| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "BLACK FILMS": |
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Black Films, 2001.
Early black cinema;1930s-1950s. Impact of political/social attitudes in 1960s; blaxploitation films of 1970s; new directions in 1980s & early 1990s.
2,700 words (approx. 10.8 pages), 20 sources, $ 95.95
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From the Paper
"Black films from the 1920s, 1930s, and 1940s were produced by black filmmakers for a black circuit and were rarely seen by white audiences. So-called blaxploitation films from the late 1960s and early 1970s were produced by white filmmakers for a largely urban audience, and these films were shaped for white audiences as well as black. The black films from an earlier era showed a wide range of subject matter, with the mass of films emulating white genres such as detective stories, westerns, comedies, domestic dramas, crime dramas, and so on. The blaxploitation films of the 1970s were much more limited, being primarily crime and action films featuring drug use, violence, sexual situations, and so on, creating an image of blacks that was limited and, in the eyes of many critics, degrading."
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Black Films, 1997.
Examines and compares 1930s-1940s and 1960s-1970s films. Discusses the portrayal of black characters and culture, themes, accuracy, audiences, biases and blaxploitation.
2,250 words (approx. 9.0 pages), 5 sources, $ 79.95
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From the Paper
"INTRODUCTION
Black films from the 1930s and 1940s were produced by black filmmakers for a black circuit and were rarely seen by white audiences. So-called blaxploitation films from the late 1960s and early 1970s were produced by white filmmakers for a largely urban audience, and these films were shaped for white audiences as well as black. The black films from an earlier era showed a wide range of subject matter, with the mass of films emulating white genres such as detective stories, westerns, comedies, domestic dramas, crime dramas, and so on. The blaxploitation films of the 1970s were much more limited, being primarily crime and action films featuring drug use, violence, sexual situations, and so on, creating an image of blacks that was limited and, in the eyes of many critics, degrading. It would be wrong to argue ..."
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Black Film History, 2002.
The history of the involvement of African-Americans in the Hollywood film industry with a focus on the contribution made by women.
2,641 words (approx. 10.6 pages), 8 sources, MLA, $ 79.95
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Abstract
This paper looks at the history of the inclusion of blacks in the film industry since the early 20th century. It discusses major players in the field, especially women, beginning with the all-black film movement that started in the silent era with the Lincoln Motion Picture company in Los Angeles in 1916. The writer mentions the hardships and hurdles that the African-Americans faced in the form of discrimination and racism before they could establish themselves in the film industry. The paper also examines the changing image of how African-Americans were portrayed in movies in the past.
From the Paper
"In recent years, both blacks and women have had to fight to become recognized in the film industry and to achieve any form of power. There are now a handful of black film directors, and a few women directors as well. In the silent era, though, when the economics of filmmaking were quite different, there were a number of women in the director's chair, many forgotten today, just as there were many black directors not in mainstream Hollywood filmmaking but in the all-black film movement. A number of these black directors were in fact women as well, and they constituted an early challenge both to white and male dominance of filmmaking."
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'Shades of Black - Conrad Black, his Rise and Fall', 2006.
A discussion and review of Richard Siklos's well written biography of Conrad Black's career, "Shades of Black - Conrad Black, his Rise and Fall".
1,800 words (approx. 7.2 pages), 1 source, $ 71.95
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Abstract
This paper reviews "Shades of Black: Conrad Black - His Rise and Fall", Richard Siklos's well written biography of Conrad Black's career and dramatic collapse after 2002. The paper explains that Siklos interviewed more than 200 persons before a 1995 edition of which this volume is a revised expansion featuring another 50 interviews. Siklos also spent hours speaking to Black, indirectly attempting to account for his extravagance and need to impress others, atop his drive for power. Much is revealed through Siklos's notes on Black's wife, the former Barbara Amiel. The paper reports that Siklos leads the reader through a summary of Black's family background, his youth in north Toronto's Bride Path area, his expulsion from Upper Canada College, and later, Trinity College School, before Thornton Hall, Toronto.
