| Papers [1-15] of 38 :: [Page 1 of 3] | | Go to page : 1 2 3 —> | Search results on "CHINATOWN WATERFRONT": |
|
|
"Chinatown" and "On the Waterfront", 2006.
A comparison between Roman Polanski's film 'Chinatown' and Elia Kazan's film 'On the Waterfront' focusing on the role of the male protagonist in each.
960 words (approx. 3.8 pages), 5 sources, MLA, $ 34.95
»
Click here to show/hide summary
Abstract
This paper reviews and compares the male protagonists of Roman Polanski's 'Chinatown' (1974) and Elia Kazan's 'On the Waterfront' (1954). The paper discusses their evolved understandings of themselves in relation to their community.
From the Paper
"While Roman Polanski's main character J.J. Gittes, as a detached, objective, and dispassionate private detective becomes involved, against his better judgment, with some members of the surrounding community as he works his case in Chinatown, Terry Malloy, on the other hand, in Elia Kazan's film On the Waterfront (1954), is, as a poor waterfront lackey on the docks of New York, integrally connected with, and related, in terms of both blood shared hardship, to members of his waterfront community right from the start. Further, Malloy himself, unlike the main character J.J. Gittes in Roman Polanski's Chinatown (1974) is someone directly oppressed by the corrupt municipal power structure that controls his working life. used, In that sense, then, Malloy's own hardship and suffering is his community's hardship and suffering as well. J.J. Gittes, on the other hand, is (although Gittes does, little by little, become emotionally involved with other characters due to the many injustices and victimization he sees) more detached."
| |
|
Visiting Chinatown, 2002.
This paper describes visiting Chinatown in Los Angeles, California.
1,555 words (approx. 6.2 pages), 2 sources, MLA, $ 51.95
»
Click here to show/hide summary
Abstract
This paper explains that there is a region called Chinatown in many major American cities, a region where Chinese immigrants have gathered together and opened businesses in such numbers that they have created a small version of their home in China. The author states that the Los Angeles's version of Chinatown is not very large, not as large as the Chinatowns in San Francisco and New York. The author believes that visitors who come to the Chinatown region often will get more of the flavor of Chinese culture than casual visitors because there are many celebrations scheduled during the year.
From the Paper
"One can approach Chinatown from the Sunset Boulevard (recently changed along here to West Cesar E. Chavez Avenue) side, more or less across from Olvera Street and not far from the downtown railroad station and the main Post Office. The visitor enters a different world, with shops that have different goods than are found in other parts of the city, buildings with a different kind of design, and many more Chinese people than are usually found in other parts of the city. The shops contain many Chinese-designed goods, including colorful fans, scarves, holders for incense, products made from bamboo and teakwood, finely painted silks, and carved figures of people and animals. The food shops contain packages with Chinese lettering and containing foods with which most people may not be familiar, or may not have seen outside of a Chinese restaurant."
|
| Term Paper # 104989 |
temporarily unavailable
|
|
|
|
Toronto's Restoration of the Waterfront, 2006.
A discussion of the ongoing debate surrounding the restoration of Toronto's waterfront.
1,575 words (approx. 6.3 pages), 5 sources, $ 62.95
»
Click here to show/hide summary
Abstract
For many Torontonians few things are as vexing as the ongoing debate surrounding the restoration of Toronto's much maligned waterfront. This paper examines the most pressing issues driving the Toronto waterfront debate and explores, where possible, the origins of these issues and where they appear headed. In the process of so doing it is hoped that this paper will illuminate the stark reality that the imperatives of the situation fairly demand that past hard feelings and acrimony should no longer be used as an excuse for failing to act.
| |
|
Homelands in the Mind: Chinatowns/Japantowns, 2002.
A look at the confused identitiy of Asian immigrants in three fictional depictions of Chinatowns/Japantowns.
2,650 words (approx. 10.6 pages), 5 sources, $ 97.95
»
Click here to show/hide summary
Abstract
This paper is written about the nostalgia and identity in fictional depictions of Chinatowns/Japantowns. For much of the history of Asian immigration to the United States and Canada, Asian immigrants - primarily from China and Japan - settled in small communities in these new lands. These communities, known as Chinatowns or Japantowns, represented the confused identity of these people.
| |
|
"The Public Enemy" and "On the Waterfront", 2008.
