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Film Analysis: "Crazy People", 2004.
An analysis of the satire in the film "Crazy People".
675 words (approx. 2.7 pages), 1 source, MLA, $ 23.95
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Abstract
This paper analyzes the satire in the 1990 film "Crazy People" directed by Tony Bill. The paper explains that the satire focuses on the field of advertising and the institutionalization of the film's main character for telling the truth in ads.
From the Paper
"The film "Crazy People" satirizes the field of advertising, the work pressures of the executive world and the usual course of personal relationships. Specifically, the film satirizes the ways people lie to each other in these three areas by pointing out how absurd it is that people who care about other people are considered crazy while people who care only about money are considered sane and successful. "Crazy People" begins by introducing advertising executive Emory Leeson who is frustrated with his life..."
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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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"Journey of Crazy Horse", 2008.
This paper provides a critical book review of "The Journey of Crazy Horse" by Marshall, Joseph III.
1,015 words (approx. 4.1 pages), 1 source, MLA, $ 35.95
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Abstract
In this article, the writer notes that the Native-American historian and anthropologist Joseph Marshall III is the author of many previous books on Lakota culture. But the warrior Crazy Horse is more than an important part of Lakota history in Marshall's estimation. Crazy Horse was also Marshall's boyhood hero. The writer discusses that with the value of adult wisdom and respect, Marshall attempts to craft a biography of Crazy Horse that presents the life of the proud Lakota warrior and leader that transcends the myths Crazy Horse's life spawned in both the tales of Native Americans and white historians. The writer notes that Marshall admits his subjectivity, and states that it is impossible to gain a full portrait of Crazy Horse in an objective fashion, given that the symbol of Crazy Horse has transcended the man who walked the earth. The writer points out that Marshall, instead, offers clarifications about the facts pertaining to Crazy Horse's most famous victory and muses upon what Crazy Horse means to whites and to native peoples today. The writer maintains that this is, given the imperfect nature of history, as clear a portrait as one can access of Crazy Horse.
From the Paper
"Marshall attempts to provide a historical context to the battle, to Crazy Horse's entire life and military career. He persuasively demonstrates that Little Big Horn was not an anomaly, or simply the result of a desire for violence or a violation of the rules of combat. For example, another of this warrior's great feats was winning Battle of the Rosebud also near Buffalo, Wyoming, in which Crazy Horse and his men fought General George Crook only eight days prior to the glorious days of Little Bighorn. There, Crazy Horse established a critical advantage over the federal forces by preventing Crook's men from joining Custer.
"Despite his skill in battle, however, Crazy Horse was not crazy. In fact, no one could be 'crazy' and show the calculated, tactical success he did in the field. Crazy Horse put his people before his own needs. He later surrendered rather at Fort Robinson because he wanted to ensure survival of his Lakota people. But this did not besmirch his reputation in Native American history."
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"The Journey of Crazy Horse: A Lakota Story", 2006.
This paper examines the biography "The Journey of Crazy Horse: A Lakota Story" written by Joseph M. Marshall.
1,005 words (approx. 4.0 pages), 3 sources, MLA, $ 35.95
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Abstract
The writer of this paper explores the journey of the main character in Joseph M. Marshall's biography "The Journey of Crazy Horse: A Lakota Story" as one of immense conflict and personal change. This paper compares the main character of Crazy Horse to Jesus Christ. The paper discusses how Jesus was betrayed by those who were close to him just as Crazy Horse was.
From the Paper
"The final scene shows Crazy Horse putting up one last fight against those who have been out to get him for so long. They are trying one last time to get him to surrender himself, but he refuses. Surrendering to the white men would be a rejection of all the morals that he upheld throughout his life. This would mean that he would not die as a hero but as an anti-hero. He would be giving up all that he stood for and would forsake those who followed him."
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"On Being Crazy", 2004.
The paper is a review of Du Bois?s ?On Being Crazy? and presents an espousal to Du Bois?s observations.
1,053 words (approx. 4.2 pages), 1 source, MLA, $ 36.95
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Abstract
This paper explains how ?On Being Crazy? is Du Bois?s reminiscence of his experiences with the ?crazy? whites, mindlessly fanatic against the ideals of social equality. It points out that, with a tinge of satire, Du Bios brings out the irrationality of racism, juxtaposing it against the rationality of seeing things with reference to their immediate significance, convincing a rational mind of the craziness of racism.
From the Paper
"?On Being Crazy? is Du Bois? satirical stab at the white chauvinism. The genius of Du Bois comprehends the power of satire in addressing issues that would otherwise be very difficult to address. ?On Being Crazy? starts with Du Bois seating himself among whites in a restaurant to satiate his hunger, when his table companions ask: "do you wish to force your company on those who do not want you?"?an outrageous remark to an un-provocative companion?to which his wittingly-straight rational reply is ?No? I wish to eat.? To the ?crazy? whites? suggestion that his actions meant social equality he says humorously: ? Nothing of the sort, sir, it is hunger?. Later at the theatre when the lady frowns at him that he was ?not wanted? there, his reason rubs against the white intolerance again as he replies ?I certainly want the music, and I like to think the music wants me to listen to it? implying that to be the only and necessary reason of him being there."
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Amulya Malladi's "Serving Crazy with Curry", 2005.
