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"Seven" ( David Fincher ) and "Copycat" ( John Amiel ), 1995.
Compares these 1995 films about serial killers. Examines plots, styles, characters, the use of psychology and the theme of evil.
1,575 words (approx. 6.3 pages), 2 sources, $ 55.95
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From the Paper
"Two recent films that have certain similarities in subject matter are Seven and Copycat, both of which deal with the hunt for a serial killer and both of which involve a sort of Hitchcockian borrowing in terms of the deliberate use of one of his favorite devices, the transference of guilt. The two films have certain other similarities to one another--each presents the usual pairing of a veteran police detective with a junior officer, each involves a serial killer who taunts the police and in effect dares them to catch him, each indicates the darkness at the heart of the killer, and each indulges in a certain amount of gore and in some of the trappings of the horror movie. In other respects, though, the films are quite different, with Seven being much the darker vision and the more daring treatment while Copycat is much more a clear star vehicle for two women and is ..."
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Film: David Fincher's "Fight Club", 2008.
This paper examines the social message in David Fincher's film "Fight Club".
1,340 words (approx. 5.4 pages), 0 sources, MLA, $ 45.95
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Abstract
This paper relates that, in David Fincher's film "Fight Club", the protagonist is the "Narrator", a contemporary "everyman" who exhibits symptoms of urban loneliness and existential angst in a materialistic and meaningless society. The author relates that the film descends into violence and brutality as the character Tyler Durden, head of the "Fight Club", feels more alive fighting other males who also feel emasculated by contemporary culture. The author believes that Durden appears to be the alter-ego of the Narrator, someone who feels genuinely and has abandoned the superficial and materialistic pursuits of contemporary society and culture. The paper expresses that the filmmaker is attempting to provide a warning to viewers in contemporary society that if people do not redefine their identity through something more meaningful than materialism or macho notions of masculinity, society will erupt into chaos and violence.
Table of Contents:
Introduction
Body
Conclusion
From the Paper
"The inability to define identity or connect with spirituality leads the members of the "Fight Club" to beat each other, engage in random acts of violence and destruction, and to ultimately plan for major destruction of society. These men have lost hope in contemporary society and its values to provide them with meaning or identity. Instead, they have become unable to feel or express spirituality because of living in a world where who you are is often defined by what you own or how much money you make. As Durden explains at one point, "You're not your job."
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Film: David Fincher's "Fight Club", 2006.
This paper analyzes the David Fincher film, "Fight Club", starring Brad Pitt and Edward Norton.
1,350 words (approx. 5.4 pages), 2 sources, MLA, $ 45.95
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Abstract
This paper explains that the use of carefully chosen photography, editing, elements of drama and the expression of a range of ideologies combine to make "Fight Club" an unforgettable and powerful cinematic experience, which leaves viewers re-evaluating their own lives as well as the state of society itself. The author points out the film's dramatic setting, costumes and color, such as the dark, bare and harsh parking lot scene in which Norton and Pitt first fight, have great influence on the film. The paper relates that the most important method used in "Fight Club" to express the message of the movie is social commentary, and the 'Lament for a Sofa' scene is an explicit example.
From the Paper
"The photography used in the barroom meeting between Brad Pitt and Edward Norton, the descriptions of Pitt's "odd jobs," and in the first fight sequence not only foreshadow events to come in the film, but also add to the message of the film. The shots that frame Pitt and Norton throughout these sequences show an intimacy between the characters and their physical similarities. Though very different in personality and dress, the two sit and stand in close proximity in these scenes, suggesting more closeness than expected for those who, supposedly, are only brief acquaintances."
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A Reading of David Armstrong and David Lewis, 2002.
Comparison and contrast of the points of view of David Armstrong and David Lewis regarding the question of what exactly is the mind.
1,150 words (approx. 4.6 pages), 2 sources, $ 44.95
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Abstract
This essay compares and contrasts the points of view of Armstrong and Lewis on the centuries-old debate regarding the question of what exactly is the mind, and the degree to which mental states are identical with brain states.
