| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "DIRTY HARRY SIEGEL GODFATHER FRANCIS": |
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"Dirty Harry" ( Don Siegel ) & "The Godfather" ( Francis Ford Coppola ), 1997.
Examines plots, styles, social messages, characters, values of 1971 & 1972 films.
1,575 words (approx. 6.3 pages), 5 sources, $ 55.95
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From the Paper
"The Godfather was the highest-grossing film of 1972, while Dirty Harry was a major success the year before. Both films can be defined loosely as being in the crime genre, but their generic differences are considerable. The Godfather is in the tradition of the gangster film, though it melds this with a traditional family drama, while Dirty Harry is a police drama that owes as much to television as to earlier movies for much of its structure and theme. The Godfather was directed by Francis Ford Coppola in his first major studio feature, while Dirty Harry was directed by Don Siegel, a veteran with many films to his credit by the time he directed this one. The way the two filmmakers approach their material is quite different, and yet in one respect they are similar--both filmmakers respond to the socio-historical forces of their time and embody some aspect of those forces in their.."
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"Godfather III" ( Francis Ford Coppola ), 1992.
Examines visual innovations and techniques and provides a brief comparison of the film and the director's life.
1,125 words (approx. 4.5 pages), 0 sources, $ 39.95
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From the Paper
"The Godfather (I) and Godfather (II) won best picture Oscars in 1972 and 1974 respectively. Godfather (III), the third chapter in the saga of the Corleone family, was also nominated for Best Picture by the Academy of Motion Picture Arts & Sciences. However, the visual awards (sets, costumes, cinematography) in 1974 went to Towering Inferno, and The Great Gatsby and in 1972 to Cabaret.
Godfather (III) is a visual feast for the audience, but its overall story is relatively weaker than its "Best Picture" predecessors. This report will give a visual design analysis and discussion of Godfather (III). Mise-en-scene, lighting, costumes, sets, hairstyles and other elements of visual design will be analyzed. A discussion of the major themes covered in Godfather (III) will also be presented. A brief conclusion will ..."
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"The Public Enemy" ( William Wellman ) & "The Godfather"( Francis Ford Coppola ), 1994.
Examines gangster films directed in 1931 & in 1972, focusing on social & family values.
1,800 words (approx. 7.2 pages), 2 sources, $ 63.95
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From the Paper
" Motion pictures, though often viewed as no more than fantasy and escapism, often reflect the society and time in which they are produced, and for all the melodrama and "fantasy" of the gangster film genre, this is one type of film that seems destined to be a reflection on the society which produces it. The Public Enemy (William Wellman, 1931) and The Godfather (Francis Coppola, 1972) are separated by 40 years of time. The two films have much in common, but they also reflect different views of their respective social settings and specifically of the nature of the experience of organized crime in America.
Both films involve underlying assumptions about the force of the American Dream and the way in which that dream has been distorted as a justification for crime by certain individuals. Both films reflect the view that some criminals are born and some.."
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Francis Ford Coppola's "Godfather" Saga, 2002.
This paper reviews the three films in director Francis Ford Coppola's ?Godfather? saga: ?The Godfather? (1972), ?The Godfather, Part II? (1974) and ?The Godfather, Part III? (1990).
1,425 words (approx. 5.7 pages), 3 sources, MLA, $ 47.95
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Abstract
This paper explains that the three films in Coppola's Godfather saga, which is set in the world of the American Mafia throughout most of the Twentieth Century, explore the similarities between family and business interests as fundamental aspects of human behavior. The paper states that ?The Godfather? (1972) tells the story of the end of Don Vito Corleone's reign as head of the family in the late 1940s. The author points out that ?The Godfather, Part II? (1974) continues this story with his son Michael's transfer of the family business to Lake Tahoe and Las Vegas in the 1950s, and is intercut with the early years of Don Vito, from his childhood in Sicily to his rise to power in New York City. The paper continues that ?The Godfather, Part III? (1990) presents the aging Michael and his struggle to legitimize the family's business while powerful forces, including his nephew Vincent Mancini, try to pull him back into crime.
