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Cinematic Elements in "Full Metal Jacket", 2001.
Examines various aspects of Kubrick's film including color scheme, scene construction and cinematography.
1,125 words (approx. 4.5 pages), 0 sources, $ 39.95
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From the Paper
"The overall color scheme of "Full Metal Jacket" involves a shift toward the green in art direction and toward the blue in terms of lighting. The green is seen in the tinge of the walls of the barracks, in the uniforms, and in the choices made throughout the movie for the surroundings (the green of the foliage at Paris Island, what is left of the green in the war zone of Vietnam, the sickly cast to the war scenes, the green of military bases everywhere, and so on).
The blue shift in the light and the prevalence of green places a distance between viewer and action. These are cold colors, and the blue adds a sense of documentary to scenes like the opening where the soldiers are getting their haircuts. Blue is emphasized in the night scenes, with a blue filter adding an ominous and mysterious tinge to the action. Blue makes the inter..."
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"Raging Bull" and "Full Metal Jacket", 2007.
This paper analyzes, compares and discusses the films "Raging Bull" and "Full Metal Jacket."
2,820 words (approx. 11.3 pages), 13 sources, MLA, $ 83.95
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Abstract
The paper discusses how the purpose of the film "Full Metal Jacket" is different than that of the film "Raging Bull." The paper explains that in "Full Metal Jacket" the creation of an atmosphere is essentially more important then the narrative or story itself, while in "Raging Bull" the narrative structure and the story of an individual's life is at the artistic center of concern. In this light, the paper highlights the differences between the films, such as the usage of background and support elements and different approaches to technical issues such as lighting, camera angles and editing.
Outline:
Introduction
Full Metal Jacket
Raging Bull
From the Paper
"An analysis of these two films reveals that there are obvious differences in terms of their usage of background and support elements, such as setting and decor, as well as different approaches to technical issues such as lighting and camera angles and editing. These aspects of cinematic art are inextricably related to the style of the director as well as to the aims and intentions of the film. In any successful film aspects such as setting and environment are artistically linked to the various thematic and ideological undercurrents in the film. Background and set for example can be as important as script and acting in conveying certain moment of insight and perception in a film like Full Metal Jacket, for example. Therefore various aspects such as scenic environment, decor and sound should be borne in mind. A comprehsive analysis of a film cannot neglect these aspects and they are often integral to the shape and narrative trajectory of the film as a whole."
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"Full Metal Jacket", 2002.
Uses the Game Theory to analyze the film, "Full Metal Jacket" by Stanley Kubrick.
1,650 words (approx. 6.6 pages), 4 sources, $ 62.95
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Abstract
This paper provides an analysis of Stanley Kubrick's film, "Full Metal Jacket," and discusses how this film can be understood with relation to the Game Theory. The paper analyzes three characters from the film and considers how their choices in the film illustrate the viability of game theory. Game theory is described here as a mathematical formula that asseses outcomes of situations based on people's choices and the author of this paper sees Kubrick's film as an example of how outcomes are effected by particular choices.
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The Vietnam War, 2002.
This paper offers a comparative analysis of the views of the Vietnam War in the movie "Full Metal Jacket" by Stanley Kubrick and Ed Kugler's book "Dead Center: A Marine Sniper's Two-Year Odyssey in the Vietnam War".
2,400 words (approx. 9.6 pages), 1 source, $ 89.95
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Abstract
This paper discusses the movie "Full Metal Jacket" and compares it to the book by Ed Kugler entitled: "Dead Center: A Marine Sniper's Two-Year Odyssey in the Vietnam War". The writer reveals the differences in the opinions of the war that have been made. The writer shows that the authors all have differing takes on what really happened in Vietnam, but that parallels can be drawn as well to cover the full scope of the war with a balanced perspective. By analyzing the two elements of media, the writer shows how entertainment value and literature can have two angles on an event that will always be remembered for its complex nature.
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The Vietnam War in Film, 2002.
A review of the films "Full Metal Jacket" by Stanley Kubrick and "Platoon" by Oliver Stone on the war in Vietnam.
