| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "EVOLUTION ITALIAN CINEMA": |
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The Evolution of Italian Cinema., 2002.
Explores the evolution of Italian cinema from neorealism in the 1940s to personal realism to the 1960s.
1,650 words (approx. 6.6 pages), 4 sources, $ 62.95
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Abstract
The evolution of Italian cinema, from the neorealism of the 1940s and early 1950s to the more personal realism of the late 1950s and early 1960s, was defined by complex forces at work in Italian cultural, political and economic life at the time.
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Italian Cinema, 2002.
A look at modern Italian cinema through the review of the style of three different directors, De Sica, Fellini and Tornatore.
1,650 words (approx. 6.6 pages), 4 sources, $ 62.95
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Abstract
This paper will explore three phases in modern Italian cinema as represented by the work of three directors. As will be seen, De Sica's neorealism, Fellini's auteur cinema and Tornatore's modern sentimental revisioning represent a complex progression in the concerns and aesthetics of Italian cinema.
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Italian art cinema, 2003.
A comparison between Hollywood films and Italian art cinema.
1,840 words (approx. 7.4 pages), 9 sources, MLA, $ 63.95
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Abstract
This paper compares and contrasts classical Hollywood films with Italian art cinema. It explores the characteristics and elements of each. The paper provides examples from "Casablanca," "The Bicycle Thief," "A Fistful of Dollars" and "Last Tango in Paris." The author discusses the Hollywood star system and principles of Neo-Realism.
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The Holocaust in Italian Cinema, 2002.
Examines several post-WWII Italian forms to show how the Holocaust was presented in these works.
1,775 words (approx. 7.1 pages), 10 sources, $ 66.95
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Abstract
Italy's experience of fascism has been regularly referred to in her modern cinema, generally in ways that emphasize the social devastation and moral despair of the World War II experience. This paper's discussion of several post-War contributions to the Italian cinema concentrates on questions of the Holocaust, as it took form in Italy less drastically than elsewhere in occupied Europe.
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Italian Neorealistic Cinema, 1996.
Innovative styles & social themes in Rossellini's [Open City], De Sica's [Bicycle Thief] & Visconti's [Obsessione].
1,575 words (approx. 6.3 pages), 6 sources, $ 55.95
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From the Paper
"Italian neorealism developed as a particular form of cinematic expression during the period when Italy was ruled by the Fascists. One of the best-known of what would be called the neo-realist approach to film was Roberto Rossellini's Open City (1945), and many of the characteristics of the movement were evident in this film. These films had an anti-establishment, revolutionary attitude. They had an extemporaneous, documentary quality enhanced in the early era by the materials from which they were made--war-time film stock, cobbled-together equipment, non-professional actors, and location shooting. Open City is a good example of this early period in neorealism, while Vittorio De Sica's The Bicycle Thief (1948) is an expression of the fully developed tradition from the period after the expulsion of the fascists and after the end of World War II. Luchino Visconti's..."
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Italian-American Women in Cinema, 2002.
A compare and contrast analysis of the role of Italian-American women and American women in cinema.
1,373 words (approx. 5.5 pages), 5 sources, MLA, $ 45.95
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Abstract
This paper discusses the role of the Italian-American women in American cinema and the functions that they fulfill within the Italian-American community and draws a comparison between Italian-American female roles and the parts played by American actresses. It examines some of the more famous Italian-American female characters in films such as cinematic masterpieces such as ?The Godfather" and ?True Love? and how they are usually portrayed as working class and victims of violence. It shows how both Italian-American and American female characters in movies are challenged by a patriarchal society. The only difference is that the American character is free to do something about it even if all odds are against her whereas the Italian-American female characters on the other hand do not possess that luxury because their cultural norms do not allow such liberties.
