| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "DEVELOPING MIND FILM WILD CHILD": |
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The Developing Mind of the Film, "The Wild Child", 2000.
Why the film is not only very touching without being overly-sentimental, but it is also quite interesting for what it demonstrates about the raw needs, instincts and emotions of the unpolluted human mind.
1,187 words (approx. 4.7 pages), 1 source, $ 40.95
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From the Paper
"Francois Truffaut?s 1970 film The Wild Child is a poignant and fascinating tale of coming to age- with a major twist. The film is based on the actual story of the wild boy of Aveyron. The ?wild boy? was found in the forest towards the end of the seventeenth century. At the age of about eleven or twelve, the boy had to learn what most people know by the time they are three or four. The film is not only very touching without being overly-sentimental, but it is also quite interesting for what it demonstrates about the raw needs, instincts and emotions of the unpolluted human mind."
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Ron Howard?s Film, "A Beautiful Mind", 2004.
Summary and review of Ron Howard's 2001 film, "A Beautiful Mind", based on Sylvia Nassar?s book of the same name.
1,208 words (approx. 4.8 pages), 0 sources, MLA, $ 41.95
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Abstract
This paper summarizes the main points of the film, "A Beautiful Mind", and discusses the questions it raises about the treatment modalities available for schizophrenics. The paper also looks at how the film illustrates the hallucinations experienced by the main character in the film, John Nash, and how Nash's emotional and social symptoms are portrayed in the film.
From the Paper
"Ron Howard?s 2001 film A Beautiful Mind caused as much controversy over its treatment of mental illness as it did over its winning the Academy Award for best picture. Based on Sylvia Nassar?s book of the same name, A Beautiful Mind chronicles the life of a Nobel Prize-winning mathematician who suffered from schizophrenia, one of the most little-understood mental diseases. While the film may not have deserved the overwhelming cinematic accolades it received, it is nevertheless a touching and sensitive, as well as poignantly realistic portrayal of mental illness. A well-respected Princeton-educated mathematician at the head of his field, John Nash (played by Russell Crowe) is no ordinary man to begin with. His theories arise in his ?beautiful mind? like a musician?s composition would, and like many brilliant individuals, Nash would have been eccentric with or without the accompaniment of schizophrenic delusions and paranoia. However, when he begins to exhibit symptoms of his illness, Nash evolves into an even more complex character, one who is at odds with his family and the outside world. His wife Alicia (played by Jennifer Connelly) sticks with her husband throughout the ordeal but the illness takes a noticeable toll on their relationship."
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Marc D. Hauser?s "Wild Minds: What Animals Really Think", 2003.
An insightful analysis of the book from this writer's perspective.
2,477 words (approx. 9.9 pages), 1 source, MLA, $ 75.95
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Abstract
This paper is based on the book, "Wild Minds: What Animals Really Think", by Marc D. Hauser. The book is introduced, then followed by a review and discussion of the book as it applies to this writer?s personal experiences. A summary of the research is provided in the conclusion.
From the Paper
"Hauser says that animals are much like people in their quest for as much information about the world around them as possible: In one of Rudyard Kipling's charming short stories, he tells us about an elephant child with insatiable curiosity, an elephant who asked so many questions that his relatives spanked him. . . . Although animals may not be as curious as Kipling's elephant child, they are active informavores, digesting and storing relevant information in the service of guiding behavior? (3). In a footnote, Hauser adds that the term, ?informavore,? was coined to describe the ?voracity with which we seem to acquire and seek out information? (259). Since we all live in a hostile environment which is far from sterile, it just makes sense that animals and people alike will try to learn as much about their environment as possible to maximize the chances for survival. It is important for some people, for example, to know if there is a job opportunity opening up in the business next door or a bear in that cave, just as it is important to know where the pollen and nectar are for bees. No surprises there. But just how -- how do animals perceive the world around them?"
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Shunryu Suzuki's "Zen Mind, Beginner's Mind", 2008.