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"Prophets In The Dark" ( David Kearns and David Nadler ), 1995.
Reviews this work by Xerox Corporation's CEO on the firm's successful transformation in the 1980s.
1,125 words (approx. 4.5 pages), 1 source, $ 39.95
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From the Paper
"Introduction
During the 1980s, much of American business focused on improving its quality process in order to better compete with the Japanese. Great attention was paid to issues such as just in time inventory, total quality management and quality circles, and the American quality expert Deming was both hailed and vilified in the press for having introduced fundamental quality concepts to the Japanese some years before. David Kearns was CEO of Xerox Corporation during the 1982 to 1990 period, a time when the company whose name is synonymous with photocopiers faced intense competition not only from American competitors such as IBM and Kodak, but also from the Japanese. During the 1980s, the company undertook a rigorous quality program designed to transform the way the company did business. At the beginning of the 1990s, the ..."
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Computer Graphics, 2004.
An analysis of the use of computer graphics in the film industry, with a focus on the works of the director, David Fincher.
3,141 words (approx. 12.6 pages), 12 sources, MLA, $ 91.95
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Abstract
This paper discusses the intricacies of computer graphics as used by film director David Fincher. The paper examines the graphic techniques evident in a number of Fincher's films, "Fight Club" and "Panic Room," among others. The paper describes the powerful special effects employed by Fincher in his films, exploring how he demonstrates his expertise with the camera, as well as his directorial talents, in the way in which he uses the camera and specialized computer graphics to go into the minds of the characters to read their thoughts and follow their panicked thought processes.
From the Paper
"David Fincher or, more popularly, Davey Finch, was born in the year 1962 in Denver, USA. He was brought up in California. He started his career in movies by working at first in Industrial Light and Magic, and moved on to creating TV commercials. This provided Fincher with the expertise needed for a successful career in directing movies. He directed movies like Se7en in 1995, Fight Club in 1999, and the more recent Panic Room in 2002. (Biography for David Fincher) The movie 'Fight Club' is a psychological thriller as well as a roaring comedy. The comedy in the movie lies in its attitude towards the usual staples of everyday life of the present day like air travel and the auto industry and so on. The audience is asked to sympathize with the director in his views about the state of life in the world, as seen through his eyes. David Fincher works with screenplay by Jim Uhls in this adaptation of a satirical novel by Chuck Paluhniak. The young man in the movie finds himself in a situation that he does not enjoy in the least. He finds himself doing a job he does not like, staying in a place that he does not like, and finds himself craving for something different, some excitement in his life. (Fight Club) "
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"Fight Club", 2006.
This paper reviews and analyzes the underlying themes of violence in David Fincher's film "Fight Club."
1,856 words (approx. 7.4 pages), 5 sources, MLA, $ 59.95
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Abstract
The writer of this paper contends and explains why David Fincher's film "Fight Club" is a sincere narration about the lost generation of 1990s. This paper analyzes Fincher's film, as well as the main character of Chuck Palahniuk. The writer describes Palahniuk as a victim of civilization and of his own prejudices and alienation, who is unable to find satisfaction in his own life. This paper details the plot of this dark and violent film as well as the characteristics of Palahniuk who begins to lose himself upon his realization that he's unable to enjoy his life. This paper also discusses the importance of Tyler Durden in Palahniuk's life. Durden is a free person, whose inner freedom, natural charisma and self-dependent eventually take over and conquer Palahniuk's self esteem. The writer of this paper explains why the dark atmosphere and violent fight themes in the film are similar to the conditions that existed in fascist Germany in 1930s.
From the Paper
"The victim of civilization and more over of his own prejudices and alienation is the narrator of the story Fight Club Chuck Palahniuk. He doesn't get any satisfaction from life, as it's usual and routine: he is an average manager in the car company, no one pays any attention to his existence, he is not respected either by his boss or by his co-workers. His personal life is not successful too. The narrator tries to spend all his money on luxury attempting to create an illusion of a happy and wealthy young man but he fails, as he can not achieve self-realization and happiness. Moreover he starts to suffer insomnia and finds out that he there is no medical support to overcome this disorder."