A comparative analysis of the gangster movies "The Public Enemy" and "On the Waterfront".
1,266 words (approx. 5.1 pages), 0 sources, $ 42.95
»
Click here to show/hide summary
Abstract
This paper discusses how "The Public Enemy" (1931) and "On the Waterfront" (1954) are perhaps, two of the most well known films from the early to mid 20th century. It looks at how these films portray illegal activity and gangster infiltration into the mainstream during two different decades. James Cagney plays Tom Powers, a magnetic, cocky, completely amoral, emotionally brutal, ruthless, and terribly lethal individual in "The Public Enemy", while Marlon Brando stars as Terry Malloy, an inarticulate, struggling, brutish hero and small-time ex-boxer in "On The Waterfront". The paper attempts to show how both characters are involved in criminal activity even though their differences in attitude and personality are completely opposite.
From the Paper
"The opening scene of The Public Enemy pans across views of pre-Prohibition Chicago. Exposed to this scene of life on the South Side of Chicago, are two poor Irish boys: Tom Powers and his neighborhood friend Matt Doyle. We are first introduced to Tom as he stands outside of a bar, and swigs beer from a bucket. Shortly thereafter, he is causing trouble in a department store, which draws the attention of a police officer. Tom also enjoys playing a trick on Matt's sister, by putting a stick in her path while she is roller-skating. She states of his well-known reputation: "You're the meanest boy in town... Jail, that's where you'll be some day, Tom Powers!" This scene sums up Tom's character: relentless, self-centered, and destructive, and also displays his lack of respect towards women. "
| |
|
"Chinatown", 2004.
An analysis of the film, "Chinatown," directed by Robert Towne.
1,862 words (approx. 7.4 pages), 2 sources, MLA, $ 59.95
»
Click here to show/hide summary
Abstract
This paper discusses Robert Towne's film, "Chinatown," portraying it as a powerful glimpse into the social production of the modern metropolitan city. The evils of the city are amplified the further in you go; or at least, that is the way it is portrayed. Water, the giver of life, is purposefully withheld from a dying community on the whim of a businessman. The paper explains that the area called Chinatown stands as an example of everything that is dreadful about the urban experience, but remains inescapable. Wealth and power held by a single type of human, the white male, alters the way in which identities are formed. Ultimately, the truth can be substantiated with evidence, but still ignored by the victims of disorder.
From the Paper
"Chinatown is a vision of the historic degradation of Los Angeles and the American dream. Contrary to the simple, monocentric view of a city put forth by Robert Park, Towne's interpretation of Los Angeles is more strongly tied to the urban sprawl theories of Mike Davis. The primary aspect that defines one's existence in the city is emotion. This emotion is generated by perceptions of crime, racism, drugs, and sex. The way in which a city is seen by its inhabitants depends upon how these aspects of human existence are presented to them. Today, we get this through the media of television and newspapers; in Chinatown it is largely through the printed press. The key, obviously, to alter a community's perception of itself is to manipulate the information the citizens are exposed to. This fact is illustrated in Towne's film, and the fabrication of fear by Noah Cross and other businessmen drives the public's understanding of itself."
| |
|
Chinatown: City Formation, 2002.
A look at the Chinatown suburb of Toronto.
3,150 words (approx. 12.6 pages), 12 sources, $ 115.95
»
Click here to show/hide summary
Abstract
This paper examines the city of Toronto, particularly the location and nature of Chinatown. It traces the history of Chinatown and then explores the community's absence from the debate over the Spadina Expressway.
| |
|
Elia Kazan?s ?On the Waterfront?, 2004.
This paper discusses Elia Kazan?s 1954 film, ?On the Waterfront?, a hero drama with a mixture of crime and romance.
705 words (approx. 2.8 pages), 1 source, APA, $ 25.95
»
Click here to show/hide summary
Abstract
This paper explains that, in ?On the Waterfront?, Kazan directed a simple story of good against evil, moral values against corruption, and what it means to sacrifice oneself for the good of others. The author believes that Kazan?s direction turned this simple message into an incredibly powerful film that will never age. The author points out that Kazan assembled a brilliant cast: Marlon Brando as the protagonist, Rod Steiger as his brother, Lee J. Cobb as the union mob boss, Karl Malden as the local priest, and Eva Marie Saint as Brando?s love interest. The paper relates that Kazan used simple and uncomplicated shots, thus adding more power to each scene.