1,900 words (approx. 7.6 pages), 4 sources, $ 71.95
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Abstract
This paper analyzes two films about the war in Vietnam, "Full Metal Jacket" by Stanley Kubrick and "Platoon" by Oliver Stone, showing how each bends the conventions for the war film to depict the insanity and horror of this particular war and of war in general.
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Duality of Man, 2002.
An analysis of the Stanley Kubrick film "Full Metal Jacket".
1,454 words (approx. 5.8 pages), 0 sources, $ 48.95
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Abstract
The paper describes the two extremes of mankind seen in the film, ?Full Metal Jacket,? in which Matthew Modine plays Private Joker, a soldier confused by the duality of man. It discusses how Joker is paired up with Private Gomer Pile in the film to show the contrast of success and failure. The paper shows how, throughout the movie, Kubrick plays with the idea of pairs to let us know that some things only appear as two opposites when they are in fact similar in many ways. It describes how Joker?s confusion is a key theme in the movie, the contradiction of love and hate in wartime.
From the Paper
"Kubrick uses a confusion between good and evil to portray the notion of two sides of mankind. During a line up at boot camp the drill instructor asks Private Joker, ?Private Joker, do you believe in the virgin Mary?? Joker answers no, and is smacked across the face. The drill sergeant proceeds to ask him the same question over again, and Joker again answers no, and explains that he is an atheist. Joker tells the sergeant that if he reverses his retort then he will be subject to more extensive abuse. The sergeant admires Joker?s loyalty and grants him a promotion."
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Anti-Vietnam War Films, 1990.
This paper discusses the Vietnam War and the anti-war film: Successful & unsuccessful efforts to portray war as mistake in "The Deerhunter", "Go Tell the Spartans", "Apocalypse Now" and "Full Metal Jacket".
2,250 words (approx. 9.0 pages), 10 sources, $ 79.95
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From the Paper
"This paper will be concerned with the Vietnam War and the anti-war film. Most critics have agreed that true antiwar films are virtually impossible to achieve. Many films which have been defined as anti-war films actually end up justifying or even glorifying the idea of warfare. In the early 1960s, ... claimed that the first criteria of an anti-war film is that it "not do positive harm by predisposing its audience toward war". ... most so-called anti-war films fail in meeting this criteria because they tend to glorify violence rather than condemn it. ... points out that "the images of senseless violence, horror, and waste that are usually employed in the commercially successful 'anti-war' films without doubt have a pornographic effect and remain in the soul as excitants and further incitements" . Such anti-war films do not ... "
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Cinematic Impulses of 'Boyz N the Hood', 2008.
This paper provides a film review of the movie 'Boyz N the Hood' and looks at its cinematic impulses.
1,340 words (approx. 5.4 pages), 1 source, MLA, $ 45.95
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Abstract
In this article, the writer notes that in 1991, at the age of twenty-three, John Singleton made his major directorial debut with the critically acclaimed and theatrically popular film 'Boyz N the Hood'. In many ways, this film was the first of its kind, with Singleton not just bringing his career to a promising start but launching the aspirations and future projects of many young, African-American directors. The writer maintains that the unique, gritty style of storytelling that would become a hallmark of Singleton's later work was refreshingly raw in his debut, serving to reflect the lifestyle about which the film elaborated while creating a meaningful cinematic experience that was steeped in realism and unflinching candor. The writer provides a review of the film and notes that within the confines of a modest budget, Singleton creates a convincing mirror of the world that his characters occupy, ultimately causing their circumstances to resonate with the audience.
