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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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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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William Edward Burghardt Du Bois (1868-1963), 1999.
This paper discusses the life and work of the African-American activist William Edward Burghardt (W.E.B.) Du Bois (1868-1963).
1,675 words (approx. 6.7 pages), 3 sources, MLA, $ 54.95
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Abstract
This paper explains that W. E. B. Du Bois did not suffer economically and had not endured the severe racism most African-Americans, especially in the South, until he went to Fisk University in Nashville, Tennessee, where he saw his first lynching. The author points out that Du Bois denounced Booker T. Washington's philosophy of "separate and unequal" because Du Bois saw Washington's ideas on accommodating and compromising with whites as denying citizenship rights for African-Americans. The paper relates that Du Bois struggle with the American government because of his purported activities as a communist; in 1961, Du Bois left the United States and moved to the newly independent West African nation of Ghana; however, before he left the U.S., he openly defied the U.S. government and joined the American Communist Party.
From the Paper
"The Niagara Movement had little impact on opinions in America, but it had a lot to do with the creation of the National Association for the Advancement of Colored People (NAACP). A group opposed to Booker T. Washington's ideas met in New York City in 1909 to "discuss the formation of a new organization dedicated to improving conditions for Blacks in the United States." The ensuing group was mostly white; despite this, Du Bois was elected as one of the founding officers in 1910."
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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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Du Bois' Artistic Blueprint, 2001.
This paper looks at Hughes' and Cullen's artistic blueprint set forth by W.E.B. Du Bois in their protest poems
1,550 words (approx. 6.2 pages), 5 sources, $ 50.95
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Abstract
This paper shows how Hughes and Cullen follow Du Bois? prescription in their creations of black art. The author focuses on Hughes? poem ?Ballad of the Landlord? and Cullen?s poem ?From the Dark Tower,? and derives his definition of Du Bois? artistic prescription from his essay ?Criteria of Negro Art.?
From the paper:
"Amidst the prevailing racial injustice during the Harlem Renaissance, W.E.B. Du Bois charges black artists to use their art to send a message to society: a message of unity to the blacks, and a message rejecting their so-called inferiority to the whites. Black art, Du Bois insisted, should be used as a weapon against racism, demonstrating blacks? worthiness of American status and their ability to conceive Beauty in their art. Countee Cullen and Langston Hughes, whether intentionally or not, followed the artistic specifications set forth by W.E.B. Du Bois in their respective creations ?From the Dark Tower? and ?Ballad of the Landlord.?
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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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Washington and Du Bois, 2006.
A comparison between prominent African-American authors Booker T. Washington and W.E.B. Du Bois.
1,000 words (approx. 4.0 pages), 5 sources, MLA, $ 35.95
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Abstract
This paper analyzes, compares and contrasts their beliefs and writings of African American authors Booker T. Washington and W.E.B. Du Bois. The paper demonstrates how the two were as different in their attitude toward racial progress as they were in their styles of writing. While both men wrote about race and were concerned with bettering the plight of African Americans, the paper explains that they had very different philosophies about how to accomplish social change. Citing their writing, the paper argues that Washington believed the acquisition of jobs for Blacks was most important, because economic freedom would automatically about social and cultural change. Du Bois, on the other hand, believed in careful political organization and individual action for the improvement of the community and the betterment of society at large. The paper concludes with an analysis of Du Bois' theory on double-consciousness, relating it to contemporary author Jean Toomer, a protege of Du Bois.
From the Paper
"Du Bois was committed to an integrationist vision combined with an assertion of a proud cultural heritage; he had a vision of a certain role that the black man should fill in Americans in society; and he believed in full civil liberties, the abolition of racial discrimination. Both men were interested in education. Du Bois believed that education should nurture the growth of culture and felt that education and a university system could transform personal and racial relationships, while Washington favored vocational training for Blacks. Booker T. Washington's "up from slavery" was an overly optimistic account of his life and of race relations in America; it followed the lines of his general philosophy of trusting the paternalism of the southern whites, accepting the fact of white supremacy and accommodating white oppression. Washington emphasized the mutual interdependence of blacks and whites in the south but also felt that they were to remain socially separated."
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W.E.B. Du Bois, 2005.
This paper offers a biography on W.E.B. Du Bois.
1,130 words (approx. 4.5 pages), 4 sources, $ 39.95
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Abstract
This paper is a biography on W.E.B. Du Bois. It deals with the Du Bois' importance and significance to American History. In this article, the writer focuses on Du Bois' public life. The writer also discusses Du Bois' idealogy and his ideas regarding civil rights.
From the Paper
"According to David Levering Lewis in his book 'W.E.B. Du Bois The Fight for Equality and the American Century', William Edward Burghardt Du Bois was born in Massachusetts. Du Bois was graduated from Fisk University and Harvard University and studied two years at the University of Berlin. He was the first black American to receive the degree of doctor of philosophy from Harvard. Du Bois founded the Niagara Movement, a group of African-American leaders committed to an.. "
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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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"Du Tenth", 2002.
Examines the themes of love and money in Feng Meng-long's book, "Du Tenth" which is set in Seventeenth Century China.
1,650 words (approx. 6.6 pages), 1 source, $ 62.95
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Abstract
Feng Meng-long's fiction "Du Tenth" reflects the social aspects of the time of its making. Late Ming China (17th century) was a society dominated by the commercial culture of China's merchant classes. As a result, in "Du Tenth" money and love are so closely related as to be interchangeable. Money determines the beginning, the development and the end of the relationship between Du Tenth and Li Jia.
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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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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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Booker T. Washington and W.E.B. Du Bois, 2007.
A discussion of Booker T. Washington and W.E.B. Du Bois' impact on the civil rights movement in America.
1,248 words (approx. 5.0 pages), 3 sources, MLA, $ 42.95
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Abstract
This paper discusses the influence of Booker T. Washington and W.E.B. Du Bois on the American civil rights movement. The author argues that their outlooks are still alive today in debates concerning issues such as racial and class injustice and the role of leadership in the African- American community. The paper gives a brief biography of each man and his respective philosophical outlook. The author highlights where Washington and Du Bois' philosophies diverged, and their ultimate impact on racial equality in America.
From the Paper
"The dispute between Washington and Du Bois polarized the leaders into two distinct sides, Washington's conservative supporters and Du Bois' radical philosophy (Two). Du Bois' strategy of agitation and protest led directly into the Civil Rights movement of the 1950's and 1960's. Washington's philosophy is often associated with conservative African Americans such as Justice Clarence Thomas and the Nation of Islam (Two). "
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