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Film: ?Kiss of the Spider Woman?, 2003.
This paper is a critical evaluation of the film "Kiss of a Spider Woman"(1985) directed by Hector Babenco and written by Manuel Puig.
950 words (approx. 3.8 pages), 0 sources, MLA, $ 33.95
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Abstract
This paper explains that by creating the characters Molina and Valentin in "Kiss of the Spider Woman" (1985), directed by Hector Babenco, Manuel Puig has confronted issues of sexuality and gender in a masochistic Latin American culture. The author points out that there are many symbols of Christianity in the film as observed in the opening sequence of the film where the viewer sees, painted upon a faded cement wall, a painting of an angel with a harp in the sky with the sun blazing behind it, the shadows of bars and clotheslines off to the left. The paper relates that the film "Kiss of the Spider Woman" is significantly different from Puig's book; Babenco's film sequences deal with questions of the political and propaganda nature of art; whereas, Puig uses the film narrations as another chance to further explore sexuality.
From the Paper
"Molina describes a real man in terms of him being marvelous looking and strong without looking like it. Valentin on the other hand realizes that without power behind you no one looks strong. A real man does not humiliate people and does not make the people around them feel degraded - but that is exactly what the torturers are doing to the prisoners, particularly the political prisoners. It is exactly what they do to when they scream, "You FAG!" at Molina as he lies, blood pouring out of his mouth, in a police surveillance car. These are not real men, they are men who seem strong but only because they have power behind them."
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Film Analysis of "Kiss of the Spider Woman", 2002.
Discussion and analysis of the film, "Kiss of the Spider Woman", directed by Hector Babenco.
1,352 words (approx. 5.4 pages), 0 sources, MLA, $ 45.95
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Abstract
This paper introduces, discusses, and analyzes the film, "Kiss of the Spider Woman," directed by Hector Babenco. Specifically, it looks at the themes, style, historical and political content, language, and the structure of the film, which all point to a further discussion about the film and its motives.
From the Paper
"The two main characters, Valentin and Molina, meet in prison in an anonymous Latin American country. Molina is an obvious homosexual, who is in prison on charges of corrupting a minor. Valentin is a revolutionary, being held in secret and tortured for covert information. The two men are extremely unlikely partners. Molina lives in a fantasy world of old music and film, caught up in the romance of tragic movies with heartbreaking heroes and heroines. Valentin is withdrawn and fanatical about his cause. To end some of the dark boredom of their cell, Molina begins to concoct a fantastic story of love and deception, based on a Nazi film he once viewed. Each night, he adds to the story of a French woman fighting for the Resistance, who falls in love with a Nazi Chief of Counter-Intelligence. At first, Valentin does not want to hear the story, but night after night; Molina draws him in. The two men ultimately form a friendship stronger than the walls surrounding them."
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"Kiss of the Spider Woman", 2002.
A brief discussion about Manuel Puig's ?Kiss of the Spider Woman.?
1,041 words (approx. 4.2 pages), 1 source, MLA, $ 36.95
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Abstract
A discussion of Manuel Puig?s ?Kiss of the Spider Woman" about the relationship which develops between two men sharing a cell. The analysis and commentary consists of a short summary of the plot of the book, commentary on issues of style, themes, historical or political context, language and structure, and questions for further discussion.
From the Paper
"In ?Kiss of the Spider Woman,? Manuel Puig weaves a story of two men sharing a prison cell in an Argentine jail and the unlikely devotion and friendship that develops as they are forced to pass their days together. Molina, a middle-aged homosexual is serving time for corrupting a minor. Valentin, a macho revolutionary, is there due to his socialist politics. They pass the days and nights listening to Molina recite and act out scenes from his favorite movies. Their friendship eventually becomes sexual, and in the end they evolve into an ironic role reversal, with Molina dying from his involvement in politics and Valentin retreating into a dream world to escape the pain of torture (Puig 1991)."
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"Kiss of the Spider Woman", 2004.
Analysis of the theme and characters in Manuel Puig's book, "Kiss of the Spider Woman".
1,791 words (approx. 7.2 pages), 1 source, MLA, $ 57.95
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Abstract
This paper introduces, discusses, and analyzes the book, "Kiss of the Spider Woman", by Manuel Puig. Specifically, it analyzes two key passages and their contrasting styles, descriptive method, character presentation, and a range of other aspects.
From the Paper
"This is an important passage for a number of reasons. First, it begins to develop the two characters so that they are more understandable to the reader. Second, it begins to develop the friendship and bond that will grow between the two men, and this is an important theme of the book. Molina is a homosexual jailed for corrupting a minor, and Valentin is a political prisoner, jailed for his political beliefs. They would probably never have met and developed a friendship if they had not been in prison together. Valentin is wary of friendship, and so this passage is pivotal because it shows Valentin's walls breaking down ? he admits weakness, and that is difficult for him. Of course, Molina's homosexuality is one of the barriers that Valentin feels as he struggles to learn how to share himself, and trust another person. Molina does make some advances toward him, but he stops when he begins to respect Valentin for his beliefs. Dealing with differences is one of the things that finally draws the men together, and this passage shows how they begin to do that ? tentatively at first, and then with more conviction as they get to know and understand each other more."
