| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "CLASSIC HOLLYWOOD CINEMA": |
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The Role of Classical Hollywood Techniques in "The Silence of the Lambs", 2002.
An examination of the role of classical Hollywood techniques in developing the relationship between Clarice Starling and Dr. Hannibal Lecter in the film "The Silence of the Lambs".
1,139 words (approx. 4.6 pages), 4 sources, MLA, $ 39.95
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Abstract
This paper examines how classical Hollywood cinema techniques such as narration, camera angles and lighting aid in the development of the relationship between the protagonists Clarice Starling and Hannibal Lecter in the film "The Silence of the Lambs". It evaluates how classical narration develops the relationship which changes from an impersonal to a more personal one, as Clarice Starling, an FBI agent, struggles to solve a problem to which Dr. Hannibal Lecter provides the answer. It also looks at how in all four of their encounters, the camera shots move from low and high-angle shots to those of eye-level shots signifying how the relationship changes from one of superiority to one of equality.
From the Paper
"In The Silence of the Lambs camera angles are another classical Hollywood technique that helps in developing the relationship between Starling and Dr. Lecter. In their first of four encounters, low-angle shots and high-angle shots were used. ?With low-angle shots, in which the camera looks up at the action or person, the audience assumes that the person looking up is inferior to what they are looking at? (Belton 45). In the first encounter the low-angle shot was used subtly, not to the extreme as in other movies. An example of a low-angle shot is when Starling is talking and the camera breaks to Dr. Lecter, showing him slightly higher. High-angle shots are used as well."
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Classic Hollywood Cinema, 2005.
An explanation of the phrase "a culture of viewing" as it pertains to early Hollywood cinema.
1,579 words (approx. 6.3 pages), 8 sources, MLA, $ 51.95
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Abstract
Through public interest, advancements in technologies and story-telling techniques, an industry grew and a culture was formed around the medium known as film. Within the following essay the phrase "a culture of viewing" is explored with reference to the technical innovations of film processing, the development of film culture and the transformation of film entertainment during the late nineteenth and early twentieth century.
From the Paper
"Photography, a nineteenth century scientific invention, has like many other technical innovations of the era "dramatically altered mankind's perception and experience of the world, "an effect that continues to this day" (Museum Ludwig Cologne 1996). The invention of photographs defines the beginning of the modern era due to the effects it had on new systems of representation including cinema. The ability and need to create and reproduce photographs ourselves has created a virtual reality that has become an inescapable part of our modern era (Museum Ludwig Cologne 1996). The invention of photography as we know it in the modern world today is one which not one person can solely be praised for as many generations have been involved in its perfection (Davis 1975, p.1). The concept behind photography is the "camera obscure". Latin for "dark chamber", and was a room or box with a small opening or lens in one side which was known to the ancient world as early as Aristotle and Leonardo da Vinci in the fourth century B.C. (Meggs 1998, p.135)."
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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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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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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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Cinematography in 1930s Cinema, 2003.
Discusses the role of cinematography in 1930s Hollywood cinema.
2,760 words (approx. 11.0 pages), 7 sources, APA, $ 95.95
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Abstract
This paper discusses the role of cinematography in 1930s Hollywood cinema. It looks at the functions of the cinematographer and changes in the 1930s that changed the nature of films and the film industry. The paper looks at the development of the technicolor process and technological developments such as new lenses that fostered new cinematographic techniques. The paper looks at examples of specific films and notable cinematographers.
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Modern Westerns: "Cat Ballou" and "The Wild Bunch", 2004.
A study of the western genre in the modern period of Hollywood cinema.
2,747 words (approx. 11.0 pages), 2 sources, MLA, $ 82.95
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Abstract
This paper examines the Hollywood western in Hollywood's modern period. To illustrate the changing nature of cinema and how the western reflected this, two films are shown to be exemplary of the times: "Cat Ballou" and "The Wild Bunch." The two movies are analyzed based on the trends that they set and by how far they broke away from the mold set by classical Hollywood cinema.