From the Paper
"Then there are directors such as Martin Scorsese and Francis Ford Coppola who have made powerful Mafia movies ?Goodfellas? and ?The Godfather? respectively. Even though the main theme of their movies is the havoc that the mafia wrecks in the lives of Italian-American immigrants there always exists a strong underlying theme that relates the role of the mothers, daughters and wives of these mafia members. In short the role of the ?family?. For example in a comic scene in the ?Goodfellas? Scorsese makes a connection between food and death when Tommy?s mother serves them a mouth-watering meal just after her son and his friends have returned from trying to commit murder."
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Cinema du Look, 2003.
An overview of the key features of the cinema movement known as Cinema du look.
1,652 words (approx. 6.6 pages), 6 sources, MLA, $ 53.95
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Abstract
The paper examines how snubbed by French film academics, lovingly received (generally) by the audiences, Cinema du look at first appears as a triumph of style over substance. It systematically identifies the main features of the cinema movementby referencing the works of three main directors (Besson, Beineix and Carax) and demonstrates how the movement is not simply a triumph of style over substance. It shows how beneath the surface of these films (and these directors) is an interconnected postmodern reflection of contemporary society.
From the Paper
"Cinema du look, to some extent, can also be viewed as a return to the early days of cinema, where the spectacle of the movies was paramount. The ?cinema of attractions? as it is known. What is on the screen is there to amaze and astound the viewer, to be pleasing to her eye. Science fiction movies and other spectacle movies like The Fifth Element (1997), which I would argue definitely shares qualities with other cinema du look texts (fantastic colours, the ?Diva? who sings an operatic number, the lack of attention to characterisation and a wafer thin story) are viewed as being in a formulaic genre. The history of French cinema, and accordingly the attitudes of French establishment film critics, is the history of the auteur, and may go some way to explaining the hostility met by cinema du look amongst the French critics of the time."
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Italian-American Women in Literature, 2005.
This paper discusses the evolving and multifaceted roles of Italian-American women in literature through the eyes of Italian-American male and female authors.
2,110 words (approx. 8.4 pages), 9 sources, MLA, $ 66.95
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Abstract
This paper explains that stereotypes from whores to the Holy Madonna incarnation encompass the multi-faceted and contradictory roles of Italian-American women in Italian-American literature written by both Italian-American men and women. The author points out that the literature relates that social class, differences in religiosity, the American tradition and construction of success and the often contradictory ways the familial and immigrant experience, have come into conflict with the female experience in American. The paper reviews Pietro di Donato's relatively early novel "Christ in Concrete", Mario Puzo's "The Godfather", Helen Barolini's novel "Umbertina" and her collection of personal and scholarly entitled essays "Chiaroscuro" and Evidge Giunta's text "Writing With an Accent" to demonstrate that beneath these narrow stereotypes more complex and individuated roles of Italian-American women's life do emerge.
From the Paper
"These images emerge in the depicted reality of nonfiction as well as fictional life come forth, as these women are seen engaged in child rearing, showing impressive work ethics to enable their families to survive, laboring as well as suffering in the role of daughter, and as these women show their strength in their roles of mother as well as their silent compassion. Gradually, as Italian women themselves began to speak, Italian women and authors have grown fluent at showing female Italian working and middle-class sexuality as well as images of long-enduring Mediterranean fortitude, women alone in the role of a wife bent over a stove bubbling with red hot gravy and meatballs smelling of garlic and onions."
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Third Cinema, 2003.
A summary of Scott Cooper's article on third cinema in the United States.
920 words (approx. 3.7 pages), 1 source, MLA, $ 31.95
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Abstract
This paper summarizes Scott Cooper's 1989 article third cinema in the United States". It emphasizes the need for disenfranchised peoples to tell their stories from their own perspectives. The author discusses the problems of ideology. The paper also explores common characteristics of Third Cinema and Third World Cinema.
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The Canadian Italian Migration, 2007.
This paper describes various stages of the migration of Italians into Canada.
