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The Classic Hollywood System, 2005.
This paper discusses the historical change in the structure of the classic Hollywood system and the production and distribution factors which have contributed to that change.
1,715 words (approx. 6.9 pages), 7 sources, APA, $ 55.95
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Abstract
This paper explains that, at its height, Hollywood was a vertically integrated industry in which the major producers and distributors--the studios--also owned the movie theaters, which took in more than three-quarters of the gross receipts paid at the box office. The author points out that an antitrust suit broke up this monopoly; the consent decree, first accepted by Paramount in 1948, shook the movie industry and altered exhibition practices. The paper relates that, once distributors and exhibitors no longer shared a common financial interest, their relationship became more adversarial with the providers of films seeking to indemnify themselves against losses by imposing onerous conditions on the exhibitors or limiting the flow of product to such an extent that the theaters eventually used the films as loss leaders to ensure the profitable sales of concessions.
From the Paper
"During the 30's and 40's, lack of competition in the leisure stakes afforded Hollywood a high degree of public consumption. Film-goers could immerse themselves in the fantasy and escapism offered to them on the screen. American movies, more so than any other developed nation, were seen the world over. Once a film had recouped its production and distribution costs in the United States, any income derived abroad was pure profit. The outbreak of war in Europe, however, forced Hollywood to look to its home market as its prime source of revenue. With luxury goods scarce, American dollars were spent going to the movies. As Balio points out, by having well-situated theatres, it was a boom-time for the major studios, who saw film rentals rise from $193 million in 1939 to $332 million at the end of the war. Despite attendance's in 1946 reaching a record ninety million, the security enjoyed by the majors was on the wane due to two important factors; one by association, the other, directly aimed at the film industry. The investigation into Hollywood as part of the House of Un-American Activities into Communist infiltration in 1947, had far-reaching effects within the industry. Directors, actors, technicians and, most commonly, screenwriters, found their careers ended by this association with Communist ideology."
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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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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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Classical Marxist Theory and Classical Mercantilism, 2002.
Comparison paper on Marxism and Mercantilism.
1,496 words (approx. 6.0 pages), 2 sources, APA, $ 49.95
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Abstract
This paper discusses and compares the economic aspects of Marxism and Mercantilism. It also compares the strengths and weaknesses inherent in both systems. Finally, the paper compares the way Marxist economy viewed its position in the international economy and the way the Mercantilist economy viewed its position.
From the Paper
"While no single treatise written by Marx and/or Engels covered all aspects of Marxism, the Communist Manifesto suggests many of its premises, the work Marx is most famous for, Das Kapital, developed many of the socialists doctrines that Marxism is known for. Though not well known, many pieces of the Marxist system were actually drawn from earlier economic and historical ideas. (Avineri) Works by earlier political philosophers and economists such as, George Wilhelm Friedrich Hegel, Saint-Simon, J.C. L. de Sismondi, David Ricardo, Charles Fourier, and Louis Blanc were all liberally drawn from. Never the less, Marxist analysis as fully developed by Marx and Engels, was conclusively original."
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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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Narrative Structures in Two Early Films, 2003.
A comparison between Renoir's "La Regle du Jeu" and Wiene?s "Des Cabinet des Dr. Caligari" to the classical Hollywood narrative structure.
2,146 words (approx. 8.6 pages), 12 sources, APA, $ 67.95
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Abstract
The narrative strategies and artistic approaches of Wiene?s "Des Cabinet des Dr. Caligari" and Renoir?s "La R?gle du Jeu" appear significantly different from both the classical Hollywood model and from each other to warrant comparative analysis. This essay examines the alternative narrative strategies used in both films in relation to the classic narrative system and briefly compares the formal, technical, and aesthetic approaches of the two films with each other.
From the Paper
"Another interesting feature is the use of iris transitions to and from black to point out certain objects or characters in a frame. This can be used as a less jarring alternative to close-ups (of which there are few) and is especially effective when used to highlight the emotion of a dramatically important scene, such as the malevolent lingering on Caligari?s black striped glove as he lures Jane into his caravan, or when used to link related subjects, such as the iris close on Francis on the right side of the frame and subsequent iris open at the same place on the screen to reveal Jane near the start of the film."
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Individualism in "Stagecoach" and "The 39 Steps", 2008.
An analysis of the themes of individuality, pro-social violence, and affirmation of the American democratic system in two classic Hollywood films: John Ford's "Stagecoach" and Alfred Hitchcock's "The 39 Steps."
1,839 words (approx. 7.4 pages), 2 sources, MLA, $ 58.95
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Abstract
This paper analyzes the two films, John Ford's "Stagecoach" and Alfred Hitchcock's "The 39 Steps." It shows how they both fit squarely into the category of the Classic Hollywood feature and both display many of the sensibilities of the American Western. The paper analyzes these two films and reveals the extent to which they adhere to strict Hollywood convention. It also exposes the ways in which both films diverge from expectations to claim their respective places in film history.