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"Kiss Of The Spider Woman", 2002.
Examines the intertextuality of the 1985 film.
1,575 words (approx. 6.3 pages), 1 source, $ 55.95
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Abstract
Examines the intertextuality of the 1985 film. Its alignment with several different genres including literary adaptations, prison genre, gay film genre, film musicals and political drama. Interaction of the genres. Connection to texts from theatre. How movies are used by the two protagonists to pass the time in prison.Looks at the motif of escape.
From the Paper
"In the film of Manuel Puig's novel Kiss of the Spider Woman, two men share a cell in a Buenos Aires prison. One is Molina, a homosexual sentenced to eight years in prison for the corruption of minors, and the other is Valent?n, a young Marxist imprisoned for revolutionary activities. Molina tries to pass the time by telling the younger man about films he has seen, recreating the stories with words. It is in the course of these retellings of the different films that the viewer gets to know these characters and sees how they develop as they interact with one another and with the images recalled from films by Molina. Over the course of the film, the two men become much closer, developing a friendship they would be unlikely to have in the "real" world outside of prison. The setting is artificial in that it brings together two people from different class ..."
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"Kiss of the Spider Woman" by Manuel Puig, 1994.
An analysis of the novel's characters, dialogue, plot, style, structure and themes (revolution, sexuality, reality and film).
1,125 words (approx. 4.5 pages), 2 sources, $ 39.95
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From the Paper
" In Manuel Puig's novel Kiss of the Spider Woman, two men share a cell in a Buenos Aires prison. One is Molina, a homosexual sentenced to eight years in prison for the corruption of minors, and the other is Valent?n, a young Marxist imprisoned for revolutionary activities. Molina tries to pass the time by telling the younger man about films he has seen, recreating the stories with words. It is in the course of these retellings of the different films that the reader gets to know these characters an sees how they develop as they interact with one another and with the images recalled from films by Molina. In the course of the novel, the two men become much closer, developing a friendship they would be unlikely to have in the "real" world outside of prison. The setting is artificial in that it brings together two people from different class backgrounds and with..."
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"Kiss of the Spider Woman", 2002.
A comparison/contrast between Manuel Puig?s book and Hector Babenco?s film version.
1,979 words (approx. 7.9 pages), 4 sources, MLA, $ 62.95
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Abstract
This paper shows how the book and the movie vary on a variety of levels. It claims however that both still manage to convey the central message of the plot. This message is that if we judge others too harshly based on superficial elements, we may be depriving ourselves of a once in a lifetime opportunity to get to know a one of a kind human being that could deeply enrich our lives.
From the Paper
"Any time a book is converted into a movie, certain elements are bound to be ;lost in the translation;. This has undoubtedly been the case for Manuel Puig"s Kiss of the Spider Woman, particularly in regards to the ending. While Hector Babenco";s film version generally adheres to the plot, characters, setting and theme of Puig";s novel, there are significant differences between the two versions as well."
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"The Kiss Of The Spider Woman" ( Manuel Puig ), 1992.
Analysis of the novel focusing on one character's recitation of old movie plots to another character while both are in prison.
2,025 words (approx. 8.1 pages), 1 source, $ 71.95
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From the Paper
The Kiss of the Spider Woman
The Kiss of the Spider Woman by Manuel Puig is a novel which most critics feel deserves to be considered that of serious literature. Throughout the novel, attractive images replace a dull reality, and the identities of the two main characters, Luis Alberto Molina, and Valentin Arregui Paz, are revealed only in a conversation by the two. The book is almost completely that of dialogue, and from this, we understand the setting, the relationship between the two main characters, the relationships that the characters have with others, and also the political and sexual conflicts which have occurred in the past or are now occurring.
That Puig has managed to convey all of this simply by using dialogue is impressive; but the subtleties of the book are also ..."
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Women in Film, 2004.
An analysis of various portrayals of women in film, where the audience is subjected to the director's view of women and femininity.
2,301 words (approx. 9.2 pages), 2 sources, MLA, $ 71.95
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Abstract
This paper presents the opinion that women, at least in certain films, are portrayed as the objects of men. The writer uses the archetypal examples of film noir, such as "The Lady From Shanghai", "Gilda" and "Kiss Me Deadly", all of which show a world in which women are the property of men. The writer concludes that the films were all written at a time when men were afraid of the modernizing woman and wanted to show what they believed was the true role of a woman in a man's world.
From the Paper
"Although it is certainly not an original idea that male artists undress and serve up their female subjects for a variety of different kinds of pleasure, it is still somewhat disturbing and even shocking for us to come across such blatant and not entirely consensual acts of revelation and display of the female flesh as one sees in these films. But a second viewing of such images suggests that the ways in which women are presented is more complex than it at first appears: These femmes fatales are not simply ciphers, not simply signifiers for some of the more problematic aspects of masculine identity. They are other things as well. But first of all they are the subjects of the director?s gaze."
