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David Lean: His Life and Films, 1984.
This paper discusses David Lean, one of the most skillful editors in British film industry and very talented director: Analysis of ?Brief Encounter?, ?Great Expectations?, ?Bridge on the River Kwai? and ?Dr. Zhivago?.
2,025 words (approx. 8.1 pages), 2 sources, $ 71.95
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From the Paper
"David Lean was born in 1908 in Croydon, England of strict Quaker parents who considered attending films to be a sin. He was considered below average as a student, and his major interest was in going to the movies secretly or indulging in photography, one of his major loves. When he was still in his teens, he joined his father's accounting office as a junior clerk. When he was nineteen, he withdrew from the family firm and allowed his interest in photography and film to guide him. With the encouragement of his aunt, he went to Gainsborough Studios and took some menial and low-paying jobs to get his chance. There was an absence of unions in those days, and this enabled him to switch jobs continually depending on the needs of the different sets. He worked as a clapper boy, camera assistant, and then ... "
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Three Films by David Cronenberg, 2002.
An analysis of auteur, technology, the supernatural and social responsibility in the films of David Cronenberg.
4,620 words (approx. 18.5 pages), 7 sources, MLA, $ 119.95
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Abstract
This paper examines the main themes of director David Cronenberg's work through the example of three films "Videodrome", "The Dead Zone", and "Dead Ringers". The paper describes Cronenberg's unique cinematic style in terms of its technical accomplishments and horror stories. The paper defines the term ?auteur director? and applies it to Cronenberg's films.
From the Paper
"There are a few different areas of filmmaking that generally get a director labeled as an "auteur." One might be the technical aspects of the film - the camera work, the set design, the lighting. Another might be the style or conditions under which the director works. Lastly, an auteur director is sometimes labeled as such because of the themes he or she chooses to explore over the course of several (or all, in some cases) of their films or a specific genre that they choose to work within over a period of time. David Croneneberg has worked primarily in the horror or suspense genre for most of his career and delves into issues that face humanity, technology, society, and responsibility in unique ways."
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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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The Art Film and the Genre Film, 2004.
Art and genre criticism in four classic films.
3,048 words (approx. 12.2 pages), 48 sources, MLA, $ 89.95
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Abstract
An analysis of two genre films and two art films - Antonioni's "Blow Up," Kelly/Donen's "Singin' in the Rain", Truffaut's "The 400 Blows", and Sirk's "All That Heaven Allows". The validity of both genre and art film criticism are examined.
From the Paper
"By its failure to accommodate the excess generated by its subject matter, All That Heaven Allows is not only critiquing the genre of melodrama, it also exposes the contradictions and conflicts present in American bourgeois society (Bourget, 1995, 45). However the subversive excess and contradictions present in the film prevent it from being ?just another melodrama?. Sirk worked within yet against the constraints of the Hollywood studio system to subvert the genre, and although the film is superficially a generic 1950s Hollywood melodrama, Sirk?s characteristic stylistic technique marks him as an auteur, a position usually associated with the art rather than the genre film."
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Seventies Films Versus Today's Films, 2001.
A comparison between films from different periods in time, and the differences in their entertainment methods.
2,625 words (approx. 10.5 pages), 8 sources, $ 79.95
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Abstract
A comparison of three honored films from the seventies, "Easy Rider", "Five Easy Pieces", and "The Godfather" and two films from the the year 2000, "The Gladiator" and "Erin Brokovich". The paper considers how they differ in the realm of providing distracting entertainment versus probing consideration of timely issues, concluding that seventies films left a more lasting vision.
From the Paper
"What do we want from our movies? Do we seek simple escape or deeper understanding of our lives? Can a movie be both probing and entertaining? Are entertainment, eye candy and special effects enough, or do we seek something deeper? Do we want to look inside ourselves and ask questions, or to merely stay on the surface, distract ourselves, and deny that there is anything more to be considered? These questions arise when comparing three movies from the 1970s with two films nominated for Academy Awards in the 2000. The films considered are: from the seventies, Easy Rider, Five Easy Pieces, and The Godfather, and from 2000, Gladiator and, Erin Brokovich. Pauline Kael, the well-know New Yorker film critic, commenting on how she got hooked on films, agrees another critic, Paul Coates, that in its ideal form, ?Cinema is the dream of an afterlife from which to comprehend this one? (Kael 63). In light of this quote, the films from the seventies embody elements which through the focused vision of the director offer mythic qualities that provide not only entertainment but an opportunity for viewers to examine their lives. That in accomplishing this, they provide images that remain in the mind?s eye could be considered the tradition of the seventies. In contrast, recent films Gladiator and Erin Brokovich are entertaining distractions, providing no lasting vision."
