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Film: "Good Night and Good Luck" (2006), 2007.
This paper is a a visual analysis of the film "Good Night and Good Luck" (2006).
2,580 words (approx. 10.3 pages), 1 source, MLA, $ 77.95
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Abstract
This paper explains that the film "Good Night and Good Luck" is a social commentary and biography of 1950s era CBS television newsman Edward R. Murrow (1908-1965), and the period of the "McCarthy Years". The author points out that the transitions between film shots and real footage was made excellent because both the entire film and the real footage are in black and white and almost always the people inside the CBS studio itself are seen looking at television monitors where this footage is playing. The paper relates that the film was effective visually as a depiction of the 1950s because it was shot it entirely in black and white (as there was no color television in the 1950s), the 1950s-era costumes, the prevalence of cigarette smoke inside the workplace, the 1950s jazz instrumental and vocal music and the overall stark, "no frills" atmosphere of this era and setting.
Table of Contents:
Introduction: A Background History of the Film
Beginning Credits
Lead-in Shots, Techniques, and Attraction of Audience Interest Sequencing of Scenes and Episodes from a Visual Standpoint
Color Scheme and Motifs
Costume Design. Music: How Does Music Support the Visuals? Recurring Visual Motifs and Symbols
A Scene with Only a Little Dialog Dependent on Visuals
The Most Memorable Scene
Camera work: Close ups? Distance shots? Unusual Angles?
Closing Scenes
Observations
From the Paper
"The credits at the beginning of "Good Night and Good Luck" appear, interspersed with various lead-in shots of newsmen dressed in 1950's era tuxedos and smoking cigarettes, along with a few women in evening dress, waiting for a speech by Edward R. Murrow. The credits are not given all at once, but rather, mixed in, at evenly-timed short intervals, among the opening shots. The opening credits are not extensive, but mention only the director, producer, and a few others. When these few credits are over, then, wed are already involved in the lead in action of the movie, ..."
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"Good Night, and Good Luck", 2007.
This paper discusses media ethics in the movie "Good Night, and Good Luck."
999 words (approx. 4.0 pages), 4 sources, MLA, $ 35.95
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Abstract
The paper describes how the film, "Good Night, and Good Luck"
takes place in the hostile environment of the "Red Scare" in 1950s America. The paper relates that "Good Night, and Good Luck" tells the story of the CBS broadcast team who overcome immense pressure from sponsors, owners and even the government in an attempt to broadcast the truth to America. The paper examines how the characters face three ethical dilemmas that are a reflection of the difficult ethical choices that exist in the media.
From the Paper
"There are numerous ethical issues facing the characters in "Good Night, and Good Luck." The primary ethical issue is Edward Murrow's quest to maintain what he believes his right from wrong in his reporting of the news. A second ethical issue is Joseph McCarthy's apparent unethical decision to use lies to get his point of view across. He calls anyone that crosses or dares oppose him a Communist. A third ethical decision involves the CBS Studio who decides to turn a blind eye to the in house marriage which is against company rules and regulations."
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Film: "Friday Night Lights", 2006.
This paper analyzes of the film "Friday Night Lights".
690 words (approx. 2.8 pages), 1 source, MLA, $ 23.95
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Abstract
This paper reviews the 2004 movie "Friday Night Lights" about high school sport in America. The author includes an introduction, analysis, justification for the movie, relationship of the movie to sport in American life, contribution to society and conclusion.
From the Paper
""Friday Night Lights" starred Billy Bob Thornton, Tim McGraw, Derek Luke, Jay Hernandez, Lucas Black and Garrett Hedlund. "Friday Night Lights" is a movie that chronicles the true story of the Odessa Texas high school football team the Permian Panthers and ..."
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"A Midsummer Night's Dream": The Film, 2001.
Reviews Michael Hoffman's film adaptation of William Shakespeare's, "A Midsummer Night's Dream".
1,207 words (approx. 4.8 pages), 2 sources, MLA, $ 41.95
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Abstract
This is a film review of Michael Hoffman's 1999 portrayal of William Shakespeare's play, "A Midsummer Night's Dream". This essay isolates the weaknesses in Hoffman's art, arguing that Hoffman takes so many liberties in filming his adaptation, that the final product is void of anything Shakespearean, save the original language. The paper also highlights several moments of cinematic genius and mentions the excellent acting by Kevin Kline.