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"Fight Club", 2008.
An analysis of the filming techniques used to portray a culture of violence within the film "Fight Club," directed by David Fincher.
1,419 words (approx. 5.7 pages), 3 sources, MLA, $ 47.95
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Abstract
This paper analyzes the film techniques that express America's culture of violence in the 1999 film, "Fight Club," directed by David Fincher. It analyzes the film technique concepts of close framing, rapid editing and the free-ranging camera. The paper examines a series of scenes from the film and shows a sense of aggressive filming technique that portrays a culture of violence within the film.
From the Paper
"In conclusion, the techniques of close framing, rapid editing, and ranging cameras, are the basis of David Bordwell's filming styles that define a modern "culture of violence" in American film. In this manner, the film Fight Club, directed by David Fincher, helps to convey these exact techniques, which help to bring forth an intensified continuity that includes rapid editing and other quick-fire filming techniques to imply the various facets of conflict and violence. Through the various scenes of Jack's intensifying insanity, one can realize the depth and scope of the portrayal of insanity through the use of the camera. In this manner, the shooting techniques of modern film create the intensified continuity for a culture of violence in the film Fight Club."
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"Fight Club", 2008.
An analysis of the writing, photography, acting, editing and ideology of the film, "Fight club," directed by David Fincher.
1,421 words (approx. 5.7 pages), 1 source, MLA, $ 47.95
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Abstract
This paper analyzes the film, "Fight Club," directed by David Fincher. It discusses five key thematic elements of "Fight Club" and how the movie succeeds or fails at each. Specifically, the paper looks at the film's writing, photography, acting, editing and the ideology of the film. The paper provides examples from the film in order to elaborate on these points.
From the Paper
"Just as the writing of the movie is challenging, so is the photography. It is a dark movie, and occurs often at night. As Tyler is a night owl by nature, and he is the one who sets the tone of the film, much of the movie is dark. However, that is not the only reason why the film is dark. It is dark largely because the movie is intended to be subversive. By nature, subversion works to undermine the status quo, and thus operates on the dark edges of society. Therefore, rather than taking place in an IKEA filled apartment, it largely happens in an abandoned house. (The IKEA apartment blew up early on in the film.) This darkness permeates the film. The fight scenes are shot in a dirty and (of course) dark basement of a bar. There is nothing polished about the way that the movie looks. It is rough and dirty, and the photography reflects that. The use of photography to emphasize these things draws the viewers further in to the film. They become sucked in, and are drawn in to the internal world of the narrator and Tyler. This world is full of new things, but it is also a world that is the underbelly of society. Thus, the darkness is compelling."
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?Fight Club?, 2005.
An analysis of this movie directed by David Fincher.
1,288 words (approx. 5.2 pages), 0 sources, $ 43.95
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Abstract
This paper examines the film, "Fight Club", (David Fincher), based upon the book with the same title by Chuck Palahniuk. The paper examines how the main character, Edward Norton, unwittingly creates for himself an alter ego in the form of Tyler Durden. Tyler is everything that Ed is afraid of being but wishes desperately to become. This eventually happens, with catastrophic consequences. The paper shows, however, that the question is what exactly Ed was searching for, why he created Tyler, and whether he was eventually successful in his psychological journey.
From the Paper
"Fincher for example suggests that the film depicts the self-destructive nature of caring for others. Caring for others, according to Fincher, requires the destruction of the self's most vital part, which is what happens to Norton. I however do not entirely agree with this assessment. Norton does care for others in the film, but only briefly during his support group phase. Caring for others is not his primary goal. The primary theme of the film is Edward's journey towards finding the truth in himself that cannot be touched by the superficial paradigms of society."