From the Paper
"There were several scenes that Kazan?s direction made powerful and memorable. To show just how Friendly ran the docks and how this effected the men, Kazan shot a scene in which one of Friendly?s goons throws tokens up in the air and watches the men scramble for them. A man had to be picked, had to have a token to work on the docks. This scene shows the desperateness of the men and how Friendly operation controlled their livelihoods. Kazan used the roof scenes with Terry and his pigeons to give a glimpse into his character, the real Terry. The taxi cab scene with Terry and Charlie shows the intimacy between the two brothers as Charlie breaks down upon hearing Terry?s confrontation that Charlie was responsible for ending his fighting career. Kazan used the ship?s horn to block Terry?s confession to Edie, allowing the audience to only hear bits and pieces, however, the look on her face lets the audience know that he has told her the truth. Kazan could have used complicated dialogue to convey the message of these scenes; however, he instead, shot them simple and uncomplicated, thus adding more power to each scene, the less said the better."
| |
|
Waterfront Development in Toronto, 2007.
An analysis of the proposals set forward for improving Toronto's waterfront.
1,547 words (approx. 6.2 pages), 10 sources, MLA, $ 50.95
»
Click here to show/hide summary
Abstract
This paper discusses the various development alternatives put forward in recent years by Toronto's leaders as they sought to address the city's waterfront concerns. It describes what these policy decisions have meant (or are likely to mean) for the city's tourist industry, for its businesses and for the less-fortunate who find themselves without proper shelter elsewhere in the metropolis. The paper then looks at which of the policy proposals unveiled since the turn of the millennium seems the most promising and "cost-effective" avenue to pursue.
From the Paper
"For one thing, it appears as though policy proposals in the early 1970s focused upon both economic development and beautification concerns, with scant evidence being given to environmental considerations. For example, the 1972 Harbor front Project was an attempt to take the 92-acre site in the western half of the city's "central urban" waterfront and make it into a money-making, mixed-use area. In the early stages, the idea was to turn the entire location into a park, but the evidence suggests that this was gradually de-emphasized as the 1970s progressed. In any case, the Harbor front Corporation which was set up by the federal government to explore what could be done with Toronto's "harbor-scape" was seemingly even less interested in a huge park than were the politicians and the 1980s saw determined efforts to get private business organizations and investors to develop the area."
| |
|
Toronto's Waterfront, 2007.
A research proposal to examine the issue of waterfront development in Toronto.
1,042 words (approx. 4.2 pages), 10 sources, MLA, $ 36.95
»
Click here to show/hide summary
Abstract
This paper presents a research proposal to examine Toronto's waterfront development and outlines the economic and social implications. The paper lists a number of questions for subsequent research to resolve. The paper concludes with the writer's firm contention that Toronto's dilemma needs to be resolved before Toronto can properly call itself a world-class city. A tentative bibliography is included with the paper.
From the Paper
"To begin with, Toronto's tourism industry is a large one that employs literally thousands of Torontonians and contributes many millions of dollars each year to the local economy. Consequently, if the waterfront is not attractive to visitors there is the distinct possibility that they may look to other locations more "in tune" with their aesthetic sensibilities. Secondly, Toronto is a quickly-expanding city that is gradually running out of readily-available land. Because of this, the city will either have to begin purchasing lands adjacent to it - at considerable cost - or it will have to begin finding new areas within its limits that can be utilized for industrial or - just as importantly - residential use. Finally, the topic is important for psychological reasons, as well. That is to say, Toronto is a city eager to show the world that it is a world-class metropolitan center. Clearly, making the waterfront more attractive to outsiders is obviously a first step towards achieving a greater status relative to its American and European counterparts. As a result, the issue is a vital one that any one concerned about the future of Toronto should take seriously."
| |
|
"The Crucible" and "On the Waterfront", 2006.
This paper discusses "The Crucible" by Arthur Miller and "On the Waterfront" directed by Elia Kazan as reflective of American history.
1,634 words (approx. 6.5 pages), 4 sources, MLA, $ 53.95
»
Click here to show/hide summary
Abstract
The paper analyzes these two works that reflect the search for Communists in the 1950s. These works show the vastly different reactions to the demand by Congress that former communists turn in other former communists or be ostracized. The paper shows how Miller, the author of the play "The Crucible" was not willing to renounce former beliefs or friends, while Kazan, director of "On the Waterfront" ultimately was. The paper explains the many differences between the works but at the same time highlights the similarities between this play and film.