2,660 words (approx. 10.6 pages), 10 sources, MLA, $ 79.95
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Abstract
This paper explains that the Italian immigrants migrated in various waves of various sizes throughout the last century. The author points out that the early wave of Italian immigration, mostly crossing from the U.S., virtually ceased at the start of World War I and did not pick up again until the late 1920s. The paper relates that, during the 1920s, Italian immigration to Canada expanded so rapidly that Mussolini, the fascist dictator in Italy, attempted to halt immigration completely. The author states that, just prior to World War II, Canada began to curtail or even roll back immigration. The paper stated that, following Italy's entry into World War II, hundreds of Italian men were interned in camps while their families were left to fend for themselves. The author concludes that, continuing after WWII, the large number of Italian immigrants was largely responsible for providing Canada with the necessary labor and tax pool it required to re-establish its economic activity.
From the Paper
"The result was that by the 1960s Italian culture and heritage, sometimes with the assistance of Hollywood in America, became vogue to some degree. This period of consolidation allowed a new era of commerce where Italian markets, delis, and stores flowered across Toronto, Quebec and other regions where the Italian population was significant. One important factor during this era of consolidation was that Italian immigration virtually reached a standstill by the late 1960s. Italy had managed to substantially rebuild its post-War economy and the mass immigration out of the country ceased with the rebirth of its own robust economic growth in tandem with a healthy tourism industry."
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The Italian Renaissance, 2005.
A summary of the Italian Renaissance and its influence on Italian society.
1,855 words (approx. 7.4 pages), 7 sources, MLA, $ 59.95
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Abstract
This examines the early stages of the Renaissance. It shows how the Black Death ironically played an important role in its development. The paper also provides an overview of famous figures during the time, including Lorenzo Medici, Dante Alighieri and Michelangelo .
From the Paper
"Thanks to benevolent people such as the Holy Roman Emperor and princes, artists were able to devote their time to art, and not have to worry about supporting themselves. This helped art flourish even more as artists could be entirely dedicated to their work. Without this support from both the clergy, and townspeople buying and supporting art and artists, the era would have failed to produce works of the caliber that it did."
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Rebellion in Canadian Cinema, 2007.
An analysis of the representation of rebellion in Canadian cinema as compared to American and British cinema.
1,911 words (approx. 7.6 pages), 0 sources, MLA, $ 61.95
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Abstract
This paper argues that Canadian films such as "Goin' Down the Road"(1970), directed by Donald Shebib and "Nobody Waved Goodbye"(1964), directed by Donald Owen, ultimately suggest that Canada has not yet found its solution to the problems of societal rebellion and tension and neither adolescents nor adults can articulate an ideology of meaningful resistance.
From the Paper
" The film's jerky camera motions, overlapping dialogue, and clumsy scene splicing highlights this unfinished nature as well. Peter is an unfinished person, isolated even from other people his own age, and the only coherent windows on his life are provided by the jumps and jerks of the confined black-and-white cinematic lens. Unlike the delinquents of America who gleefully flee to the open road with a sense of possibility, to Peter the nation of Canada is so vast, so isolate and rural, that he feels he has nowhere to go within its borders, even when he is driving in a (stolen) car. "
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Americanization of Italians, 2006.
An assessment of cultural assimilation of Italian Americans, as demonstrated in literature and film.
1,600 words (approx. 6.4 pages), 4 sources, MLA, $ 52.95
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Abstract
This paper examines the Americanization of Italian immigrants, as seen in
the novels "All the Nations Under Heaven" by Kenneth Jackson and "The Fortunate Pilgrim" by Mario Puzo and the films "Goodfellas" and "Raging Bull", directed by Martin Scorsese. By analyzing these works, the paper attempts to demonstrate that the immigration of Italians to America caused a dramatic shift in their sense of family values and relationships. The paper explains that the Italian family was once the basis of the collective society within traditional Italian culture, but in America the family dissolved into its respective parts -- i.e. the individuals. The paper goes on to show how these individuals interacted with American ideals and morals to establish a new way of life for their progeny, the American-born Italians.