A review of Shunryu Suzuki's 1997 book "Zen Mind, Beginner's Mind" plus a creative dialogue based on insights from this book.
2,060 words (approx. 8.2 pages), 0 sources, APA, $ 64.95
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Abstract
The author of this paper explains that, once he learned that the beginner's mind is so important for Zen, he began to be excited about Shunryu Suzuki's book, "Zen Mind, Beginner's Mind". The author describes what he learned about the book by studying its jacket cover and the illustrations on the tittle page and then relates how he was surprised to find out that the first thing the book discusses is how to sit. The paper concludes by presenting a creative dialogue, based on the book, situated at the middle class home of a Zen Buddhist named Zooey and a Jehovah's Witness evangelist named David.
Table of Contents:
Book Review
Creative Dialogue Based on the Book
From the Paper
"I decided not to worry, but to keep reading with an open beginner's mind. Perhaps if I try every day, I will become flexible enough to get into the full lotus position. I was interested to learn that Zen seems to be a religion that is focused on the body. For example, breathing is also very important. Also, Suzuki (1997) recommends that we must own our own bodies (p. 27). I think I understand what this means. I think this means to really pay attention to our own bodies. This is quite easy to do when one is in pain from trying to get into the lotus position."
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Shunryu Suzuki's "Zen Mind, Beginner's Mind", 2008.
Reviews "Zen Mind, Beginner's Mind" by Shunryu Suzuki and then applies these teaching to a creative dialogue.
2,255 words (approx. 9.0 pages), 1 source, APA, $ 69.95
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Abstract
This paper explains that Shunryu Suzuki's book, "Zen Mind, Beginner's Mind" is divided into three parts: right practice; right attitude; and right understanding.. The author of the paper then relates that a lot of Zen Buddhism is non-intellectual and hard to grasp. Therefore, she set out clinging to these basic concepts like a drowning person clinging to a life jacket. The author also claims that the book is challenging and resulted in the biggest, most significant shift in her thinking. The paper concludes with a creative dialogue, based on the book, which is a debate about the different religions of an American, Republican, born-again Christian (Andy) and an American Zen Buddhist (Mike).
Table of Contents:
Book Review
Creative Dialogue
From the Paper
"This all sounds very attractive - and makes more sense to me than suchness, thusness, or emptiness! The condition of being a roshi sounds so attractive that I can understand why people would pursue it. It offers, it seems, the possibility of living happily in the reality of the present. I therefore set out to learn the mysteries of Zen, through the answers of the great teacher Suzuki.
"In the first part of the book, I learned that according to Suzuki (1997), posture and breathing are essential in order to practice Zen. Suzuki believes that these are vital for right practice."
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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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Film: "Eternal Sunshine of the Spotless Mind", 2008.
A look at how the film "Eternal Sunshine of the Spotless Mind" conforms to traditional attachment theory and is in fact a graphical illustration of that theory.
2,480 words (approx. 9.9 pages), 6 sources, APA, $ 75.95
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Abstract
In a discussion and analysis of the film, "Eternal Sunshine of the Spotless Mind", this paper explains that this film depicts the human being as a web of emotional attachment that is unconsciously tied back to the parents and interlinked in very complex ways to external objects as well as to multiple areas of the brain. The paper then goes on to examine how "Eternal Sunshine of the Spotless Mind" not only conforms to attachment theory but combines that theory with cognitive-motivational structure theory.
Table of Contents:
Introduction
The Rationale for the Film
The Process of Erasing Attachment
Attachment Theory and the Main Characters
Two Patterns of Attachment Theory
Communication Style
Care-seeking at the Infantile Level
Conclusion
From the Paper
"According to Wampler and Riggs (2004), the techniques of the two individuals in seeking comfort and security from one another in their relationship often are similar. This is because they can switch roles. Research indicates that the majority of partners will assume both roles and move back and forth between the roles of support and comfort-seeking during any problem-solving discussion. Clementine is quite aggressive and is the one who suggests having a drink and spending the night at Joel's place. More importantly, she knows hoe to attack his defenses. She describes him as close-mouthed and herself as constantly anxious."