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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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Tragedy and Love in Romance Films, 2001.
This paper looks closely at two films: David Lean's "Brief Encounter" and Jack Clayton's "The Pumpkin Eater". The paper analyzes the two films from technical and aesthetic viewpoints, with particular reference to female protagonists.
3,058 words (approx. 12.2 pages), 11 sources, APA, $ 89.95
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Abstract
The writer compares and analyses "Brief Encounter" and "The Pumpkin Eater" with reference to the cinema of the time, including an in-depth investigation into the film-noir style 'romance' films of the British cinema of the 1940s. The paper looks to answer the question of whether or not these romance films were actually romantic.
From the Paper
"The elements that characterise romance films are that they ?centre on passion, emotion and the romantic and affectionate involvement of the main characters and the journey that their love takes through courtship or marriage.? They often explore the themes of ?love at first sight, unrequited love, obsessive love, sentimental love, spiritual love, forbidden love, sexual and passionate love, sacrificed love, explosive and destructive love and tragic love? They usually follow the trials and tribulations of the couple as they make their way through an episode in their lives. Typically romances have a ?happily ever after? ending that leaves the audience feeling fulfilled, however there are some films that it is very difficult to classify as ?typical? romances even though they are undeniably romances. There are a huge stock of romantic films that are instantly forgettable but what makes a romantic film enduring is that romance is not its primary concern ? it has more substance a simple exploration of a straightforward relationship. Brief Encounter is one such film, generally regarded as one of the greatest love stories ever to be produced by the British cinema. It is however not a typical romance and has definite tones of film noir and so does not adhere to the conventions of romantic films. Film noir is usually takes as its subject crime or mystery but there are some that deal mainly with romance such as The Postman Always Rings Twice and Double Indemnity, both adaptations of James M. Cain novels that are ?seething with lustful self destructive romantic relationships between a femme fatale and an entrapped male partner? . Another example from the British cinema of a romance disguised as something else is The Pumpkin Eater. This film purports to explore the psychological and emotional state of a woman, and is an examination of these elements of her character. Her psychological and emotional state is however intrinsically linked to her relationship with her husband Jake. Both films deal with the romantic lives of the main characters, but are both undeniably tragic and somewhat disconcerting tales of love and marriage from a female, middle class perspective."
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Film Studies: Analyzing Three Films within the Context of South East and Asian Historical Perspectives, 2005.
The Chinese Communist Party soon came to power after years of exile and puppet rule that Pu Yi had experienced in the ever changing political and gove...
1,350 words (approx. 5.4 pages), 6 sources, $ 53.95
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Abstract
The Chinese Communist Party soon came to power after years of exile and puppet rule that Pu Yi had experienced in the ever changing political and governmental landscapes of China. In 1950 Pu Yi was forced to leave his Soviet township and soon became a prisoner of the new Communist Party politics.
From the Paper
ABSTRACT TOO SHORT
Film Studies: Analyzing Three Films within the Context of South East and Asian Historical Perspectives Essay 1: Understanding the Premise of Vietnamese Communism within the Film: Full Metal Jacket The film Full Metal Jacket (1987), directed by Stanley Kubrick, offers an American point of view of a Vietnamese conflict that depended heavily on the communist (NLF) National Liberation Front. The communist resistance to American pressure to abdicate to the puppet regimes of older leaders, such as Ngo Dinh Diem, resulted in the NLF being called the "Viet Cong" or a "Democratic Dictatorship" within military and governmental propaganda. The reason for this is reflected in the film, as the Tet Offensive becomes the symbolic part of the movie where the Americans begin to lose the war, marking the American military's last real ground-based initiative to take the country. In this manner, a historical perspective of the NLF can be analyzed, but
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War Films as Military Propaganda, 2006.
This paper discusses both positive and negative depictions of the US military in films and looks at how the military has made use of some of these films as a propaganda tool.