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Parenting and Popular Culture, 2001.
A comparative analysis paper about "Lolita" and "Kiss of the Spider Woman". In both "Kiss of the Spider Woman" and "Lolita", unconventional parental relationships lead to abnormalities in the behaviors of Molina and Lolita, respectively.
2,420 words (approx. 9.7 pages), 8 sources, $ 73.95
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Abstract
This paper compares Nabakov's "Lolita" with Puig's "Kiss of the Spider Woman". The author discusses the unconventional parent-child relationships between the main characters and their mothers, and how such characters were viewed as abnormal by society's standards. The paper examines how parental behavior toward offspring, as well as popular culture, can affect an individual's sexuality. The author frequently quotes both novels in the essay.
From the Paper
"Kiss of the Spider Woman and Lolita examine the effects of ineffective parenting while attempting to show that society is the cause of the very behaviors it condemns. Molina?s close relationship with his mother, through no intentional fault on her part, causes Molina?s homosexuality and feminine behavior. Molina does not have any other role model besides his mother from whom to learn interpersonal skills, and therefore wants all relationships to be as satisfying as his relationship with her. Charlotte and Lolita have very different temperaments, resulting in a parent-child dyad that causes Charlotte to constantly criticize Lolita?s actions, forcing Lolita to respond through rebellion. Both Puig and Nabokov attempt to show that while society shuns homosexuality and adolescent promiscuity in their respective characters, popular culture is the origin of the behaviors that it condemns and that these behaviors are socially learned."
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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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Novel as Conversation, 2007.
This paper discusses postmodern novels as conversations, looking at Manuel Puig's 'Kiss of the Spider Woman' and Tayeb Salih's 'A Season of Migration to the North'.
1,517 words (approx. 6.1 pages), 2 sources, MLA, $ 49.95
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Abstract
In this article, the writer notes that novels are usually thought of as descriptive mediums that tell stories, either from the perspective of one character or an omniscient third-person narrator. The writer then points out that both the novels, 'A Season of Migration to the North' by Tayeb Salih and 'Kiss of the Spider Woman' by Manuel Puig, are novels that also function as conversations, much like plays, where speech, particularly recollected memory and speech, form the primary focus of the plots. The writer discusses that the title of the 'Kiss of the Spider Woman' is a reference to a recollected and retold film beloved of one of the characters, not one of the actual protagonists. Further the writer notes that Salih's novel takes place primarily in retrospective, in the words of a first-person narrator discussing and comparing his memories with a fellow, sympathetic national.
From the Paper
"Salih's novel takes place between two men whom are technically free, while Manuel Puig's Kiss of the Spider Woman evolves as a dialogue between two men in prison. Yet the freedom these men obtain, intellectually, and in terms of shaking off of their previous misconceptions about what constitutes a good life, provide a far more liberating message than the chronicled struggles of Mustafa and his compatriots abroad. This is especially striking given the initially incommensurate perspectives of Puig's prisoners. In Kiss of the Spider Woman of the men, Molina is a homosexual who has been imprisoned for untoward acts towards young men. The other man, Valentin, is a revolutionary imprisoned by the government. But because they are forced, out of loneliness and desperation, to engage in humane dialogue with one another, these differences are broached."
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Setting and Plot in Puig's and Levi's Novels, 2006.
Comparing and contrasting "Kiss of the Spider Woman" by Manuel Puig and "If This Is a Man" by Primo Levi.
1,663 words (approx. 6.7 pages), 2 sources, MLA, $ 54.95
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Abstract
Using the books "Kiss of the Spider Woman" by Manuel Puig and "If This Is a Man" by Primo Levi, this paper looks at how plot is developed through the characters' tales of their lives to help lift them from their oppressive environments. The paper shows how characterization and setting are often key elements in plot development in a novel.
Introduction
Analysis
Comparison of Works
Contrasting
Conclusions
From the Paper
"In both novels the settings and characters affect the plot. In each instance the characters attempt to rise above their gloomy existence through narrative. This is done via use of a fictional telling in Puig's novel, and Levi's real life day to day encounters in his work. In "Kiss of the Spider Woman," only two characters exist and the prison cell is enough to cause a chemical reaction to take place. In this case each of the characters must pass time and do so through story telling and by caring for one another. In "If This is a Man," Primo has to bury his dignity and identity. This is an essential part of the plot and structure of the novel. This aspect of the work also represents transformation much like that which occurs in Puigo's work. For example, in Chapter 1 prior to his arrest Primo is rebellious. However by chapter two the main character is presented as a hollow man, reduced to suffering and needs. Here he has reached the lowest of lows. Later Primo's name is replaced by a prison number that allows him to get food. This too represents the lack of dignity and respect the character must undergo. In Chapter 13 during the selection to the gas chamber, the experience of cold and hunger, the reader is left with little margin for thought. The main character must under these circumstances and challenges resign himself to despair which occurs on page 131."
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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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