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Treatment Of African American Men In Hollywood Films, 2002.
Discusses stereotyped portrayals of black males in various films.
2,475 words (approx. 9.9 pages), 14 sources, $ 87.95
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Abstract
Discusses stereotyped portrayals of black males in various films. Cites examples from THE BIRTH OF A NATION, GUESS WHO'S COMING TO DINNER, the blaxploitation genre, MANDINGO, 1930s films of the old South, THEY WON'T FORGET, 1940S STEREOTYPES AND THE "New Negro," TO KILL A MOCKINGBIRD. Realistic treatment of black males in several independent later films.
From the Paper
"D. W. Griffith's The Birth of a Nation (1915) and Stanley Kramer's Guess Who's Coming to Dinner? (1967) represent opposing poles in the treatment of the African-American male in Hollywood films. The portrayal of black men in both films is absurd, but their intentions were quite different. Griffith, the Southern-born director whose great career was a milestone in the development of the medium, claimed until his death that his film was not racist despite the thousands of African Americans and white Americans who explained why it was, indeed, a landmark in screen racism. His conception of the old stereotype of the sexually predatory black male, intent on despoiling white females, gave cinematic form to one of the most prevalent myths involved in white fear of black people. Kramer, on the other hand, was a devout liberal interested in furthering the cause of ..."
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James Cone: Black Theology and the Black Christ, 2006.
An analysis of the term theology and the essential concepts of "Black Theology" as it pertains to James Cone's idea of a "Black Christ".
4,374 words (approx. 17.5 pages), 15 sources, APA, $ 115.95
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Abstract
This paper examines how James Cone believes that if blacks, particularly African-Americans, don't wake up and change the traditional American image of Jesus, they will probably never grasp the true philosophy and mission of Jesus. It discusses how African-Americans must see Jesus as a black man that endured the struggle and how it is the duty of black preachers, pastors and theologians to advocate black theology, which includes the black image of Jesus, for the sake and survival of the African-American experience.
From the Paper
"When one begins to think about God, questions arise as one lacks significant knowledge of God. When one begins to engage in such a dialogue, or entertains such questions, one has clearly entered the community of theology. The articles states: "The attempt to think about God leads immediately to a host of related question which are included under the term theology. First, there is the question of mans relationship to God, the ultimate source of things? Then we must ask about revelation to God, that is, how does man know what God is like? If God must reveal himself where and how is he revealed?" These are prospective questions that man can't escape when thinking about God or in dialogue about God. "
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Sexualization in Films, 2002.
A look at the sexualization of black females in films.
2,400 words (approx. 9.6 pages), 6 sources, $ 89.95
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Abstract
This paper focuses on the sexualization of black females in films. It specifically deals with the "Imitation of Life" film by John Stahl (1934) and Douglas Sirk (1959).
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Black Masculinity In "Malcolm X" and "Antwone Fisher", 2005.
Compares the representations of black masculinity in the films "Malcolm X" and "Antwone Fisher".
678 words (approx. 2.7 pages), 4 sources, MLA, $ 23.95
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Abstract
This paper compares the expression of black masculinity as seen in two films, Spike Lee's "Malcolm X" and Denzel Washington's "Antwone Fisher".
From the Paper
"In two films, "Antwone Fisher" and "Malcolm X", we see two different portrayals of black masculinity that evoke the progress in race relations in the United States. This is progress that has caused change in black masculinity in African-American males. In "Malcolm X", black masculinity is presented as one that is abusive toward women and views them as sex objects. Black masculinity is equated to anger, violence and radicalism. In "Antwone Fisher", modern black masculinity is tempered by racial progress and demands a more sensitive..."
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Horror Films, 2002.
An overview of different views on horror films, with a discussion of the most popular horror films.