From the Paper
"Singleton's reconstruction of a South Central Los Angeles neighborhood is accomplished with devices which are often not even the direct focus of the film. In the midst of scenes where family members talk quietly in a house, or when the young men congregate on the stoop to drink or even as the protagonist loses his virginity to his girlfriend, the sounds of the neighborhood are constant. The distant sound of police sirens pulling cars to the side of the road is one that is present throughout the film. Likewise, the constant thrum of helicopter propellers can be heard overhead, preventing both the characters and the audience from ever being fully transported away from the police manhunts and street violence around them. Other sounds of the ghetto, like screeching tires, rattling gunfire, breaking glass, barking dogs, children playing in the streets and blasting car radios are the soundtrack to the film. The director trains his emphasis on the characters as they attempt to live with these dark presences in their lives. The approach of keeping these sounds on the periphery while developing the experiences of the characters has the effect of building a steady tension throughout the film. Though the characters attempt to keep these sounds on the periphery, the off-screen sounds eventually are the harbinger of face-to-face encounters. By the film's end, the distant police sirens and gunfire become more important as on-screen elements, with major scenes and characters being impacted by the confrontations."
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A Question of Auteurism: Cinematic Productions and Critical Responses, 2002.
A discussion of the auterism of three films, Kenneth Branagh's "Henry V", Federico Fellini's "La Strada" and Fritz Lang's "Metropolis".
1,025 words (approx. 4.1 pages), 12 sources, $ 39.95
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Abstract
This paper will examine the critical responses to three films, which derive from both immediate and reflective criticism. The films to be discussed are Kenneth Branagh's "Henry V", Federico Fellini's "La Strada" and Fritz Lang's "Metropolis". It will be argued that central to the criticism of the three directors and their films are the sense in which each is regarded as an "auteur". All three cinematic texts produce meaning through the tension between the director's personality and the material with which he is working. It is this pervasive domination by the director of the cinematic text through manipulation of the 'mise en scene' that defines these works as that of "auteurs".
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The Cinematic Style of Steven Spielberg, 2007.
This paper discusses Steven Spielberg's particular style as a film director.
780 words (approx. 3.1 pages), 0 sources, $ 27.95
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Abstract
In this paper, the author compares Steven Spielberg's films "Saving Private Ryan" and "Munich." The basis for the comparison is Spielberg's personal cinematic style as a director. Spielberg is able to integrate the visual setting in both films as realistic, but not necessarily for sheer visual impact. Instead, he lets the scene tell the story. Additionally, the conclusions of both films allowed the viewer to resolve the themes of the movies themselves, another trademark of Spielberg.
From the Paper
" It was easier to immediately reject Saving Private Ryan because of its category than it was to reject Munich. At least Munich was interesting. Upon hearing the titles of both films, Munich (at least in this reviewer's case) was far more intriguing than Private Ryan. This critic's automatic rejection scenario was immediately initiated upon hearing of Private Ryan, while being intrigued by hearing of Munich."
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Cinematic Success of "A Clockwork Orange", 2001.
A comparison of Anthony Burgess's novel, "A Clockwork Orange" with Stanley Kubrick's motion picture representation.
2,165 words (approx. 8.7 pages), 2 sources, $ 67.95
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Abstract
A look at the novel by Anthony Burgess and the film representation by Stanley Kubrick. The author discusses Burgess?s moral message, unique use of language, and plot structure in comparison to Kubrick?s use of cinematography, visual symbolism, and plot alteration. The author argues that Kubrick?s film is successful in representing Burgess?s narrative.
From the Paper
"Kubrick?s adaptation of Burgess? novel would obviously be viewed as incomplete to someone who read the novel prior to watching the movie. However, Kubrick?s film comes complete with all the elements needed to create a full literary tale, making it successfully stand on its own as an individual work of art. The fact that Kubrick paid attention to much of the detail, such as symmetry, shapes, and other symbolism, further validates the film in being considered by serious critics as a thought-provoking piece of work, and a reliable account of Burgess? intentions concerning free will."
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Spike Lee's Cinematic Style, 2002.
Explores Spike Lee's directorial style by comparing two of his films.
1,900 words (approx. 7.6 pages), 2 sources, $ 71.95
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Abstract
The films by director Spike Lee are not trivial, mindless films that require suspension of disbelief. His films provide the viewer with an insightful social commentary on contemporary race relations. This paper is an analysis of Spike Lee's directorial style. Lee's directorial style, stylistic tendencies, stories, and work as a whole are explored in this paper by comparing his films "Do the Right Thing" and "Malcolm X".
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Cinematic Role in September 11th 2001, 2002.
