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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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"Boyz N the Hood", 2007.
An analysis of the representation of African-American manhood in the film, "Boyz N the Hood"
1,290 words (approx. 5.2 pages), 1 source, MLA, $ 43.95
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Abstract
This paper discusses how "Boyz N the Hood" (1991) is a film that attempts to speak truth to power, and counteract some of the negative stereotypes of young black men in Hollywood films. It looks at how, instead of ignoring the plague of violence and hopelessness in the inner cities of America, the film takes these stereotypes on and attempts to render the difficulties and challenges of the African-American experience with dignity and hope.
From the Paper
"The title frame statistic also politicizes the representations of the characters in the film. These characters are not simply individuals enduring their own psychological turmoil rather the struggles the characters face are endemic to a larger social condition in America. It is often considered dismissive to say that someone is merely a statistic. But these young men are potentially statistics, the film suggests, and that is not a reduction of their plight, rather it is a claim for the film's relevance beyond its duration on a screen. The film is a call to action. Whether the characters go to college, care for their children, or end up in the gutter is not merely 'their' business, or an interesting plot twist, their lives and by extension black lives in the hood are something that is vitally important for all Americans, particularly black Americans to care about and change. "
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Pressures Faced in "Boyz N the Hood", 2002.
This paper looks at John Singleton's film "Boyz N the Hood", claiming that it is a film with an inherent ideological position.
840 words (approx. 3.4 pages), 1 source, MLA, $ 29.95
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Abstract
The writer analyzes the film and the methods used by the filmmaker to subtly introduce ideology into the plot and character development. The paper claims that although the work is strong in its message, the viewer is still left to make up his or her mind about what has been seen. The paper gives examples from the plot that illustrate this claim.
From the Paper
"The 'hood of the title is the neighborhood in which young Tre Styles grows up, a neighborhood in South-Central Los Angeles. The script covers about seven years in the boy's life, beginning in the mid-1980s. The problems of urban crime in black neighborhoods is evoked in the title cards at the beginning emphasizing how many young black males are murdered and the fact that most are murdered by other young black males. Tre is the central character, and also important are his two friends, the brothers Ricky and Doughboy. Tre is 10 years old when his mother decides that he needs a man's influence, so she hands him over to her ex-husband, Furious Styles. She hopes that the father will be able to teach the boy what he needs to know to be a man and to resist the forces in the neighborhood which push boys the wrong way. Furious does try to be a good father, and he plays ball with the boy, takes him on long walks, talks to him, and offers him lessons in life. The father is somewhat stern, but he is also loving and reasonable."
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"Boyz in the Hood", 2008.
An analaysis of the social and delinquency theories that can be used to explain the actions of the main characters in John Singleton's film, "Boyz in the Hood."
1,386 words (approx. 5.5 pages), 5 sources, APA, $ 46.95
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Abstract
This paper describes John Singleton's film, "Boyz in the Hood" as one of the most disturbing American films of the last quarter-century. It discusses the plot of the film and the loose sexual mores and gang life of the neighborhood portrayed in the film. The paper then analyzes several social and delinquency theories that can be advanced to explain the actions of the main characters in the film.
From the Paper
"In the end, there is little question that several delinquency and/or social theories can explain why the 'hood is such an awful place for its inhabitants - and such a hard place from which to escape. In this writer's view, the social strain theory precipitates the other two theories insofar as a lack of opportunity and the desperate struggle to survive in harsh conditions inevitably compels people to do whatever they have to do to survive. At the same time, Singleton places a lot of emphasis upon fathers and suggests that Tre learned to stay out of trouble because of his father's stern guidance. In the end, it is hard to conclude that any one of the theories is the sole reason for neighborhoods like those found in South LA; after a careful review, all three have complementary dimensions as well as over-lapping ones. In any event, the film is a troubling look at what can happen when communities collapse as a result of social pathologies."
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Youth Films, 2002.
A review of the films "Slacker"," Boyz N The Hood" and "Clueless" as examples of the genre of youth films.
1,400 words (approx. 5.6 pages), 2 sources, $ 53.95
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Abstract
This essay is a discussion of three films: Slacker, Boyz N The Hood and Clueless as a genre of youth films. It considers their similarities and differences, how the form of each film influences its meaning, and what these films attempt to say about social relations (e.g. class, race, gender) in the U.S. in the 1990s.
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Studies in Struggle, 2006.
A contrast between the movies "Boyz N the Hood" and "New Jersey Drive".