From the Paper
"Aside from the callous presence of the Law and Order League, the American establishment is represented by Mrs. Mallory and Hatfield. Though Bernstein attempts to dismiss their unfavorable depiction as a critique on European classism, they are nonetheless as purely and distinctly American as anyone else on the coach. That Hatfield refuses to offer his silver cup to Dallas illustrates the ridiculous pretensions of establishment - in this case, even American democratic establishment of which both Hatfield and Mrs. Mallory are or once were a part. Bernstein claims that when the Ringo Kid kindly offers Dallas the canteen instead, this demonstrates Ringo's embodiment of "the true, native, and natural American democratic ideal." However, this kind of collective support seems a part of any political system as much as it does democracy, especially considering democracy's general insistence on individual strength and competition."
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Hollywood Heroes, 2006.
This paper examines the portrayal of heroic characters in film as detailed in "A Certain Tendency of the American Cinema" written by Robert Ray, while focusing on the two leading characters in the 1993 film "The Fugitive."
2,112 words (approx. 8.4 pages), 2 sources, MLA, $ 66.95
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Abstract
This paper explores Ray's book "A Certain Tendency of the American Cinema," in which the author points out how, in classic Hollywood films, a dichotomy between the "outlaw hero" and the "official hero" not only exists but converges in a delicate balance. The writer of this paper discusses how this specific balance allows one type of hero to have the characteristics of the other type and vice versa. This paper focuses on the two leading characters, both portrayed as heroes, albeit differently, in the 1993 film "The Fugitive." This paper analyzes the characteristic and personality traits of both characters while clearly describing how their actions reinforce the process of crossing over into the realm of the official hero.
From the Paper
"Another way Kimball defies traits of the classic outlaw hero is that he lacks "distrust of civilization...represented by women and marriage," which Ray attributes to the outlaw hero. Near the beginning of the movie, Kimball mockingly wards off the men who ogle at his wife Helen at a party hosted by the Devlyn-McGreggor pharmaceutical firm. Later, he justifiably shows anger over his wife's death and repeatedly sees Helen's warm countenance in his sleep. His actions, feelings, and dreams all show that he is still very much in love with his late wife. In general, the characterization of Dr. Kimball as an outlaw hero, coupled with his set of traits as an official hero, allows him to move between the two extremes without having to choose either one or the other. This duplicity reinforces Ray's idea of how "the parallel existence of these two contradictory traditions evinced the general pattern of American mythology: the denial of the necessity for choice."
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AlfredAlfred Hitchcock's "Sabotage", 1982.
This paper traces a number of influences on Alfred Hitchcock's style in "Sabotage" and argues that the movie contains elements from German Expressionism, Soviet Expressive Realism and classical Hollywood style.
675 words (approx. 2.7 pages), 3 sources, $ 23.95
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From the Paper
"The films Alfred Hitchcock made during his British period show considerable experimentation with the language of film, drawing on a number of traditions for effect and style. Sabotage (1936) shows a number of such influences, including classical Hollywood style, German Expressionism, and Soviet Expressive Realism. Hitchcock embodied the two major stylistic threads of filmmaking, the montage of the Soviet theorists such as Pudovkin and Eisenstein and the fluid camera of F. W. Murnau, and these traditions as well are evident in this film.
The Hollywood influence is seen in the way the characters are presented and treated, and this is also apparent in the differences between the film and its source material in the novel The Secret Agent by Joseph Conrad. The character of the wife is essentially "prettified" in the film version, made a much more ... "
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Classical Rock and Popular Prophecy, 2005.
A paper discussing the influence of classical music on rock music and why rock music is the classical music of the future.
2,873 words (approx. 11.5 pages), 10 sources, MLA, $ 85.95
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Abstract
This paper discusses the contention that pop music is tomorrow's classical music within the context of rock/classical music collaborations since the early 1950s. The paper makes the point that pop is as certainly the classical music of tomorrow as classical music is the spirit of rock today.
From the Paper
"Long before the official birth of Rock and Roll, the incorporation of old classics into a new sound was a common practice among trendsetters and musical rebels alike. Classical music is certainly not the only genre of music to be reinvented in meaning and sound, but the choice of Classical pieces is a popular one because of the impact on listeners. Classical pieces are almost universally recognized as familiar to an audience, whether they are able to make a distinct identification of the piece, or if it is simply a vague sense of deja vu influenced by the historical music. "Thus even the early days of ragtime and vaudeville produced their own variations on the classics, though we have few recordings. From the 1920s through the 1940s, James Price Johnson, Jelly Roll Morton, and Fats Waller 'jazzed up' the classics, alongside the Big Band versions of Paul Whiteman, Duke Ellington, Harry James, Tommy Dorsey, Glenn Miller, Les Brown... Many composers of Broadway shows also appropriated classical melodies." (Duxberry, "Nexus...") Pre-Rock Classical interpretations did not stir nearly the amount of controversy that would be seen in later years. The fervent nature of Rock and the moral/political rebellion associated with the genre, perhaps coupled with the passionate dedication of Rock musicians that equals that of the greatest Classical virtuosos, has been fuel for the fires of disapproval."
