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Film Director Steven Soderbergh, 2006.
This brief paper discusses the career and techniques of film producer and director Steven Soderbergh.
790 words (approx. 3.2 pages), 2 sources, MLA, $ 28.95
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Abstract
This paper explains that, although Steven Soderbergh has had prize-winning commercial film successes such as "Traffic", "Erin Brockovich", "Ocean's Eleven", "Ocean's Twelve", "Syriana" and "Sex, Lies and Videotape", he also is known for his art house films such as "The Limey". The author relates that, born in 1963, Soderbergh, who began filmmaking when he was only 13, was the youngest producer or director to win the Palme d'Or award at the Cannes Film Festival, which he was awarded in 1989 for "Sex, Lies and Videotape". The paper relates that Soderbergh's seminal filmmaking techniques include the use of non-linear narratives to show different perspectives, a docudrama filming style that creates an aura of reality and the use of pastoral scenery.
From the Paper
"In the new millennium, Soderbergh has hit it big with success such as "Erin Brockovich", "Traffic" and "Syriana". "Erin Brockovich", a movie that portrays the real-life Erin Brockovich, only through a sexier Julia Roberts, tells of an assertive woman who, without a legal education, managed to sue and claim victory over Pacific Gas & Electric Corporation. The lawsuit was the largest civil penalty ever awarded at that time in 1996, and the film went on to be nominated for Best Picture."
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Steven Spielberg, 1993.
The life and career of the director, Steven Spielberg, through 1993, including "Jurassic Park".
2,250 words (approx. 9.0 pages), 6 sources, $ 79.95
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From the Paper
"Steven Spielberg is arguably the most financially-successful film director in history, having directed several of the highest-grossing films in history--Jaws, Close Encounters of the Third Kind, E.T.: The Extra-Terrestrial, Raiders of the Lost Ark (and its sequels), and now Jurassic Park, quickly on its way to becoming the number one box office grosser of all time. His success as a moneymaker has not always been greeted with critical acclaim, and there may indeed be some tendency on the part of critics to overcompensate for Spielberg's success with barbs at some of his films. His supporters think this is the case, and they also feel that the Hollywood community has joined in that effort. They point to the fact that The color Purple, directed by Spielberg in 1985, won eleven Oscar nominations, but not one for the director. Actor-director Clint Eastwood has speculated that..."
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"Traffic", 2002.
An analysis of Steven Soderbergh's 2000 film dealing with the drug trade.
1,125 words (approx. 4.5 pages), 2 sources, $ 39.95
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Abstract
Analysis of Steven Soderbergh's 2000 film dealing with the drug trade. Issue of why drugs are grown in poorer countries of Latin America & smuggled into rich countries. Drug cartels. Failure of U.S. War on Drugs. Economic law of supply & demand that governs the drug trade. Plot and motifs of film.
From the Paper
"The recent film Traffic (Steven Soderbergh, 2000) suggests many of the reasons why the war on drugs has seemed doomed to failure, based on the economics of the international drug trade today. The film tells several stories at one time, but at heart, all relate to the central issue of why drugs are grown in poor countries like Mexico and then smuggled into richer countries like the United States, why desperate people will enter the drug trade to make a living, and why huge cartels have come into being to oversee the drug trade.
The failure of the war on drugs has been much discussed, and even conservatives are beginning to express doubts. A recent article in The Washington Times asks,
For decades, we have been grinding away at the dope trade, spending hugely, putting appalling numbers of..."
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Solaris: Comparison of the Novel and the Two Film Versions, 2002.
This paper considers "Solaris" as a 1961 novel by Stanislaw Lem and as a film, with the three versions compared and contrasted.
3,698 words (approx. 14.8 pages), 5 sources, MLA, $ 102.95
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Abstract
The paper discusses "Solaris" as a science fiction story describing a first contact experience with another life form. While this is the action of the novel, its overall purpose is to show that science is not capable of explaining the world as humans expect it to. The paper then looks at the two film versions, the 1972 version directed by Andrew Tarkovsky, and later the 2002 version by director and screenwriter Steven Soderbergh.