From the Paper
"In Hollywood's modernist period, filmmakers were finding that the western was becoming something of an anachronsim. The dichotomous view of good and evil, savage minority characters, insistence upon high moral standards, and strict codes of conduct are just a few elements that typified the genre but didn't help its cause in the face of a society in flux. In the face of the Vietnam war and revolutions in both sexuality and civil rights, could people really identify with the genre anymore? Hollywood's solution to the western problem was one that typified the modernist period: they experimented, taking the genre in directions that it had never gone before. What we see in two exemplary modernist westerns, Cat Ballou and The Wild Bunch, is intense experimentation within the myth, conventions, and iconography of its predecessors. By doing so, the two films allow their viewers to gain uncanny insights into both how grounded the classical and post classical westerns were in terms of genre, and to what degree the modern period was able to successfully able to break away."
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Cinema: East Meets West, 2003.
Examines the legacy of Hong Kong cinema in Hollywood.
2,000 words (approx. 8.0 pages), 2 sources, MLA, $ 63.95
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Abstract
This essay examines the impact and influence of Hong Kong filmmakers, such as Wong Kar-Wai, on their Western counterparts in Hollywood. This paper focuses especially on the works of Quentin Tarantino and how he drew ideas and inspiration from Hong Kong screenplays.
From the Paper
"When maverick filmmaker Quentin Tarantino exploded onto the Hollywood scene in the early 1990?s with Reservoir Dogs, he established his own unique style pieced together from a myriad of influences. From Hong Kong cinema for instance, Tarantino lifted plotlines set against a morally ambiguous criminal underworld that distorted the dichotomy between law and lawbreaker. Often characterized by anti-hero personas and dedication to values such as loyalty, honor and integrity, his characters are also deeply rooted in the Hong Kong tradition. Tarantino however, breaks from fast paced Hong Kong editing by combining longer takes with lateral camera movement to construct diegetic space in Reservoir Dogs, a film whose plot Tarantino admittedly lifted from Ringo Lam?s Hong Kong masterpiece City on Fire."
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Greek Literature and Hollywood, 2002.
A discussion of the Hollywood adaptations of Sophocles' "Oedipus Rex" and the "Iliad".
1,003 words (approx. 4.0 pages), 5 sources, MLA, $ 35.95
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Abstract
This paper on Greek Literature and the Hollywood Cinema compares the the Greek novel "Oedipus Rex" by Sophocles with the film "Hamlet" starring Mel Gibson and the saga of the "Iliad" with the film "Unforgiven" with Clint Eastwood. It reviews the films and their characters and shows how both films follow a particular theme of a book and accomplish the same goal but in a different situation. Even though the scenario and situations in the novels differ from that in the movie, both protagonists however show similar characteristics and undergo similar events, which force them to act in a resembling fashion.
From the Paper
"He discovers the committing of the two crime after he hears the Teiresias prophecy, ?You are the cursed polluter of this land. The killer you are seeking is yourself. You are living in sinful union with the one you love, living in ignorance of your own undoing? (Oedipus Rex, Sophocles). His wife Jocasta tries to calm him down by telling him that prophecies do not always come true. She tells him about the prophecy once told by oracle to King Laius about his murder, which would be committed by his son. She narrates to him the falseness about the prophecy as it never came true since five robbers killed Laius not his son. From here, Oedipus recalls his past events in which he had murdered a man. With the help of a messenger Oedipus comes to know that he is not the son of Polybus and later the shepherd solves the mystery for him hence, revealing Oedipus to be the son and husband of his mother."
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Hong Kong Action Cinema, 2002.
An overview of the influence of Hong Kong martial arts films on Hollywood through a review of the films "A Better Tomorrow" and "Face/Off."
2,150 words (approx. 8.6 pages), 6 sources, $ 80.95
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Abstract
This paper analyzes the Hong Kong action film in terms of what it has contributed to Hollywood action cinema. It gives a brief history of martial arts films in Hong Kong, relating them to familiar names like Jackie Chan and John Woo, both of whom have been wildly successful in the US. The paper centers on an analysis of John Woo's "A Better Tomorrow" and "Face/Off," discussing their similarities and differences, and how this relates to their relative settings (Hong Kong and America).