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David Copperfield, 2002.
Character analysis of David from the novel "David Copperfield".
1,900 words (approx. 7.6 pages), 4 sources, $ 71.95
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Abstract
This paper is a character analysis of the main traits of David Copperfield. The most important feature of David is that he is Dickens' novelist, and his character is examined in light of that.
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The Two Davids, 2002.
A comparison of Donatello's "David" and Michelangelo's "David".
1,400 words (approx. 5.6 pages), 7 sources, $ 53.95
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Abstract
This paper will argue - through a comparison of these two works of art - that the physical aesthetics of both sculptures can only be understood in terms of the cultural contexts that produced them. Their significance and that of their respective visions of male beauty, thus requires those who approach them to do so with reference to the specific talents and genius of the men who created them.
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David Copperfield, the Character, 2007.
A analysis of the development of the character of David Copperfield throughout the book "David Copperfield" by Charles Dickens.
1,376 words (approx. 5.5 pages), 1 source, MLA, $ 46.95
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Abstract
This paper introduces, discusses and analyzes the book "David Copperfield" by Charles Dickens. Specifically, it traces the development of the character of David from the beginning to the end of the novel. It describes his character through examples of his actions throughout the novel and shows how he developed and matured within the time frame of the story.
From the Paper
"David's change is certainly for the better, and that is what Dickens attempted to convey throughout the novel. All of David's experiences create the adult he becomes, and he would have been a far different character if he had not experienced every bit of every obstacle thrown in his way. He was strong enough to survive cruelty, and wise enough to recognize those who positively influenced him, and those who negatively influenced him. Sometimes he needed help from those who loved him, but he grew into a good man on his own, and the change from young innocent to kind but wise adult was certainly a transformation for the better. As a young man, David did not question the motives of others, he simply naively accepted them, while as an adult, he understands the need to question, but still maintain hope and a positive attitude. He also can accept the love of others, which allows him in turn to fully love Agnes. He could have become a bitter and broken man if he had allowed himself to wallow in despair during his darkest times. He did not, and because of this, he changes, but he changes for the better and for his own good."
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Sculptures of David, 2001.
Compares Donatello's bronze "David" & Michelangelo's marble "David." Functions & styles of statues; iconographic choices made by artists.
2,475 words (approx. 9.9 pages), 12 sources, $ 87.95
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From the Paper
"Donatello's bronze David (c. 1430) and Michelangelo's marble David (1504) are, nominally, treatments of the same subject. Yet -- considering the fact that both drew on the same iconographic tradition, were made within seventy-five years of each other, were created in Florence and credited with political meanings, and were important landmarks in the influence of classical art on the Renaissance -- it would be difficult to imagine two sculptures that were more different. A comparison of these two works will demonstrate how the sculptors made iconographic choices suited to the functions of their statues and how each man took a different approach to the integration of the antique into his style."
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The Iconography of David, 2002.
This paper discusses the iconography of King David as a antetype of Christ.
3,920 words (approx. 15.7 pages), 9 sources, MLA, $ 106.95
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Abstract
This paper discusses that the flexibility of the image of David can be seen from the earliest Christian art through the High Renaissance. This paper refers to his portrayal as king in the Utrecht Psalter of the early ninth century, a depiction of the beheading of Goliath on a sculptured capital from the twelfth-century pilgrimage church at Vezelay and excerpts from the Davidic narrative in a thirteenth century psalter from Canterbury. The author states that the uses of the figure of David makes a point regarding the position of the Church in relation to secular authorities.
From the Paper
"The key to medieval iconography was long thought to reside solely in the "more restricted religious or dogmatic purposes" of Christian imagery, but it was also understood that political questions that involved the church were frequently commented on by the symbolic content of many works (Alexander 6). Once scholars began to look at Christian art as "a representational matrix that both codified and strengthened social values and thus ensured social cohesion" throughout Christendom; however, the full range of concerns addressed by the work has become more apparent (6)."
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