From the Paper
"Since Solaris began as a novel, it should first be considered as a novel. This establishes what Solaris was meant to achieve and the characteristics of it. While better known as a film, the film versions must be viewed as an adaptation based on the novel, and not as a unique version. Consideration of the novel and the two film versions will begin with a consideration of Solaris based on the novel. This will begin with a brief overview of the novel, including its main themes and its plot. The genre of the work will then be discussed, noting why the work is placed in the science fiction genre and what aspects of it suggest it could also fit into other genres. The science fiction element will then be considered including how science fiction is incorporated into the work and what effect this has. One of the major themes in the book will then be discussed, which is the journey theme. These considerations will provide a background by which the novel and the two film versions can be compared."
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The Mythological World of Wallace Stevens, 2002.
This paper looks at the poems of Wallace Stevens, analyzing Stevens? mythological construct.
2,928 words (approx. 11.7 pages), 9 sources, MLA, $ 86.95
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Abstract
The writer explores the question of whether Stevens? poetry is located in the realm of imagination or in reality, or attempting to balance somewhere in between. According to the paper, Stevens creates a kind of mythology in each of his poems which centers around refined symbols. The paper looks at these poems, discussing the symbols and how they are effective.
From the Paper
"Before we can understand what Stevens? mythological construct is, we must first explore what it is not. Recognizing that the crisis of faith today may be as result of the fact that our myths are no longer credible, Stevens searches ?to find nobility in things as they are, uncrowned by myths or gods? (Weston 61), which is to say that he finds neither consolation nor enlightenment in conventional mythologies, religious traditions, or cultural histories. Indeed, such dependence on the past threatens the mind seeking to relate itself to the world of the present, and Stevens strives ?to clear away all that intervenes between the perceiving mind and the world as presently perceived? (Borroff 3). According to Stevens, we must guard ourselves against the past to avoid being vulnerable to it. For example, Stevens writes in ?The Pure Good of Theory,? ?Malformed, the world was paradise malformed . . . / . . . the solar chariot is junk? (Collected 332), showing that ?even though it is no longer believed in, the ancient myth of the sun-god may interpose itself between us and the sun, and the names and legends of the constellations may similarly obscure the stars? (Borroff 3). Thus, the power of myth today is a destructive tendency to eclipse reality."
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The Cinematic Style of Steven Spielberg, 2007.
This paper discusses Steven Spielberg's particular style as a film director.
780 words (approx. 3.1 pages), 0 sources, $ 27.95
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Abstract
In this paper, the author compares Steven Spielberg's films "Saving Private Ryan" and "Munich." The basis for the comparison is Spielberg's personal cinematic style as a director. Spielberg is able to integrate the visual setting in both films as realistic, but not necessarily for sheer visual impact. Instead, he lets the scene tell the story. Additionally, the conclusions of both films allowed the viewer to resolve the themes of the movies themselves, another trademark of Spielberg.
From the Paper
" It was easier to immediately reject Saving Private Ryan because of its category than it was to reject Munich. At least Munich was interesting. Upon hearing the titles of both films, Munich (at least in this reviewer's case) was far more intriguing than Private Ryan. This critic's automatic rejection scenario was immediately initiated upon hearing of Private Ryan, while being intrigued by hearing of Munich."
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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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?Traffic?, 2002.
A review of Steven Soderbergh's film ?Traffic?.
1,330 words (approx. 5.3 pages), 2 sources, MLA, $ 44.95
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Abstract
This paper reviews the film ?Traffic?, which tells four stories simultaneously which all relate to the central issue of drugs. They bring up such issues as why drugs are grown in poor countries like Mexico and then smuggled into richer countries like the United States, why desperate people enter the drug trade to make a living and why huge cartels have come into being to oversee the drug trade. It examines how the overall effect is to emphasize how futile the situation is, with everyone going through the motions though there is no end in sight. If one cartel is eliminated, another one appears. So as long as there are users, there will be sellers. So long as drugs are illegal, there will be an economic incentive to fill the need.