From the Paper
"The two works are quite different in many respects, though the impetus for both can be found in the anti-Communist witch-hunts of the 1950s. These works seem vastly different: one is a film, the other is a play; one is set in the 17th century, the other in the contemporary Cold War era; one setting is rural and agricultural, the other is urban and industrial; the one concerns the fate of farmers, the other the fate of dock workers. At the same time, there are similarities in that both works deal with power and its corruption and misuse; both illustrate the dilemmas and suffering of simple people; both use executions as a way to protect the community; both describe the use of fear to control the community; both use hearings or trials as the focal point of conflict; both use the naming of names as a moral question; the hero of each at the end is bloodied but unbowed; both give a major role to the church and to local government officials. Some of these similarities are superficial, and some are deeper. One area of similarity is that each is among the best, most powerful creations in its respective genre. Both works are also parables -- stories which illustrate a moral or present a truth about the McCarthy era in America -- created by artists who reacted in opposite ways to the demand that they cooperate in a witch hunt."
| |
|
"Chinatown", 2005.
An examination of the movie, "Chinatown," produced in 1974.
1,574 words (approx. 6.3 pages), 1 source, MLA, $ 51.95
»
Click here to show/hide summary
Abstract
The 1974 film, "Chinatown," is a critical representation of the history of Los Angeles and its implications for the myth of the American dream. This paper discusses how Robert Towne presents a depiction of America in which justice, morality, and the individual are helpless to combat the forces of thievery, bigotry, and business interests.
From the Paper
"The position people occupy in this society is determined by several factors; race, gender, and class are foremost among these. In many ways the city of Los Angeles mirrors the diagram drawn by Davis, with these factors limiting the mobility of the citizens. The infrastructure of the city is dominated by the ruling class, race, and gender-wealthy, white, males. It is this small handful of individuals that possesses the power to mold the future to their own designs, and to augment public perception of what the "truth" may be. Accordingly, to Towne, the American dream is a representation of reality specifically designed to hide the truth. In Chinatown, like in the rest of America, it is often impossible to know what is going on."
| |
|
Roman Polanski's "Chinatown", 2004.
An analysis of the motif in Roman Polanski's movie "Chinatown".
900 words (approx. 3.6 pages), 3 sources, MLA, $ 31.95
»
Click here to show/hide summary
Abstract
This paper analyzes Roman Polanski's film, "Chinatown" and its focus on the motif of the "big fish" , represented by the wealthy and corrupt, versus the futile efforts of the "little fish", represented by farmers, children and detectives.
From the Paper
"The modern film noir thriller "Chinatown" is similar to many film noir detective films in which the police are corrupt, bought off by the big fish in town. The big fish in town in Chinatown is Noah Cross, an evil wealthy individual who is trying to make a fortune by enriching land in the San Fernando Valley through a water diversion scheme. As Cross tells detective Jake Gittes, always one step behind him, "you may think you know what you're dealing with but believe me..."
| |
|
?Chinatown?, 2002.
A discussion of the philosophy of Roman Polanski's 1974 film ?Chinatown?.
1,708 words (approx. 6.8 pages), 0 sources, $ 55.95
»
Click here to show/hide summary
Abstract
This paper examines ?Chinatown?, a film that combines elements of environmentalism into the story that it tells. It looks at how the films beginning may be classified as a classic film noir, but as the film progresses the film speaks to humanity?s responsibility to the environment, as well as different moral and ethical philosophies and how they relate to the environmental movement. It discusses such themes as personal ethics and environmental justice as well as the two moral theories at play in the story, that of Mil?s and Bentham?s Utilitarianism and that of Immanuel Kant?s Categorical Imperative.
From the Paper
"There are several features about Utilitarianism that are important, for the sake of the movie, and otherwise. One of these is that actions, in and of themselves, have no moral value. The problem is then, that the actions of Noah Cross and his cohort are not in and of themselves moral or immoral. At the same time, the actions of Gittes are, in and of themselves, neither immoral or moral either. In each case, what is important is the end-result. According to Utilitarian principles, the only aspect of the state of the world that has any moral significance is the happiness or misery of people. All people are, ethically speaking, always equal, in other words, one person?s happiness is worth as much an y one else?s happiness."
|
|
|