From the Paper
"Kevin Kline?s Nick Bottom is the film?s sole redeeming character. Klines shines as Bottom, combining joy and apprehension throughout his oscillating plots. Delivering one of his better performances, Kline plays Nick Bottom as a tragic-comic champion-a despondent drudge with big stage aspirations. The play-within-a play subplot works well with Hoffman?s rough mechanicals. When Bottom is transformed into an ass, the object of Queen Titania?s affection, it is poignant to note how his moment of grandeur renders him completely oblivious to his physical state. Bottom alone gives flight to the central idea that love is both maddening and redeeming, and the comedy seems to soar whenever Kline appears."
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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 Adaptation of "A Midsummer Night's Dream", 2002.
Comparison of Shakespeare's original play "A Midsummer Night's Dream" with the 1999 film adaptation by Michael Hoffman.
1,150 words (approx. 4.6 pages), 3 sources, $ 44.95
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Abstract
This paper looks at and compares Shakespeare's play, A Midsummer Night's Dream, with Michael Hoffman's 1999 film adaptation. Looking at how specific differences such as language and scenes differ from interpretations, and how if there is any suggestive influence that enables us to better understand the original play.
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The Play Midsummer Nights Dream" Verses the Film Version, 2000.
A comparison between Shakespeare's play "Midsummer Night's Dream" and Elijah Moshinsky's film adaptation.
750 words (approx. 3.0 pages), 3 sources, $ 26.95
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Abstract
This paper discusses "Midsummer Night's Dream" as the author believes Shakespeare intended the play to be - as a delightful, fun frolic, and contrasts it to Moshinsky's film version which emphasizes the darker elements of the script and loses much of the comic elements of the story.
From the Paper
"This sentence would be a perfect introduction to Elijah Moshinsky?s film adaptation of Shakespeare?s ?Midsummer Night?s Dream?, since it is not delightful, but instead stresses the tragic elements of the play. Shakespeare?s language, rich of colourful images, creates a flower-scent and magical atmosphere. ?The descriptions breathe a sweetness like odours thrown from beds of flowers.? Though Moshinsky adapts Shakespeare?s original text, the language loses nevertheless a part of its imaginative power. He focuses rather on the tragic elements of the play and renders it thus more serious and less bland."
"?We do not come, as minding to content you, our true intent is. All for your delight, we are not here. That you should here repent you, the actors are at hand; and, by their show you shall know all, that you are like to know (p.57).?
This sentence would be a perfect introduction to Elijah Moshinsky?s film adaptation of Shakespeare?s ?Midsummer Night?s Dream?, since it is not delightful, but instead stresses the tragic elements of the play.
Shakespeare?s language, rich of colourful images, creates a flower-scent and magical atmosphere. ?The descriptions breathe a sweetness like odours thrown from beds of flowers.? Though Moshinsky adapts Shakespeare?s original text, the language loses nevertheless a part of its imaginative power. He focuses rather on the tragic elements of the play and renders it thus more serious and less bland."
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Film: "William Shakespeare's A Midsummer Night's Dream", 2007.
This paper compares Michael Hoffman's 1999 film, "William Shakespeare's A Midsummer Night's Dream" with Shakespeare's original play.
2,350 words (approx. 9.4 pages), 9 sources, MLA, $ 72.95
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Abstract
This paper explains that, for his 1999 film, "William Shakespeare's A Midsummer Night's Dream", Michael Hoffman rewrote the original Shakespeare play, put it into a more modern context and emphasized artistic visual expression over Shakespeare's expression through the poetry of language. The author points out that Hoffman modernized the gender roles by creating a dialogue for Bottom's wife, thus increasing her importance; wherein, in the original play, her role consisted of a stare. The paper relates that, to appeal to modern cultural standards, the movie has been made more aesthetically pleasing by the fantasy theatrics of the costumes and makeup.
From the Paper
"The first and most evident difference between the 1999 film adaptation and the original play by Shakespeare is the setting. Shakespeare's work is set in Greece, while Hoffman's is set in the turn of the 20th century Tuscany. It was also filmed in Tuscany. "Hoffman moves the action forward in time and sets it in late 19th-Century Tuscany" writes Welsh, but it is questioned whether this "new setting makes sense". Thus Hoffman's version has an immediate difference between that of Shakespeare's which took place in the traditional classical setting."