From the Paper
"Traditional Italian households centered on the family rather than the individual pieces of the family. This type of collective culturalization tended to express gratifying feelings toward the family rather than personal feelings. However, as the immigration process initiated, the family bond began to weaken in Italian culture as the male patriarchs transcended the seas, leaving behind their cherished families. "Unlike Jews, who came largely as families, and the Irish immigration, in which women were in the majority for many years, Italian newcomers were at first mostly young men who often emigrated with the intention of making enough money in America with which to return home and purchase land."(ANUH , 135-136) With the money they received from work, the Italian men would then bring their kin over The Italian males received the first taste of independence that has lingered throughout their lives and led to the dissolving family values system."
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Iranian Cinema, 2005.
This paper discusses the history of Iranian cinema especially the period after the revolution.
1,790 words (approx. 7.2 pages), 6 sources, APA, $ 57.95
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Abstract
This paper discusses that, although cinema has not always been a part of Iranian culture, its growth was slow yet steady in a country ruled by Islamic rules and regulations. The author points out that the Islamic Revolution of 1979 brought an end to the already slowing cinema industry of Iran; theatres were destroyed believing they were symbolic of moral decay that had plagued the society. The paper relates that, after the revolution, the situation of the Iranian cinema gradually improved especially as women began to experience more freedom and interaction rules were relaxed; women became directors resulting in some famous movies including "Rakhshan Bani'etemad's Kharej AZ mahdudeh" ('Off Limits', 1987) and Nargess' "Tahmineh Milani's Tazeh cheh khabar" ('What's New?' 1992).
Table of Contents
An Introduction to Iran
Brief Overview of Cinema in Iran
Iranian Cinema after the Revolution
From the Paper
"The first film ever made in Iran was a silent movie produced in 1921 and talkies came later in 1933 when first sound movie Dokhtar-e-Lur came out. This marked the beginning of Iranian industry which was technically inferior to many advanced film industries of the world. While the industry was suffering because of lack of technical expertise, audience's appetite for foreign films didn't help the situation either. Most theaters therefore screened foreign films only and Iran rarely produced any movies for first fifty years. By 1947, Iran had produced only 2 films, in 1952 the number reached 20, by 1962 it increased to 30 and in 1971, Iran had produced 88 films. In 1977, the number of domestic films came down to 50 while foreign films during that period totaled 504."
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Classic Cinema, 2004.
A look at the definition of classic cinema and some older movies that deserve the title.
2,766 words (approx. 11.1 pages), 8 sources, MLA, $ 82.95
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Abstract
This paper discusses how classic cinema doesn?t simply happen and how it takes time, dedication, and a certain ?Je ne sait quoi? to create a theme, method, or a wave of influence that can be seen and felt years after its initial pass. It examines how classic cinema goes above and beyond the call of simple entertainment and how it creates a benchmark and platform, which future filmmakers will use to create new and interesting ways to tell a same story over and over again. In particular, it analyzes how films, such as "Birth of a Nation" (1915), "The Cabinet of Doctor Caligari" (1920), and "Battleship Potemkin" (1925) ,through their unique, pioneer, or innovative approach to the film medium, created ideas and methods that are still in use today and how they have bestowed upon themselves the right to carry the title of classic cinema.
From the Paper
"In the film "The Cabinet of Doctor Caligari" (1920) the most obvious image is that of surrealism. This movie is an eerie look into issues that revolve around insanity and hideousness. The set itself is incredibly expressionistic and offers the viewer many elusive and vague images. This fits in well with the location, which is, through most of the movie, an insane asylum. The doctor has hypnotic powers, which is depicted as the ultimate power over the bourgeois, violence and the fragile qualities of love. The film's background is also incredibly surrealistic, and for the time is was created this would be incredibly frightening."
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