2,804 words (approx. 11.2 pages), 4 sources, MLA, $ 83.95
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Abstract
This paper provides an insight into horror films, from the classics such as "Psycho" to the psychological thrill of "The Silence of the Lambs". It examines the history of the horror film from the first film directed by Georges Melies in 1896 and its development through the period of silent and black-and-white movies to the technological effects of the 21st century. It also attempts to analyze their attraction for people and how the fear and loathing, as well as the almost guilty enjoyment experienced in a movie theater filled with gore lovers, are human psychological needs.
Outline
The Classics
The Psychological Need
The History of the Horror Film
Conclusion
From the Paper
"?Psycho? is seen by many horror fans as the ultimate horror film. Hitchcock plays with the idea of identity and involvement. The viewer is expected to feel drawn into the world of Norman Bates. The suggestion is also that the viewer?s identity is not as important as his or her emotional involvement in the plot. The film universalizes the idea of monstrosity in each individual. It mirrors the audience?s wickedness and guilt back at the audience by means of the ordinary and unassuming Norman. The implication is that everybody has a dark side. The monster therefore appears to have moved closer and closer with the development of the horror film. And now it is inside. Or now its existence is recognized. The monster is no longer something that looks hideous. Instead he or she is as human-looking as everyone else."
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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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"The Black Dahlia", 2007.
An analysis of the application of Laura Mulvey's theory of the gaze to Brian De Palma's 2006 film, "The Black Dahlia".
1,267 words (approx. 5.1 pages), 4 sources, MLA, $ 42.95
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Abstract
This paper discusses Brian De Palma's 2006 film, "The Black Dahlia". The paper also discusses Laura Mulvey's theory of the gaze and the application of her theory to classical Hollywood cinema. The paper then discusses the application of the same theoretical apparatus to a contemporary Hollywood retro-noir (a contemporary film that references classical Hollywood film noir texts within a modern context), particularly "The Black Dahlia", and shows how it opens new avenues for understanding the operation of the gaze in film.
From the Paper
"In conclusion, our application of Laura Mulvey's theory of the gaze to De Palma's The Black Dahlia reveals not only gaps in the theoretical model - notably its insufficient exploration of the castrating feminine power of the film noir femme fatale - but also how a modern film can compel us to open the theory to encompass homoerotic and lesbian aspects. While De Palma's use of "screen tests" in the movie represents an almost perfect example of the male gaze in operation - it may be speculated whether De Palma has read Mulvey, and deliberately crafts the scene with this theoretical model in mind? - in its broader frame the film compels us to open the heterosexual male/female binary implied by the model to take into consideration differently gendered approaches to the representation of sexuality, power and domination in cinema."
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The Black Death, 2007.
A discussion of the details for a planned film about the Black Death.
1,071 words (approx. 4.3 pages), 8 sources, MLA, $ 37.95
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Abstract
This paper discusses the historical period encompassing the Black Death. The paper provides a historical background and presents documentation describing the events of the Black Death and those surrounding it. The paper then goes on to make suggestions for a film depicting the Black Death, focusing on location, cast, plot and costumes.
Table of Contents:
Historical Background and Documentation
Location and Settings
Cast
Plot
Costumes
Potential Market
From the Paper
"The effects were terrible, considering the demographic, economic and political aspect. Demographically speaking, The Black Death dramatically reduced the population level in Europe (Stearns, ch 20). From the perspective of the economy, there was a loss in labor force and thus the society structure began to change, giving skilled workers a more important role. Peasants rebelled against any oppressor, culminating with The Jacquerie in 1358, the Peasants' Revolt in England in 1381, the Catalonian Rebellion in 1395. On another level, cities were hit by the stop of construction projects, devastation and chaos. (The Black Death: Economic). Politically speaking, the plague also affected the royal houses, such as the queens of Aragon and France, the son of the Byzantine emperor, and King Alfonso XI of Castile who was the only reigning monarch to die of the plague (The Black Death: Economic). At a local level, there was a massive disruption in the organization system, including legal and political disarray."
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Black Hawk Down, 2002.
An analysis of the two hour film "Black Hawk Down" on the 1993 United States military battle in Somalia.