From the Paper
"The story begins, therefore, at a point where the broader implications of the family business are clear. But it also shows the awareness, at least of Don Corleone, that being in this business is a necessity but is not, in itself, desirable. He plans for his youngest son Michael--a college-educated war hero--to escape from it. Michael (Al Pacino) himself tells Kay Adams (Diane Keaton), after being quite frank about the nature of the family business, that all this is his family--not him. He understands his father's desire to protect him from it. The brutality of the business is fully revealed in the 'war' sequence that follows the request for accommodation in establishing a heroin importing operation which is favored by some members of the family but rejected by Don Vito."
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"The Godfather" and "The Godfather, Part II.", 2002.
Examining Francis Ford Coppola's two movies and how they compare to each other.
2,205 words (approx. 8.8 pages), 2 sources, MLA, $ 68.95
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Abstract
This paper compares and contrasts the themes and characters of two of the greatest films of the 1970s, Francis Ford Coppola's productions of Mario Puzo's mob movies, "The Godfather" and "The Godfather, Part II". The writer explains how the films tell the story of Vito Corleone and his son, Michael, and their rise to power as godfather of a powerful crime family. They provide a rich chronicle of the underside of the American dream. It shows how the first film was highly influential and critically well received. This is compared to its sequel, which is widely regarded as even better than the original in the ways that it builds on and enlarges the original story. Although both include many of the same characters, the second movie is more complex and multi-layered, and its themes are deeper. Together, they form a fascinating commentary on loyalty, honor, and family and the ways these qualities are intertwined with the American experience during the 20th century.
From the Paper
"The Godfather focuses on Vito Corleone (Marlon Brando) during his last, most powerful years as patriarch of an extraordinarily successful family business. The Corleone family runs an increasingly expansive collection of illegal operations, but Don Corleone has his own ethical standards that prevent him from moving into areas he considers to be sinful; he is especially against anything to do with drugs. The beginning of the end of his power comes when he is forced to surrender to what everyone around him believes is the inevitable wave of the future. By the end of the film, he has retired, turned the business over to his son, Michael, and died, a peaceful old grandfather, playing in his vineyards with his grandson."
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Francis Ford Coppola's "The Godfather", 2005.
This paper analyzes the editing of one scene in Francis Ford Coppola's "The Godfather".
690 words (approx. 2.8 pages), 1 source, $ 23.95
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Abstract
This essay examines the way that the story arc of the Hollywood episode is conveyed via editing. The author illustrates the use of continuity of shots. The paper describes the relationship between shots and setting.
From the Paper
"In "The Godfather", one of the main lines of narrative has to do with the fact that the Corleone family always returns insult for insult except that the returned insult is always at a higher level than the enemy's first action. That clarifies the lengths to which ..."
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Francis Ford Coppola's "The Godfather", 1994.
This paper is a sociological analysis of family and community in Francis Ford Coppola's "The Godfather" about criminal group in 1940's.
2,250 words (approx. 9.0 pages), 2 sources, $ 79.95
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From the Paper
"Francis Ford Coppola's film "The Godfather" can serve as an artifact for ethnographic study, presenting as it does a full and detailed picture of a social subgroup in American society. The plot of the film focuses on the criminality of members of this subgroup, but in a broader sense the story of the Corleone family reflects a number of other forces in American society--the immigrant experience, the maintenance of certain Old World social structures in the New World, and a family organization that is different from the prevailing structure in American society at large. The film tells the story of a specific family in a way that reflects the experience of a large number of people from a similar background at this particular time in American history.
The story of The Godfather derives from a novel by Mario Puzo, an Italian-American familiar with this milieu and with the ... "
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"The Godfather", 2004.
Analyzes a sequence from the movie, "The Godfather", directed by Francis Ford Coppola.
955 words (approx. 3.8 pages), 0 sources, $ 33.95
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Abstract
This paper presents a short analysis of a sequence from Francis Ford Coppola's masterpiece, "The Godfather". The scene in question is the murder of the police chief and rival mob boss by Michael Corleone, played by Al Pacino. The paper focuses on the camera angles, motifs, etc.