1,350 words (approx. 5.4 pages), 4 sources, $ 53.95
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Abstract
This paper discusses the military's use of film as a propaganda tool. The films that examined in the paper are "Battlefield" and "The Manchurian Candidate". Other topics discussed include the Cold War and the use of ideology.
From the Paper
"Depictions of the US Military in film have varied considerably over the years. Some films portray the US Military as a negative force that is being used to repress the average citizen. Others portray the US Military in a very positive light by suggesting that they are the average citizen's last defense against hostile nations. Although both depictions can be found in films from any year there are definitely patterns in the proportions of the depictions. In certain time periods the negative depictions of the US Military will outnumber the positive ones. In other time periods the positive depictions..."
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Docudrama Films, 2006.
A comparison between the films 'Fahrenheit 911' and 'Bowling for Columbine' versus films 'FahrenHype 9/11' and 'Celsius 41.11 - The Temperature at Which the Brain Begins to Die'.
4,669 words (approx. 18.7 pages), 12 sources, MLA, $ 120.95
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Abstract
This paper takes a look at, and compares, the docudrama films 'Fahrenheit 911' and 'Bowling for Columbine' versus the docudrama films 'FahrenHype 9/11' and 'Celsius 41.11 - The Temperature at Which the Brain Begins to Die'. The paper takes a look at how these films influence the reputation of docudrama as a film genre.
From the Paper
"Within Fahrenheit 911 Michael Moore uses footage that is simultaneously disturbing and humorous, in which President George W. Bush is shown, immediately after hearing the news of the September 11 terrorist attacks on the World Trade Center and the Pentagon, continuing to read the children's book My Pet Goat to a group of Florida elementary school children, while also looking blankly off into the distance trying to figure out what to do next. The sequence of events leading up to that series of shots, in which Bush reads "My Pet Goat" and looks perplexed, for at least five full minutes, is obviously intended by Moore to illustrate that, even though Bush comes from a powerful, privileged family, he is still unfit, on his own, to be President. "
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Documentary Films, 2004.
Discusses documentary films by analyzing the film "Capturing the Friedmans".
1,800 words (approx. 7.2 pages), 5 sources, APA, $ 63.95
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Abstract
This paper use the documentary film, "Capturing the Friedmans", to define and examine the documentary film genre. The paper analyzes "Capturing the Friedmans", and discusses what the family's home movies reveal about contemporary American family life and the dynamics of the family relationships.
From the Paper
"According to Bill Nichols, every film is essentially a documentary, but true documentaries, as opposed to wish-fulfillment fictions, represent a unique genre of film that engages with the world as it exists in reality. Nichols says that the documentary engages with the world by representing it in one of three ways. First, documentaries offer a likeness or depiction of the world that bears a recognizable familiarity. Secondly, these films stand for or represent the interests of others. Third, some documentaries may represent the world..."
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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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Horror Films, 2002.
An overview of different views on horror films, with a discussion of the most popular horror films.
2,804 words (approx. 11.2 pages), 4 sources, MLA, $ 83.95
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Abstract
This paper provides an insight into horror films, from the classics such as "Psycho" to the psychological thrill of "The Silence of the Lambs". It examines the history of the horror film from the first film directed by Georges Melies in 1896 and its development through the period of silent and black-and-white movies to the technological effects of the 21st century. It also attempts to analyze their attraction for people and how the fear and loathing, as well as the almost guilty enjoyment experienced in a movie theater filled with gore lovers, are human psychological needs.
Outline
The Classics
The Psychological Need
The History of the Horror Film
Conclusion
From the Paper
"?Psycho? is seen by many horror fans as the ultimate horror film. Hitchcock plays with the idea of identity and involvement. The viewer is expected to feel drawn into the world of Norman Bates. The suggestion is also that the viewer?s identity is not as important as his or her emotional involvement in the plot. The film universalizes the idea of monstrosity in each individual. It mirrors the audience?s wickedness and guilt back at the audience by means of the ordinary and unassuming Norman. The implication is that everybody has a dark side. The monster therefore appears to have moved closer and closer with the development of the horror film. And now it is inside. Or now its existence is recognized. The monster is no longer something that looks hideous. Instead he or she is as human-looking as everyone else."
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