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Classic British Television Serials, 2005.
A critical analysis of the cultural significance of classic British television classic serials.
5,065 words (approx. 20.3 pages), 31 sources, MLA, $ 127.95
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Abstract
This paper argues that the British television classic serials convey a clear social realistic message and represent English culture in the largest sense of the term. It analyses the definition of artistic social-realism and focuses on the television adaptation of classic novels such as Charles Dicken's "Hard Times" (ITV, 1977) and Jane Austen's "Pride and Prejudice" (BBC, 1995).
From the Paper
"Incontestably, the Golden Age of Victorian/Dickens's classic serials covers the "Roaring 60s". On the streets, one would be submerged by sexual liberty, women's liberation movements, drug use, individual-child-centred-informal-experimental primary education and teenagers and young adults rejecting, en bloc, their parents and their values, without necessarily finding an equally structured (and structuring) substitute for either. In Cinema, Free Cinema Documentary Movement and the social-realistic genre of the Angry Young Men reproduced the very same reality. Finally, on television one was assaulted by it through news, documentaries and contemporary social-realistic plays and soaps. There was an unconscious collective need for a constructive counterweight and an efficient antidote to an overdose of de-structured and de-structuring reality. "
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Marx and Classical Political Economy, 2004.
An analysis of the major differences between Marxian and classical political economy.
2,853 words (approx. 11.4 pages), 8 sources, MLA, $ 84.95
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Abstract
This paper attempts to show how the way in which Karl Marx broke from the analyses of the classical political economists is shown through the basic assumptions that he challenged. It identifies three key ways that form central points of departure from classical political economy. First, it examines how Marx?s ?historical materialist? approach departed from the classical economists, in the way that the mode of production was identified as the driving force behind social and historical change. It then looks at how Marx broke away from the classical conception of the market mechanism and then shows Marx broke away from the individualist assumptions of the classical political economists. It also explores how the premise that an understanding of economic life can be derived from conceptualising the individual as a fundamental unit of analysis was a central assumption of the classical school and how Marx asserted that economic life can only be understood through the analysis of social relations and in particular the relations between classes.
From the Paper
"Markets, both Marx and the Classicals agreed, create a division of labour. In our day to day interactions, it is about exchanging goods for money. However, what Marx saw was a division of labour that is social, allocating people to different trades. In capitalism, labour is not directly social. It became social only when it appeared as the price of a commodity that was exchanged. The prices of commodities and the buying and selling of commodities at these prices constituted the indirect social relations of interdependent labourers. Thus, in capitalism the social interdependence of workers appeared, in the form of commodity prices, to be a set of relations among things (commodities) rather than a set of relations among workers. The Classical economists did not see that it is something that is produced, as they regarded commodities primarily as having use values."
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Review of Book on Mayan Art during the Classic Period, 2000.
A look at the book "Painting the Maya Universe: Royal Ceramics of the Classic Period" which takes a comprehensive look at the Maya art of the Classic period.
1,600 words (approx. 6.4 pages), 5 sources, $ 52.95
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From the Paper
"Among the Classic Maya period from A.D. 250-850, painting was the primary expressive medium. The most common example of this painting is found on their polychrome pottery, which survived because of its durability and the protection afforded it by its being buried in the tombs of the elite. Because most sites have tombs the polychrome pottery also becomes an indicator of place, time, and group. This is especially important because the Classic period saw constant political fluctuations during which different sites became the centers of power. The sites being the focal point for social, religious, political, and economic strength and the pottery being the historical record."
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Post Classic Period, 2002.
A history of the post classic period (1000-1521 A.D.) and its collapse.
1,065 words (approx. 4.3 pages), 1 source, MLA, $ 37.95
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Abstract
This paper discusses the post classic period (1000-1521 A.D.), which was considered a time of the culmination of the rise and fall of major empires and civilizations. Classicism is the principle and style embodied in the literature and the art of ancient Rome. It examines how during the post classic period, civilizations began to evolve with their own art, literature and religion. It describes how the collapse of classicism was most apparent in Africa, Asia and Europe and explores the dramatic events that occurred in the Afro-Eurasian world afterwards. It also examines the collapse of old empires and what new structures replaced the old as well the impact of nomadic activity, expansion and integration on shaping the period of post classic development.
From the Paper
"The major realignment that threatened post classic arrangements was colonialism. Colonialism threatened post classic arrangements because Europeans sought to colonize the land and make it their own. In addition the introduction of Europeans into these societies threatened the health of the civilizations because the Europeans brought foreign diseases to the America?s. As a consequence of colonialism and the expansion of the Spaniards into the land occupied by the aforementioned civilizations were threatened and eventually overtaken by foreigners. So then the post classic arrangements could not be sustained in the wake of European invasion."
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