From the Paper
"As he enters the stall, the camera pans right to follow him. It stops directly behind him as he begins searching behind a rectangular fixture on the wall for the gun that is hidden there. As he searches, he turns so that the left side of his face appears in profile. The left (or sinister, from the Italian) side of his face is swollen and slightly bruised because the captain at the table broke his jaw in an earlier scene. The injury has caused his cheek to swell and speech to slur, which makes him look and sound more like his father, the Don of the Corleone crime family. It is appropriate that the audience can only see his ?gangster? side as he prepares to commit the first act in his life of crime."
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"The Godfather", 2002.
An essay discussing family feelings and violence in the movie ?The Godfather" by Francis Ford Coppola.
1,159 words (approx. 4.6 pages), 1 source, MLA, $ 39.95
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Abstract
This paper examines the depth of family loyalty which in confused with violent revenge in the movie "The Godfather." It focuses on the scene of the wedding of Don Vito Corleone's only daughter Connie and looks at how the relationships and interactions of the characters in this scene, represents these feelings.
From the Paper
"Francis Ford Coppola?s screen adaptation of Mario Puzo?s best-selling novel ?The Godfather? has become an American movie classic. Puzo?s book and then Coppola?s movie gave the general public its first true glimpse into the secret underworld of the Mafia, a world shrouded in family love and loyalty and defended by violence.'
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The Godfather, 2005.
An analysis of how Don Vito Corleone is portrayed by Francis F. Coppola in "The Godfather".
2,632 words (approx. 10.5 pages), 8 sources, APA, $ 79.95
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Abstract
This paper describes the way in which Don Vito Corleone is played in "The Godfather". It describes how Francis F. Coppola portrays his character perfectly and the way in which the audience is immediately attracted to Vito Corleone because he possesses this immense and far-reaching power in his hands.
From the Paper
"My father [Vito Corleone] made him an offer he couldn't refuse. Luca Brasi held a gun to his head, and my father assured him that either his brains or his signature would be on the contract." -Michael to his girlfriend Kay about his father, Don Vito The Godfather (1972) is one of the most significant works in Italian-American film. The film is saturated with images of family, honor, obligation, violence, loyalty, and many other forms of imagery. Many interesting and complex characters are presented by Coppola in the film. The majority of these characters are introduced in the first scene of The Godfather at the wedding party. Time and time again, the individual with the most presence is Don Vito Corleone, the Godfather. His manner, his speech, and his personality all immediately capture the audience."
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?The Godfather? and ?Goodfellas?, 2002.
Shows the common elements of Francis Ford Coppola?s 1972 crime drama "The Godfather" and Martin Scorsese?s 1990 film "Goodfellas".
859 words (approx. 3.4 pages), 2 sources, MLA, $ 30.95
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Abstract
"The Godfather" (Francis Ford Coppola, 1972) and "Goodfellas" (Martin Scorsese, 1990) share common elements of theme and characterization; however, the two films differ in regards to tone, direction, and cinematography. The paper shows how both movies address the nuances and complexities of Italian Mafia life from the perspectives of the criminals. It examines how the directors of each of these films portray concepts of family, tradition, culture and religion without neglecting to graphically display the insensitivity, violence, greed and corruption that pervade Mafia life.
From the Paper
"Coppola and Scorsese employ vastly different camera and filming techniques. The Godfather is famous for its large, panoramic images like that at the beginning of the film during the wedding. Moreover, the director pans the camera in scenes like the only in which Sonny is shot. In The Godfather, camera angles are instrumental in providing perspective, as in the first scene with Don Corleone behind his desk in his home, as well as the scene in which Michael shoots the crooked cop in the restaurant. Goodfellas contains more close-up shots, especially of Henry Hill."
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"Harry Potter", 2002.
An analysis of the character of Harry Potter in "Harry Potter And The Sorcerer's Stone".
1,150 words (approx. 4.6 pages), 2 sources, $ 44.95
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Abstract
A paper discussing the changes in character of Harry Potter in the children's book "Harry Potter And The Sorcerer's Stone".
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"Harry Potter": Evil or Educational, 2007.
This paper compares a pro-"Harry Potter" essay and an another anti-"Harry Potter" essay to determine which essay is more sound in its argument.