A comparison between the media's delivery of news and film making.
1,135 words (approx. 4.5 pages), 3 sources, $ 39.95
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Abstract
This paper looks at the role that the media plays in portraying and delivering news with special reference to the September 11th attacks on the World Trade Towers. The author argues that the way the media depicts news creates a situation in which reality becomes indistinguishable from film making. The media's use of techniques such as slow motion, repetition, development of characters and formation of anticipation in the audience in delivering news, is so similar to the way films are made, that to discern between boundaries of the media and real life becomes impossible.
From the Paper
"The Spectacle of horror, which took place on September 11th 2001, has left daunting unforgettable memories in the minds of all on lookers. The events of that day influenced so many individuals because of the vast reach of the media in our day-to-day lives. What happened on September 11th 2001 leaves many believing that real life has become indistinguishable from the movies. The increase in media control has taken off with in the cultural industry over the last 30 years. Televisions became mainstreamed into the family home in the 1970?s with the invention of colour TV. These days more then 11 million Canadians have cable television. The mega trend of corporate capitalism in the post-industrial world has 7.5 million households online. Hollywood and American cinema account for the 2nd largest product surplus in North America. Ironically before the September 11th 2001 tragedies top grossing industry was the Airline Industry. Both the film and airline industries have seen drastic declines in profits since September 11th 2001."
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Purification of Metals, 2006.
An analysis of the purification of metals from ores.
1,757 words (approx. 7.0 pages), 6 sources, MLA, $ 56.95
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Abstract
The paper describes how metals exist in the form of minerals in the earth's crust, a metal ore being a highly concentrated mineral form of the metal. The paper explains how extraction of metals from its ore depends upon the quality of the ore and that the ores obtained from the ground contain unwanted impurities called gangue. The paper discusses the various methods of extracting these impurities from the metal.
Table of Contents:
Concentration
a. Gravity Separation or Hydraulic Washing
b. Froth Flotation
c. Magnetic Separation
d. Chemical Separation
Roasting or Calcination
Reduction of Mineral to the Metal
a. Electrolytic Reduction
b. Chemical Reduction (Smelting)
c. Auto-reduction(Smelting)
Refining
From the Paper
In this method, a Wilfley table is used .It is a sloping table and its top is corrugated or riffled in the direction of the slope. The crushed ore is then placed on the top of this table, which is always kept vibrating. "Then water is made to flow across the table at right angles to the top. The lighter gangue particles are thrown upwards at every jerk and carried across the table by the stream of water, while the heavier ore particles move towards the bottom of the table. Thus separation takes place when the ore reaches the bottom. This method is useful for dense ores like Cassiterite (SnO2).
Hydraulic classifier."
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Full Disclosure vs. Anonymous Disclosure, 2008.
This paper compares the value of full disclosure versus anonymous disclosure as exemplified in cases of HIV and child abuse.
1,730 words (approx. 6.9 pages), 6 sources, APA, $ 55.95
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Abstract
This paper explains that there are benefits and disadvantages for both full and anonymous disclosure, depending on the specific situation. The author points out that disclosure involves certain exclusions and exemptions from the usual principle of confidentiality. The paper relates that, without full disclosure, a person may never obtain the help he need and other individuals may be placed at risk; therefore, full disclosure can be therapeutic and leads to therapy and healing. The author also stresses that anonymous disclosure can be more appropriate because of culture and stigma; however, the risks and dangers can outweigh the benefits. The paper underscores that debate between the use of full or anonymous disclosure requires a careful risk-benefits analysis.
Table of Contents:
Introduction
Full Disclosure versus Anonymous Disclosure
HIV and Disclosure
Child Abuse and Disclosure
From the Paper
"The immediate goals then are to have the person use safe sex and ensure that the partner is tested. If the person does not agree to make full disclosure, then this is a situation where the health care provider is exempt from normal principles of confidentiality. The reason is that public health is at risk and other people's lives are being endangered. The process to be followed is to attempt to influence the person to disclose; if attempts at influence fail, then notify the authorities; and, if there is no action on the art of authorities, inform the endangered person of the issue."
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