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Rock and Roll Film Genre, 1982.
This paper examines the Rock and Roll film genre and the correlation between movie outlaws and Rock and Roll music by looking at films: ?The Wild One?, ?Rock around the Clock?, ?Shake, Rattle and Roll? and ?Hot Rod Gang?,
1,125 words (approx. 4.5 pages), 1 source, $ 39.95
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From the Paper
"The rock and roll film came into being at the same time as the music began to make itself known. The use of "Rock Around the Clock" in The Blackboard Jungle was one of the first instances of this type of music serving as background to a film, though it was only used in the titles and was not embedded into the film itself in any significant degree. The music was popular, though, and within a short time films specifically about the music were being produced. The early films were primarily intended to assuage parental concerns, though they usually had an attitude of defiance as well. Over time, though, rock became more and more associated with the idea of the outlaw. Performers in the early films were clean-cut types trying to make a success with something new and innovative, but over time this image shifted to the musician as ... "
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Feminist and Anti-Feminist Films, 2005.
An analysis of the themes of male protection against male violence in the films, "Something Wild" and "Thelma and Louise".
742 words (approx. 3.0 pages), 5 sources, MLA, $ 26.95
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Abstract
This paper examines how good outlaws who are on the run from the law are a typical theme of American cinema and how both "Something Wild," directed by Jonathan Demme, and "Thelma and Louise," directed by Ridley Scott, are of the 'road movie' genre, which features the American myth of the open road and free and easy access to changing one's life through motion.
From the Paper
"Thus, both films deal with a problem-if feminism is about women's rights, what of women's rights if the law, for both men and women, is so often wrong. One reason both films provide different answers is that Something Wild involves a male and a female, while Thelma and Louise involves two females. Something Wild suggests that the female is only capable of full motion and movement on the open road in the presence of a male, while the plot of Thelma and Louise suggests that the road provides a potential means of escape for both men and women, and that the presence of men such as the cowboy/drifter of Brad Pitt can sunder female closeness."
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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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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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"A Beautiful Mind", 2005.
This paper discusses the story of Nobel Prize winner John Nash and his struggle with paranoid schizophrenia as told in Ron Howard's film "A Beautiful Mind".
1,630 words (approx. 6.5 pages), 1 source, MLA, $ 53.95
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Abstract
This paper explains that, in the film "A Beautiful Mind", despite suffering from severe paranoid schizophrenia, John Nash manages eventually to control effectively the symptoms of his schizophrenia without the use of medication. The author points out that he used his own a high level of communication competence to control this condition with the techniques of perception-checking and self-talk and was able to live a relatively normal life. The paper stresses that Nash never actually cures his schizophrenia; his symptoms continued and he still had delusions, but he learned to ignore the symptoms and identified his delusions as not being real via a perception-checking approach.
From the Paper
"The same strong communication competence is seen in Nash's external communications. In one way, it can seem that Nash has low communication competence. For example, he does not have good relationships with his classmates, his workmates, or his students. However, there are various signs that this is related more to a lack of social skills than an inability to communicate. This is seen towards the end of the film where Nash is seen tutoring and teaching students. In these interactions, it is seen that Nash is an effective communicator. At the same time, Nash can seem impatient and also seems to behave in unexpected ways. Again though, this is related to Nash's inability to understand social expectations and act based on these expectations."
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"A Beautiful Mind", 2002.
The paper reviews the film "A Beautiful Mind" directed by Ron Howard, which focuses on the life of schizophrenic mathematician John Nash.
844 words (approx. 3.4 pages), 1 source, MLA, $ 30.95
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Abstract
The paper explores the way the film accurately portrays the nature of schizophrenia using John Nash as a perfect example, who exhibits many of the key symptoms of the disease. The paper analyzes the way the director uses various cinematic techniques to allow the audience to get inside the mind of a schizophrenic.
