discusses how according to Michael Davis, American popular culture has always reflected a common "insecurity" about masculinity "at the global and local level." The paper further discusses how the films "Brokeback Mountain" and "High Fidelity," reflect this anxiety. The paper classifies both these films as 'buddy films'.
From the Paper
"In classifying both of these films as "buddy film" genres, it is important to remember exactly what a film genre is constituted by--film genres are usually defined by various formulaic structures (such as the outsider nature of the protagonists, alone tending sheep on a mountain, or alone in their superior musical tastes in a bubble-gum pop music listening world) and identifiable types of characters (such as the inarticulate man, the boisterous 'kid') who behave in recognizable patterns. Genres also have standard relationships, such as male bonding in active friendships forged over saving the world or saving music. Genres also often make use of various forms of syntax, such as the frequent joking typical of buddy films that conceal real emotion, rather than displays emotion, unlike the language deployed between men and women. Also, genres deploy similar filmic techniques such as the buddy film's use of communication through action, and make use of conventions, such as the use of the road or a physical problem as a medium for getting to know one another (Dirk, 2006) "
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