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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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Italian art cinema, 2003.
A comparison between Hollywood films and Italian art cinema.
1,840 words (approx. 7.4 pages), 9 sources, MLA, $ 63.95
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Abstract
This paper compares and contrasts classical Hollywood films with Italian art cinema. It explores the characteristics and elements of each. The paper provides examples from "Casablanca," "The Bicycle Thief," "A Fistful of Dollars" and "Last Tango in Paris." The author discusses the Hollywood star system and principles of Neo-Realism.
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The Star System and Hollywood PR, 2007.
A discussion of the star system and its contribution to the development of Hollywood public relations and advertising strategies.
1,726 words (approx. 6.9 pages), 6 sources, MLA, $ 55.95
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Abstract
This paper explores the creation of the Hollywood star system, set up to encourage people to go to the cinema. This system, beginning in the 1920s, transformed the film actor into a kind of popular studio 'brand', which kept audiences coming back. The paper notes that the Hollywood star system contrasted with European cinema culture, which tended to be far more director- (rather than star-) driven and less oriented toward developing a brand. Finally, the paper discusses how the star system has contributed to Hollywood's enduring success, as is evident in today's star-centered movie culture.
Outline:
Introduction
Origins of the Star System
1920's: Rise of Star Power
Conclusion: The Breakdown of the Star System
From the Paper
"The Impact of the Star System on Film The star system is so intimately intertwined with Hollywood of the pre-World War II era that celluloid and stars cannot be separated. Indeed, the Star System is what created an American dominance in a medium that was, after all, developed by the French and Germans, and in which the Americans were relative latecomers to the genre.
"The Star System is about more than the actors who played in Hollywood films. The stars were those special beings who created a link with their audiences. In many cases, and particularly during the silent movie era, the stars' draw was universal: Charlie Chaplin (a British native but naturalized American) was a universal "brand," known as Charlie around the world (and "Charlot" in the French-speaking world), equally powerful in Berlin or Miami.
"There is only one Hollywood in the world. Movies are made in London, Paris, Milan and Moscow, but the life of these cities is relatively uninfluenced by their production. Hollywood is a unique American phenomenon with a symbolism not limited to this country. It means many things to many people. For the majority it is the home of favored, godlike creatures (Powdermaker)."
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The HUAC and the Hollywood Ten, 2003.
A look at the 1940s fiasco of the Hollywood Ten, in which ten prominent figures in the film business were blacklisted for supposed anti-American views.
1,307 words (approx. 5.2 pages), 6 sources, MLA, $ 44.95
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Abstract
This paper examines how the late 1940s proved to be an interesting time in American history. It looks at how a new threat arose against the U.S. government as American communists began spying for the Soviet Union. In particular, it explores how J. Edgar Hoover and the Federal Bureau of Investigation began to look into the mass media to find supposed Communist views, focusing on the film industry, and how, in 1947, the House Un-American Activities Committee under the leadership of a certain J. Parnell Thomas, held a hearing in which ten of Hollywood?s premier film makers, actors, and producers were found to hold anti-American Communist views in their works. These Hollywood members became known as ?The Hollywood Ten?.
From the Paper
"In order to single out supposed Communist members in Hollywood, the FBI devised certain set of criteria to determine if films contained anti-American views. Films were labeled subversive if ?Values or institutions judged to be particularly American are smeared or represented as evil in the movie, either explicitly or through casual references to current political events,? or if ?Values or institutions judged to be particularly anti-American or pro-Communist are glorified in the movie, either explicitly or through casual references to current political events (Noakes 5).? According to John Noakes, an assistant professor of sociology at Franklin and Marshall College, ?In four reports submitted between August 7 and November 17, 1947, the Los Angeles field office sent FBI headquarters reviews of seventeen movies released between 1943-1948 that it determined were subversive based on the MPAPAI criteria. "
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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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