| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "BRITISH CINEMA": |
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?British Cinema and John Schlesinger?, 2004.
This paper discusses film director John Schlesinger who, in the 1960s, was part of a new social realism in British films and a revivification of the British film industry.
1,500 words (approx. 6.0 pages), 5 sources, MLA, $ 49.95
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Abstract
This paper explains that the social realism of the early 1960s was an accidental movement in film in which numerous films were produced for and about the working class, depicting working class life in realistic and dramatic terms, rather than comic terms. The paper points out that Schlesinger depicts characters facing a crisis in their lives when forced to confront the reality of their existence in films like ?Midnight Cowboy?, for which he won an Oscar, and ?The Falcon and the Snowman?. The paper relates that Schlesinger is known for films with a careful mixture of social commentary and entertainment value, as he makes his social observations entertaining to audiences.
From the Paper
"In the 1960s, film director John Schlesinger was part of a new social realism in British films and a revivification of the British film industry. Schlesinger came out of television and broke through to the world cinema with films like A Kind of Loving (1962), Billy Liar (1963), and Darling (1965), after which he began making most of his films in the United States beginning with the major success of Midnight Cowboy (1969). In his early work, Schlesinger made 26 films for the BBC, worked as second unit director on several television series, and eventually managed to make his first feature with A Kind of Loving."
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British Cinema and Censorship, 2005.
A look at the extent to which the content of British films transformed by a relaxation of censorship between the early 1950s and the mid 1960s.
3,420 words (approx. 13.7 pages), 14 sources, APA, $ 96.95
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Abstract
This paper argues that the British Board of Film Censors (BBFC) was consistent with the role it took upon itself and the rules it created throughout its existence. In particular, it focuses on how the British war films of the early 50s were a necessary psychological stage to go through, in order to enable the films of the mid-50s and late-60s to deal with other content.
From the Paper
"Weighting the impact of relaxation of censorship on the content of British films in a given period cannot be attempted without establishing which were the censorship rules, how they were applied to film prior, during and post the given era, then compare the content of the films in the three categories. Only once this process finished, it might be possible to check whether there exists cause-and-effect relations between the content of the films in the given era and a possible relaxation of the censorship. "
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British Art Cinema, 2004.
An overview of British art films of the 80s and 90s.
2,250 words (approx. 9.0 pages), 10 sources, APA, $ 79.95
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Abstract
This paper discusses, identifies and defines art films, focusing specifically on British art films of the 1980s and 1990s. The paper discusses sources of funding for the films and the importance of Peter Greenaway's films. The paper also takes a look at Greenaway as a postmodern artist.
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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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The British Film Industry and Thatcherism, 2005.
This in-depth paper examines the British film industry during the 1980s while also focusing on the political climate in England during this same period in which the country was led by Prime Minister Margaret Thatcher.
4,954 words (approx. 19.8 pages), 21 sources, APA, $ 125.95
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Abstract
This well-researched paper delves into the history of Britain's film industry which, according to the writer of this paper, was considered second rate in comparison to other countries including Germany, France and the U.S. This paper discusses the film industry's apparent lack of focus primarily during the 1980s, which was a direct result due to the political climate during this particular era. The writer reviews and analyzes British author John Hill's book "British Cinema in the 1980s" which provides in-depth insight to this specific topic. The writer contends and explains why British filmmakers were essentially apathetic and uncaring about Thatcherism and went on to challenge many of the country's values. This paper examines the impact of various films made in England during the 1980s including "Gandhi," "Room With a View" and "Chariots of Fire." This paper also focuses on the cultural conflicts between the older and younger generations in England which greatly impacted the types of films that were produced during at that time. The writer stresses that during the 1980s the older generation stuck by the traditional and old fashioned Victorian morality system which still exists today while the younger generation chose to adhere to a more free-flowing Edwardian type value system.
From the Paper
"There were several opportunistic policies that had been passed, and there was also a growing lack of satisfaction in manual labor. Therefore, it was very evident that in Britain, even at the end of the 1960's and the beginning of the 1970's, there was indeed a large amount of class differences in English society, and society in general was divided into there major classes, which were the upper classes, the middle classes, and the working classes. The divisions were in fact brought about by the differences in wealth, power, and the types of work, the ideologies, the status, and the opportunities that were available. At the same time, this period saw a vast change in the people's attitudes towards traditions, old values, taboos, customs, and the all-pervasive parochialism, and this was the very attitude that was reflected in all the New Age films that were made during that time."
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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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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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Classicism and Art Cinema, 2007.
A comparison of Hollywood classicism and art cinema using the films "Singin' in the Rain," directed by Gene Kelly and Stanley Donen and "My Life to Live" (Vivre Sa Vie) directed by Jean-Luc Godard.
2,114 words (approx. 8.5 pages), 6 sources, MLA, $ 66.95
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Abstract
This essay attempts to broadly define the characteristics and underlying principles of both Hollywood classicism and the art cinema. It references one film from each category - "Singin' in the Rain," directed by Gene Kelly and Stanley Donen and "My Life to Live" (Vivre Sa Vie) directed by Jean-Luc Godard, respectively. The paper argues that the predominant stylistic distinction between the two modes lies in the art cinema's subversion of logical causality.
Table of Contents:
Introduction
Hollywood Classicism
The Art Cinema
Conclusion
From the Paper
"Moreover, Godard is also situating his work in the context of New Wave cinema for his audience. This is evident towards the end of My Life to Live in which - in one of the moving, documentary-like boulevard-scanning shots that are commonplace in the film - Godard shows and has his characters comment upon a line-up of movie patrons to see Truffaut's Jules et Jim; a work by his New Wave rival. Within the broader span of cinematic history Godard situates his protagonist, Nana, in a mirror relationship to the protagonist of La Passion de Jeanne d'Arc. As Nana watches her cinematic predecessor crying in closeup there is a closeup of a tear running down Nana's face as well; a referential cinematic relationship that Godard's audience would both expect and understand."
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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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Asian Cinema and Hollywood, 2002.
Explores the similarities and differences between Asian cinema and its Hollywood counterpart.
2,150 words (approx. 8.6 pages), 6 sources, $ 80.95
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Abstract
This paper will consider the differences of both Asian and American cinema. This paper will also look at the role of the hero in the action genre of these cinemas. A suggestion will be made that examining the ways heroes are portrayed reveals a great deal about the unspoken concerns of these two vastly different societies.
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George Melnyk's "One Hundred Years of Canadian Cinema", 2005.
This paper reviews George Melnyk's book "One Hundred Years of Canadian Cinema".
1,800 words (approx. 7.2 pages), 0 sources, $ 71.95
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Abstract
This paper states that few texts can make claims to possess the kind of methodical comprehensiveness as George Melnyk's "One Hundred Years of Canadian Cinema". The author discusses various aspects of the text to provide an evaluation of the importance of the book's contribution to the study of cinema in Canada. The paper includes the author's argument, the credibility of the evidence and the overall value of the book.
From the Paper
"Few texts can make claims to possess the kind of methodical comprehensiveness that George Melnyk's One Hundred Years of Canadian Cinema does. It is a massive, tome of a book whose physical heft correctly suggests all of the intellectual and academic weight that the author imbued within the pages of the three hundred sixty-one page work on the history of the Canadian cinema. Not to give away my feelings on the book prematurely, but the work that Melnyk managed in composing this piece of much-needed non-fiction should be considered one of the author's greatest achievements. The remainder of this review will be divided into four sections. The first will examine Melnyk's thesis, argument, and goal in writing "One Hundred Years of Canadian Cinema"."
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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
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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."
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