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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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Political Awakenings in Cinema, 2006.
A comparison between Pudovkin's "Mother" (1926), "Erin Brockovich" (2000) and "Good Night and Good Luck" (2005).
2,106 words (approx. 8.4 pages), 3 sources, MLA, $ 66.95
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Abstract
This paper compares the 1926 film, "Mother" with "Erin Brockovich" and "Good Night and Good Luck", both from the turn of the century. According to the paper, the archetypal and purely visual images of acting like that of "Mother" can no longer be taken seriously in modern film acting. The paper goes on to say that never-the-less, the power of the film's images raises a profound question about the nature of modern filmmaking because the film should not move the viewer, and yet it does.
From the Paper
"Both film's focuses are psychological in terms of how the acting renders the main character, unlike "Mother." Although it was also based upon a past historical event, "Mother" does not try to tell the mother's internal and unique story in relation to these events, it uses one mother's image to uphold its own political values. The mother comes to realize that she must bend to the forces of history, and support revolution, rather than change history. Her actions, like holding a flag in protest, are symbolic rather than personally gratifying. The acting, rather than personalized in both American films, is general, and depicted in broad, sweeping gestures rather than subtle shifts of dialogue, or changes in hairstyle or expression to indicate the character's growing political awareness."
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"The Night is Sinister", 2008.
A review of the film "The Night is Sinister", produced by Film Front in 1973.
806 words (approx. 3.2 pages), 1 source, MLA, $ 28.95
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Abstract
This paper analyzes the film "The Night is Sinister" which was produced by the Film Front in Denmark in 1973. It analyzes how the filmmakers' objectives were strongly influenced by the period in which the film was made. It also looks at the strengths and weaknesses of the film that derive from both its historical context as well as its producers' remarkable insight.
From the Paper
"In this analysis, it is clear that The Night is Sinister possesses both strengths and weaknesses that derive from both its historical context as well as its producers' remarkable insight. While its weaknesses lie in its over-optimistic view of independence movements such as North Korea - that we can see today was clearly flawed and biased - the strength of the film lies in its prophetic detailing of the operations of neo-colonialism in the form of globalization and American cultural domination of the planet."
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"The Joy Luck Club", 2002.
A critical review of the film "The Joy Luck Club".
900 words (approx. 3.6 pages), 2 sources, $ 35.95
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Abstract
A review of the thematic progress of the story in the film the "The Joy Luck Club".
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Shakespeare's "A Midsummer's Night Dream", 2007.
This paper compares and contrasts Shakespear's original version of "A Midsummer's Night Dream" with the film version.
990 words (approx. 4.0 pages), 2 sources, MLA, $ 35.95
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Abstract
The paper discusses how both the film and the original version of William Shakespeare's romantic comedy "A Midsummer's Night Dream" use the same words to tell a tale of temporarily thwarted young love. Yet, there are many differences the paper illustrates. The paper explains that because the film uses visual images to illustrate the words of the Shakespearean play and makes use of selective cutting to emphasize certain scenes over others, the film offers a more selective view of dreams and dreaming as opposed to the play that is viewed in its complete and uncut form.
From the Paper
"The nature of cinema allows the director of "A Midsummer's Night Dream" to make the fairies, such as Titania, Oberon, and Puck seem much more fantastical in contrast to the earth-bound mortals. The fairies float; strange, beautiful lights surround them. Yet in this rendition, they lose some of the earthier, humorous, and more interesting mortal qualities in contrast to the warring fairy characters in the play."
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Comparative Study between the Two Titanic Films, 2002.
This paper looks at the two Titanic films (Titanic and A Night to Remember) and examines how the two differ.
2,200 words (approx. 8.8 pages), 2 sources, $ 68.95
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Abstract
The writer looks at various aspects in both films including the film techniques used to create actual film, and the representation of society, how the general public of the early twentieth centaury behaved and what their ethics were. It looks at key areas including: production techniques, narrative, marketing and target audience and includes a conclusion.
From the Paper
"Aims and Objectives We looked at the two film productions based on the sinking of the Titanic. The 1997 production directed by James Cameron "Titanic" and the late 50's production directed by Roy Baker "A night to remember". It was based on the No.1 bestseller "A night to remember" by Walter Lord, both book and film were based on factual evidence. They obtained information from ship plans, writing to survivors and many other valuable sources."
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