2,680 words (approx. 10.7 pages), 6 sources, MLA, $ 80.95
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Abstract
This paper examines the film "Black Hawk Down," directed by Ridley Scott on the battle for Somalia in 1993 and the Mogadishu affair. It summarizes of the film and describes its historical accuracy. The paper describes how the film brings out the heroism under fire by which every soldier of the U.S. Rangers and Delta Force reside under.
From the Paper
"Somalia ? 1993. Two sides were fighting against each other to gain control of Somalia. One was led by "a member of the Abgal (Hawiye) subclan, and the other by General Mohamed Farad Aidid, a member of the Habr Gidir (Hawiye) subclan" (Lefebvre 49). By November 1991, thousands of Mogadishu residents died when fighting began between the two factions. The capital, Mogadishu, became two separate "cities," separated by a "green line" between the "northern part of the city controlled by Ali Mahdi's forces and the southern half in the hands of Aidid" (Lefebvre 49). Both factions said the food shipments meant for the starving population belonged to them, and as a result, food was not getting to the people. "
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?A Stray Bullet?, 2005.
This paper reviews the South Korean novel "A Stray Bullet" by Yi Pom-son (1920-1982), made into a 1961 black and white film, considered the greatest South Korean film of all time, that tells the story of an impoverished refugee family from the North.
1,550 words (approx. 6.2 pages), 2 sources, MLA, $ 50.95
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Abstract
This paper explains that "A Stray Bullet" depressingly portrays the poverty and anxiety of post-war years in Seoul by depicting vividly the urban poor in their struggle to preserve their civilization in the face of the despicable socio-economic conditions and of a cultural clash between the traditional Korea and the American G.I's. The author points out that a consistent motif, the painful toothache that tortures Cholho, represents a powerful metaphor for the larger suffering of both his family and the Korean society. The paper concludes that, although the struggling Cholho attempts to solve his problems and escape from the nightmare of his existence, he is still doomed to failure; therefore, like the title, he is a stray bullet with no direction, just like one of the lost generation of the 1960's.
From the Paper
""A Stray Bullet" begins with introducing the main character, Song Cholho, who struggles with his meager wages as a clerk in a public accountant's office. Cholho is not only a father, brother, husband, son to his family, but the only breadwinner of the household. Silently bearing the burden of supporting his family, he would return everyday after work to his home in the Liberation Village only to find wails from his mother. His elderly mother who is longing to return to the North would "lay there, face to the wall, crying out the single phrase, 'let's go...let's go.'" Given up on his bed-ridden, frenzied mother, Cholho "would just look down at her for a while and then go into the next room.""
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Media Stereotype of Black Americans, 2005.
This paper discusses the negative stereotypes of Black Americans in the media especially television and films.
2,345 words (approx. 9.4 pages), 6 sources, MLA, $ 72.95
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Abstract
This paper explains that, if people do not have exposure to a variety of individuals from different races and cultures on a daily or frequent basis, the media then becomes their primary source of stereotypes from which to form judgments of various ethnic groups. It points out that unfortunately, culture and class stereotypes are still prevalent in the media today, especially with regard to African-Americans. The author points out many specific examples in film, television shows and crime-related television news stories where Black Americans are being portrayed as violent, ignorant and racist more often than White Americans. The paper stresses that Americans will never learn to respect each other as long as one race is glorified at the expense of another race; therefore, all consumers, minority and "majority", should make an economic statement about better quality programming by applying pressure on sponsors.
From the Paper
"The issue of the black coach goes far deeper than wins and losses on the football field. Owners have demonstrated all too often that the bottom line is not the number in the win column. Reasons provided for not hiring more black coaches range from not knowing the person, to not wanting a person of color in charge. Owners and general managers know who is in charge, and they demonstrate a belief that they can achieve their objectives with those who share a common ground. The bottom line is that it's inexcusable for a disproportionate representation of black coaches in both collegiate and professional sports, where there is such a high representation of participants."
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