From the Paper
"Demand for drugs is elastic over time, rising and falling according to social attitudes, economic realities, and specifically the number of users. The pervasive nature of the drug problem is seen in the film as users come from all walks of life, many simply experimenting or rebelling, others turning to drugs as a means of escape from the horrors of their existence. Caroline Wakefield is a daughter of privilege, but she begins using drugs because others in her social group use them. These young people are rebelling against society or against parents they do not understand or who do not understand them. For many, experimentation is all that is involved. For some, like Catherine, using drugs taps into some psychological predisposition toward addiction, and the girl sinks further into the drug world and soon cares for nothing except her supply."
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The Poetry of Wallace Stevens, 2004.
Provides explanations and analysis of some Wallace Stevens's poems.
1,351 words (approx. 5.4 pages), 4 sources, MLA, $ 45.95
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Abstract
This paper discusses some of the poems contained within the book of poetry, "Harmonium", by Wallace Stevens. The paper demonstrates the technique Stevens uses in his poetry of relating to things surrounding him in the world. It also talks about and provides examples of the way Stevens relates his poetry to nature.
From the Paper
"Poetry is a way in which people express themselves in words. It is how some communicate with the world. Wallace Stevens is a poet who introduced a new way of expressing himself through poetry. His sense of style is that of something many people have trouble defining. Stevens?s main genre is a widely debated topic. His poetry seems to be a record of his own sense of being (McNamara 13). He relates to the things surrounding him in the world. Many critics have often referred to his style as being philosophical, artistic, and musical (Willard 127). He was a very modern poet for his time. Stevens wrote about his views on society and the world around him in a very abstract, or metaphysical, manner."
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Steven Spielberg's Films, 1999.
Examines the career of this director, from his first film in 1960 to "Saving Private Ryan". Examines success, style, content, themes and special effects.
2,700 words (approx. 10.8 pages), 6 sources, $ 95.95
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Abstract
"Steven Spielberg is arguably the most financially-successful film director in history, having directed several of the highest-grossing films in history. These films include Jaws, Close Encounters of the Third Kind, E.T.: The Extra-Terrestrial, Raiders of the Lost Ark (and its sequels), and now Jurassic Park, quickly on its way to becoming the number one box office grosser of all time.
From the Paper
"Steven Spielberg is arguably the most financially-successful film director in history, having directed several of the highest-grossing films in history. These films include Jaws, Close Encounters of the Third Kind, E.T.: The Extra-Terrestrial, Raiders of the Lost Ark (and its sequels), and now Jurassic Park, quickly on its way to becoming the number one box office grosser of all time. His success as a moneymaker has not always been greeted with critical acclaim, and there may indeed be some tendency on the part of critics to overcompensate for Spielberg's success with barbs at some of his films. His supporters think this is the case, and they also feel that the Hollywood community has joined in that effort. They point to the fact that The Color Purple, directed by Spielberg in 1985, won eleven Oscar..."
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Vouchers and High School Athletic Directors, 2002.
Examines the impact that high school education voucherswill have on high school athletic directors.
650 words (approx. 2.6 pages), 4 sources, $ 26.95
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Abstract
In schools in which athletics are emphasized, the role of the athletic director will increase with the introduction of education vouchers. However, at schools with no emphasis on athletics, the role of the athletic director will decline. The role of the athletic director will be determined by the emphasis of the individual school.
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The Poetry of Wallace Stevens, 2005.
This paper discusses the changes in style of Wallace Stevens' poetry and includes several examples.
2,035 words (approx. 8.1 pages), 15 sources, MLA, $ 64.95
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Abstract
This paper explains that the changes of Stevens' style originated not from gaudy triumphs but from isolated confessions of perceived defeat and depression. The author points out that as Steven's aged, his maturity curbed his poetic excess; a change of style caused a change in substance and a well-tempered style emerged. The paper relates that Stevens, eventually known for his restless style and imagination, won the 1954 Pulitzer Prize, at age 75, a year before died.
From the Paper
"Colors grow smaller because the poet-hero fails to resolve his opposing states of his mind. He requires a reconciling, redeeming symbol-Jung's transcendent [unifying] function to pacify his "violent disunion." These opposed states of mind negate each other until the ego finds a compensatory context, much as an emotional thesis and antithesis meld into an over-arching synthesis, not as an explicit solution but as an adjusted attitude. Having repudiated the maidens of summer and recognized the promise of the singer and the "voice within" almost simultaneously, he looks to the moon he saw and felt "When he was young, naked and alien, / More leanly shining from a lankier sky."