1,580 words (approx. 6.3 pages), 2 sources, MLA, $ 51.95
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Abstract
This paper explains that, since J.K. Rowling published the first "Harry Potter" book, some parents, religious groups and educators have opposed the supposed 'controversial nature' of the books saying that they are evil, while other people feel they are educational and beneficial. The author points out that Courtney Strimel in her article "The Politics of Terror: Rereading "Harry Potter" did a better job of relaying her message because she listed many reasons why Harry Potter books help children and her reasons left little room for one to argue otherwise; whereas, while making good points, Berit Kjos in "Harry Potter Lures Kids to Witchcraft" gave too many opposing positions and left many unanswered questions. The paper asserts that, whether the Harry Potter books are harmful or worthwhile will continue to be debatable; however, in this case, Ms. Strimel's article was the better of the two because she made the more convincing argument by providing strong opinions, better explanations and relevant facts. The paper includes several quotations.
Table of Contents:
Introduction
Evil: Berit Kjos' "Harry Potter Lures Kids to Witchcraft"
Educational: Courtney Strimel's "The Politics of Terror: Rereading "Harry Potter""
Comparison
From the Paper
"She discussed the effectiveness of the use of Harry Potter books in helping children cope with terrorism issues. She claims, "instead of making the series immoral, the magic, frightening storylines, and character ambiguity all operate together to explore a vast array of morality issues." She goes on to strengthen this argument by discussing several different issues in great detail. One such topic is terrorism, of which she states, "the lessons about terror in the Harry Potter series may be scary and confusing at times, but magical fantasy allows children to deal with timeless, realistic, frightening topics while maintaining a safe distance from the agent causing the anxiety." This is a strength because it is a very plausible and justifiable argument that shows a benefit to children reading these books."
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"The Godfather" by Mario Puzo, 2007.
This paper demonstrates the ethical superiority of the written prose "The Godfather" over the visual film directed by Francis Ford Coppola.
1,236 words (approx. 4.9 pages), 3 sources, MLA, $ 42.95
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Abstract
The paper explains that one of the dangers of portraying violence on film is that anything on the cinema screen takes on a kind of glamour. The paper portrays how a shoot-out even has a kind of beauty in Francis Ford Coppola's "The Godfather." The paper contrasts this to the cool, blunt force of Mario Puzo's prose in the original novel that more effectively shows the consequences of living in a violent and lawless world. The paper demonstrates how Puzo's book ultimately forces the viewer to think critically about violence, rather than simply become drunk upon bloody, violent images of primitive Italian revenge.
From the Paper
"Mario Puzo places the Mafia's history and legacy in a historical context that takes away some of the glamour of its power. The Mafia is not a silent, deadly, unstoppable force that suddenly and inexplicably rears its head in history. It is not just an exotic Italian import, like pasta and oranges, in contrast to the rather bland wholesomeness of Michael's traditional American fiancee. In the film, the Mafia could be luring behind any corner, like a monster, which also makes it perversely attractive, like Dracula, while Puzo clearly situates the rules of the organization, how such apparently silent but deadly attacks can occur, and also shows how easily violence can become tolerable within a society, society, and an individual's psychology."
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?The Godfather?, 2002.
A review of Francis Ford Coppola's film "The Godfather" with an emphasis on leadership styles.
785 words (approx. 3.1 pages), 3 sources, MLA, $ 27.95
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Abstract
This paper examines one of the most effective business leadership examples ever created in American cinema, that of Vito Corleone in Francis Ford Coppola's film "The Godfather". It analyzes how Corleone's style shows a high regard for both the productivity of his business and the welfare of the people in his employ, a regard that relies on a strong sense of honor and loyalty. It shows through examples how Corleone's organization exhibits many of the characteristics found in some of the most successful corporations in America and how he provides an excellent example of how to lead an efficient, profitable business.
From the Paper
"First, we see Brando listening patiently to the recitation from an undertaker in his district who wants revenge against the men who attacked his daughter. Brando does not interrupt the man's story, allowing him to come to the point in his own way and in his own time. At the end, he spells out for the man what he expects from him: friendship, respect for himself and for the organization, loyalty, and honor. He makes clear how important these qualities are for the good of the business, and only then does he tell the man that he will give him what he has asked for, once he has been assured that his own expectations will be met."
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