1,450 words (approx. 5.8 pages), 7 sources, MLA, $ 48.95
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Abstract
This paper reviews, compares and contrasts the 1991 film "Boyz N the Hood", directed by John Singleton and the 1995 Nick Gomez film, "New Jersey Drive". The paper begins by summarizing the themes of "Boyz": the often unspoken battles between Afro-Centrism and assimilation; between action and resignation; between scholars and gangsters. According to the paper, Singleton's formula was so successful that it spawned dozens of similar films, including Gomez's "New Jersey Drive." The paper compares and contrasts each movie's treatment of racism and the struggle for the black characters in -- and against -- a white-dominated society. The paper also explores how each film treats the issues of urbanization and gang affiliation.
From the Paper
"New Jersey Drive" is far less subtle in its definitions of "oppressor" and "other." Nearly all the police officers in the film are white, and many display overtly violent and racist tactics toward the black youths on which the film focuses, One exception is a black officer who, when asked if he knows a young prisoner's identity, ironically replies with a staple racist remark; "Who knows... I can't tell them apart." Clearly, in the ghetto Nick Gomez paints, racism and white supremacy are the root causes of tension. In "Boyz N the Hood," the tension (while still palatable) is less racial, and more ideological. Returning to the classroom scene, one young, black student responds to Tre's Afrocentric lesson on the origins of Man by quipping, "I ain't from Africa, I'm from Crenshaw Mafia." This simple statement sets up one of the films most prevalent themes; the tension, the direct opposition between racial identity (Afrocentrism), and loss of that identity (gang affiliation) (Boyd, 347)."
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California as Paradise in Film, 2001.
Examines the image of California as portrayed in films such as "Grapes of Wrath", "La Story" and "Boyz N the Hood" which seem to present California as either a paradise or a dystopic nightmare.
675 words (approx. 2.7 pages), 0 sources, $ 23.95
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From the Paper
"The image of California as a paradise is rightly questioned by Julian Marais. California seems to many outsiders to be a paradise in terms of personal freedom, labor opportunities, and climate. This is an image of California often found in films which present a constantly warm and sunny climate, and beaches populated by healthy, carefree young people. However, there are movies which present a darker and more realistic side of California, which portray problems from crime and social unrest to natural disasters.
Those who believe in the paradise-like image of California flock to the state seeking the "absence of limitation" they see on behavior and opportunity, and the supposed "lack of difficulty" inherent in California living. Yet clearly Californians face many of the same problems found in other parts of the ..."
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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 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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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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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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Rock-n-Roll History, 2005.
A comparison of today's rock-n-roll with the original rock-n-roll music.
1,300 words (approx. 5.2 pages), 8 sources, MLA, $ 43.95
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Abstract
This paper compares the stars and music of today's rock-n-roll to the stars and music of yesterday's rock-n-roll. The paper points out that while early rock-n-roll music and its stars wrote and performed original music with social messages, today's rock-n-roll songs and performers are unoriginal and express no social consciousness.
From the Paper
"As a way of setting the cultural stage for the process of comparing and contrasting newer musical groups with older rock groups - since music reflects culture in the same way literature does - it is worth taking a look to see if "The Times (have been) A-Changin," (or how much they have been changing) as Bob Dylan wrote in the Sixties. The times have changed from yesterday's consistently progressive, liberal, and into social change activities, to today's more "party-oriented" young people who espouse a more conservative brand of politics and enjoy music that tends toward the predictable and bland."
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Robin Hood and Management, 2004.
Uses the story of Robin Hood as a case study of Hood's management style.
1,226 words (approx. 4.9 pages), 2 sources, APA, $ 41.95
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Abstract
This paper takes a look at the case study of Robin Hood by using the Value Driven Management Model. The Value Driven Management Model analyzes eight drivers, which include External Culture, Organizational Culture, Individual Employee, Customer, Supplier, Third-party, Owner, and Competitor. The Robin Hood case study utilizes several of these value drivers, including Organizational Culture, Individual Employee, Customer, Owner, Third-party, and Competitor.
From the Paper
"Robin?s idea of organizational culture involved his merrymen to follow his vision of vengeance for the sheriff and his vision did not have a clear strategic plan for conquering the sheriff. He believed that strength lay in numbers so that quantity, not quality had a dramatic effect on his mission. He did not know if his men had the same vision he did. He was uncertain of his progress with the campaign, the disposition of his forces, recent moves, and options that confronted him. He did not comprehend how the impact of his decisions would affect his band. Decisions made or actions taken that run counter to the internal culture of an organization, may, depending upon their magnitude, seriously decrease value over time (Pohlman, 2000)."
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