This paper reviews Amulya Malladi's book "Serving Crazy with Curry", which has gender identity as its central theme.
2,070 words (approx. 8.3 pages), 2 sources, APA, $ 65.95
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Abstract
This paper explains that Amulya Malladi's "Serving Crazy with Curry" is about the lives of four women and their perceptions of the strengths and weaknesses they exhibit based on their own and others' ideas of their gender roles. The author points out that each woman's life represents a myth of who they are and how others see them. The paper relates that the work of the individual characters in the novel is to come to terms with the truth and their own hidden feelings and to reconcile this truth with how they perceive other people view them and their cultural and institutional gender identities, which will lead to their healing.
From the Paper
"The work details the life of a family in cultural transition as they navigate through difficult times and then individually and collectively run head long into gender role identity. The novel describes the lives of three generations of Indian women through the eyes of four emotionally challenged women and two emotionally challenged men. The family endures the tragedies that befall it through attempts at expressions of love that often end in misunderstandings but eventually through almost forced togetherness through tragedy each one comes to terms with the other to form a tight bond of love and friendship, despite continued and even accepted gender expectations."
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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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Crazy or Genius?, 2002.
This paper studies Sigmund Freud's psycho-sexual stages of development.
1,005 words (approx. 4.0 pages), 3 sources, APA, $ 35.95
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Abstract
The paper studies Sigmund Freud and his many theories about sexuality. It details his early childhood and how his theories are used today. It also describes his way of dividing life into five stages: the Oral stage, the Anal stage, the Phallic Stage, the Latency stage, and finally the Genital stage. It concludes by examining the question of Freud's sanity, was he crazy or just a genius?
From the Paper
"Sigmund Freud is best known for his theories about sexuality and how an individual develops from it. In his eyes, sexual development is the main focus of psychopathology. Even though his theories were very controversial they were the most influential in his time and even today are still held very highly in some societies. So, who was this ?rebellious? man? What are his theories? Are his theories really valuable today? "
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"Crazy" Eddie Antar, 2002.
A look at the life of retail entreprenuer Eddie Antar.
1,400 words (approx. 5.6 pages), 5 sources, $ 53.95
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Abstract
This paper describes "Crazy" Eddie Anatar's case from the sociological perspective of white-collar crime.
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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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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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Film: Alison Anders' "Mi Vida Loca", 2005.
An analysis of the themes of gender and sexuality in Alison Anders' 1993 film "Mi Vida Loca" ("My Crazy Life") from a critical feminist perspective.
3,435 words (approx. 13.7 pages), 6 sources, MLA, $ 97.95
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Abstract
This paper explains, in detail, the gender and sexuality themes in Alison Anders' "Mi Vida Loca" ("My Crazy Life"), which realistically describes the lives of young Mexican-American women in Los Angeles who are involved in gangs, drugs and sexual activities. The writer believes that, Anders' own feminist agenda and ideology, such as non-normative gender roles, which challenge the traditional confinement of women to domesticity, seem to standout more than her stated goal to humanize people who don't get represented in film. The paper cites many feminist critics and relates their ideas to the film and concludes that Anders' feminism is not adequate. The paper uses MLA style footnotes rather than a works cited page.
From the Paper
"Anders' film fails to break from this patriarchal, phallocentric logic. Only by adopting masculinized gender roles and possessing the phallus (carrying guns) can the Locas construct their agency. Anders doesn't allow for alternate sources of female strength, only for women to act as male substitutes. After Giggles leaves Sleepy's place, the night she affirms her independence and strength, her style of dress does a one-eighty. While previously she tended to wear skirts and dresses, when she organizes the Locas she is wearing pants and a wife-beater."
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Women in Film: "Jerry McGuire", 2006.
An analysis of the representation of women in film using the film, "Jerry McGuire" as an example.
675 words (approx. 2.7 pages), 4 sources, $ 26.95
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Abstract
This paper analyzes the film "Jerry McGuire" in order to analyze the characterization of women in film. Several analysis techniques are used for the analysis, such as looking at the life styles portrayed in the film, the film's language, the argument within the text, and the reception of the audience.
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Director Pedro Almodovar and the Spanish Film Industry, 2002.
This paper shows the influence of director Pedro Almodovar on the Spanish film industry and how his films helped pave the way for other Spanish directors to find an audience outside of Spain and to reestablish the viability of the Spanish film industry.
3,100 words (approx. 12.4 pages), 8 sources, $ 90.95
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Abstract
The paper introduces the topic with a look at Robert Phillip Kolker's "The Altering Eye", which considers some of the economic and social forces that apply in different countries to shape their film. It then examines the life and work of director Pedro Almodovar as an example of these theories at work in Spain. It suggests that Almodovar's success was dependent on the social and political changes in Spain, namely the end of the fascist era and a move toward democracy.
From the Paper
"Film is an international medium in spite of language differences, and different countries come to the fore at different times to make a mark both artistic and economic on the world cinema. After world War II, Italian neo-realism burst onto the scene, followed in the early 1960s by the French New Wave. In the 1970s it was a combination of films from Australia and films from West Germany, the latter led by Rainer Werner Fassbinder. More recently, Spain has become a contributor to the screens of the world, with the leading filmmaker of the time being Pedro Almodovar, in some ways an unlikely leader given his penchant for bizarre sexual themes, iconoclastic attitudes, and searing satiric humor."
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