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Wallace Stevens, 2007.
This paper discusses the ideas and poetry of Wallace Stevens.
1,937 words (approx. 7.7 pages), 5 sources, MLA, $ 61.95
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Abstract
The paper reveals that beneath the quiet surface of the ordinary American businessman, Wallace Stevens was one of the greatest American modernist poets of the 20th century. The paper looks at "Thirteen Ways of Looking at a Blackbird," perhaps his most famous poem. The paper discusses how his choices as a poet reflect the idea that one need not go to Europe to apprehend the evolving great ideas and ideals of the modernist movement. The paper concludes that Stevens made his mark as a uniquely national modernist poet.
From the Paper
"Yet the poet Wallace Stevens stayed at home. But in his verse this mild-mannered executive at a major insurance firm in Hartford, Connecticut had "a flair" for the "flashiest titles," and turns of phrase in his verse such as "Peter Quince at the Clavier," "Thirteen Ways of Looking at a Blackbird," and "Le Monocle de Mon Oncle." Thus "Stevens, the aesthete par excellence" pressed "back against the pressure of reality" with a modernist spirit of innovation in his simple yet startling words and images ("Modernism." Poets.org, 2006) But Stevens' first work, rather than the result of engagement with other modernist authors, entitled "Harmonium" emerged as an unusual first book."
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Wallace Stevens' Poem "Comedian as the Letter C", 1993.
Analysis of Wallace Stevens's poem, "The Comedian as the Letter C?.
7,500 words (approx. 30.0 pages), 10 sources, $ 164.95
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Abstract
This paper looks at Wallace Stevens's "The Comedian as the Letter C?. The author includes lavish interviews with Stevens about the work along with excerpts from the poem in his attempt to analyze the work. The character, Crispin, is looked at in-depth through criticism and commentary over the years.
From the Paper
"The Comedian as the Letter C? the most dramatic if not the most ambitious work in the whole of the poetry of Wallace Stevens. The majority of the critical exegeses of Stevens' pivot?al work concern themselves with analysis of the work as a frame?work in which the poet has worked up an incomprehensible extended metaphor of the imagination and reality. Some have re‑extended, from textual evidence this permeating analysis or interpretation, to include Stevens and his poetic capabilities. Only a few have considered the possibility that Stevens may have been risking the didactic in willfully constructing an allegory. The majority are un?doubtedly correct considering the pervasive dawn of the stream of consciousness school of poetry Stevens was familiar with, and the French school of "pure" poetry which was highly touted at the time."
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Wallace Stevens and Desire: Woman Lost--Woman Ignored, 2005.
A psychosexual and archetypal study of feminine figures in "Collected Poems of Wallace Stevens".
5,141 words (approx. 20.6 pages), 33 sources, MLA, $ 128.95
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Abstract
This paper examines the "Collected Poems of Wallace Stevens", America poet. The paper shows that desire and desired denied in this work may be interpreted through the archetypal psychology of Carl Jung to disclose the reason for Stevens' preference for places over people and to explain his ambivalence toward the abstract feminine figures in his poems.
From the Paper
"Feminine archetypes reconstruct the distant attitudes in Stevens' poetry by figuring-forth embedded emotions. First, they provide an archetypal perspective on individual poems. Second, they illustrate how, ranging from Harmonium (1923) to The Rock (1954), clusters of motifs influence the poet-hero's psychic development. Although their appearances change to fit their ambiguous roles, these singular feminine figures determine the poet-hero's canon-long struggle to achieve a regulated unity of self. Two categories need to be distinguished: (a) feminine figures and (b) the interior paramour. Their protean capability makes scrupulous demarcations between exterior feminine figures impossible, but three forms or combinations prevail: the summer maiden (Kore or lover), the universal mother or earth mother, and the maiden-mother (an overlapping maid and mother figure). The interior paramour represents a climax to the poet-hero's experience with exterior feminine figures."
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