From the Paper
"An inability to communicate is one of the main symptoms of schizophrenia, one which takes its toll on interpersonal relationships and intimacy. Ron Howard does an excellent job portraying the struggles that Alicia faces as she tries to help her husband seek treatment and recover from the disease. In general, Ron Howard?s portrayal of John Nash in the film A Beautiful Mind directly parallels a clinical definition of schizophrenia. Nash exhibits many of the key symptoms of the disease: hallucinations, delusions, ideas of reference, poor social skills, awkward gestures and facial expressions, and jumbled speech. Although it is impossible for a film to convey the exact experience of a schizophrenic or to cover all the elements of the illness, Ron Howard did an excellent job portraying this mystifying mental illness."
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"A Beautiful Mind", 2002.
This paper introduces, discusses and analyzes the film "A Beautiful Mind" directed by Ron Howard.
987 words (approx. 3.9 pages), 0 sources, $ 35.95
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Abstract
This paper discusses John Nash's (a 1950's economist and political analyst and Nobel Prize winner in 1994) personal adaptation to his life. The paper addresses Nash's personal shortcomings and failures. It also questions how his personal solutions to his problems explain both his genius and mental illness. It describes his role as a scientist and moral philosopher and explains how Nash's extraordinary life surmounted odds that many would find insurmountable.
From the Paper
"John Nash's mind could be nothing other than "beautiful" for him to survive and thrive in his tortured interior environment, while continuing his scientific and academic duties. It is clear from the beginning of the film Nash is not your "normal" student ? his mind simply works differently. He sees things completely in his own way, from going to class, to problems written on the windows of his room, and it is not just imaginary things. He has the ability to see complex equations and patterns in his mind, and they fascinate him. Here then is an early clue as to how he later adapts to his physical problems. He does not attack problems the same way the other students do; he becomes obsessed by them until he figures them out. Once he gets an idea in his head (and here is another clue to his success), he must follow it through until he has solved it, and this was a continuing pattern throughout his life. It is this obsession which helped him solve the mathematical problems and disprove the basic ideas of Adam Smith, and it is with equal tenacity that he solves the problems of his day-to-day existence and creates a new and meaningful life around them."
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Women in Film Noir, 2004.
An in-depth look at the role of women in the genre of film known as film noir.
7,839 words (approx. 31.4 pages), 21 sources, MLA, $ 170.95
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Abstract
Among the various styles of producing films, the noir style is one that has come to be recognized for its uniqueness in characterization, camera work and striking dialogue. Film Noir of the 1940s and 50s was well known for feminine characters that were the protagonists, the femme fatale. This was most common with the French and later accepted in the United States. This paper begins by introducing film noir, its definition, how it started and also the history of this genre in the United States of America. It looks at films such as the "Maltese Falcon" (1941) and "A Touch of Evil" (1958). In the second section, the paper explores how women are represented in film noir (heroine and femme fatal) by discussing the aforementioned films and analyzing them. The paper examines different authors, such as Ann Mary Doane whose research is based on feminism and psychoanalysis and Ewing Dale ("Style and Content in Film Noir"), to discuss their ideas. The paper also compares two film noirs - the "Maltese Falcon" (1941) and "Basic Instinct" (a contemporary noir), to see how women express themselves, looking to see whether they express themselves through their sexual diversity. In the third and last section, the paper examines how women are represented in contemporary noir by analyzing and discussing one contemporary noir - "Mulholland Drive" (2001). The paper analyzes sequences to demonstrate the movie's connection with film noir and examines the role of women in the film. The paper includes illustrations from movies.
From the Paper
"Mulholland Drive reinforces the dominance of the femme fatale in contemporary film noir. In present times the role of the woman in society is observed to have a variation, and this is because of the fact that there is a change in the way that she can express herself. It also highlights the way that she can dominate men without them even knowing it. It is perhaps only when they reach their ultimate doom that they realize that women have exploited them. This kind of character portrayal is one that has increased over the years since the beginning of the film noirs. From then it has developed itself in American filmmaking, which has reflected the strengths and weaknesses both in American society."
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