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Film: "O' Brother, Where Art Thou?", 2005.
This paper discusses elements of Homer's "Odysseus", which are found in the Coen brothers' comedic film "O' Brother, Where Art Thou?".
1,165 words (approx. 4.7 pages), 0 sources, $ 40.95
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Abstract
This paper relates that the plot of the film "O' Brother, Where Art Thou?" evolves around the protagonist Everett and his friends, escaping from a Mississippi gang and going in search of 1.4 million dollars, which Everett claims to have hidden in a valley flooded by the lake, and continues with some very bizarre incidents, characteristic of the Coen brother's work. The author points out that, although the Coen brothers did not directly base their film on Homer's "Odyssey", there are many references to it, such as the three friends stumbling across a blind prophet who predicts their future as the Homer's sirens did. The paper explains another reference: The hero of the film is trying to get back to Ithaca in Mississippi; whereas, in the classic, Odysseus is trying to get back to Ithaca in Greece.
From the Paper
"Like in the epic, the movie starts of with reference to the rural Mississippi. This, too, is just a fantasy place and not reality like most of the rest of the movie. In the movie, the three heroes on a journey home, come across a political campaign and are shoved into a radio station and are mistaken for radio stars. They also stumble upon a Klan Meeting and are on the way to Everett's wife who is going to marry another guy who does not get himself thrown into jail all the time, and fortunately, (or rather unfortunately), they happen to have seven daughters who she plans to pack off. This makes you wonder how illusionary and fable-like the film sounds."
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Homer?s "The Odyssey" and Coen's Film, "O Brother Where Art Thou?", 2002.
This paper compares Odysseus from the epic poem, "The Odyssey" by Homer, and Ulysses Everett McGill from the film, "O Brother Where Art Thou?" by the Coen brothers.
1,780 words (approx. 7.1 pages), 4 sources, MLA, $ 57.95
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Abstract
This paper explains that Odysseus and Ulysses Everett McGill seem to be two heroes who have little in common at first glance; but, in reality, they are quite a bit alike. The author stresses that the Coen brothers took much of their inspiration directly from Homer; however, they kicked Homer ?up a notch" with their modern look at an age-old story of triumph over evil and love conquering all in the end. The paper concludes that Odysseus, for all his strengths, seems a bit outdated and pass?, while McGill seems to be the type of hero that could make it in just about any century.
From the Paper
"Throughout the poem, the reader sees Odysseus grow and mature. It is clear he is a sound and great leader, but he also learns to use his wits along with his authority, overcome temptation, and reach his goals by defeating incredible difficulties. The same can be said for Ulysses Everett McGill, the hero of "O Brother Where Art Thou?" McGill also must overcome incredible difficulties to get what he really wants at the end of the movie ? his wife and children back. McGill is a quick learner, like Odysseus he is a great leader, he manages to get his friends a pardon from the governor, and all ends happily, just as it does in "The Odyssey.""
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"Odyssey" and "O Brother Where Art Thou?"., 2002.
A comparison between Homer's epic novel the 'Odyssey' and the adapted screenplay version of the epic film,"O Brother Where Art Thou?", directed and produced by Joel and Ethan Coen .
1,310 words (approx. 5.2 pages), 4 sources, MLA, $ 44.95
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Abstract
The following paper draws parallels between Homer?s "Odyssey" and the Coen Brother?s "O Brother Where Art Thou?". In the year 2000, the inventive and provocative filmmakers Joel and Ethan Coen reworked the Odyssey in a liberal way, changing scenes, settings and characters. The writer compares the original epic and the original screenplay and discusses dozens of small but meaningful comparisons. For instance, Odysseus and his men descend into Hades where they encounter several ghosts from Odysseus?s past; in the film the boys meet a fellow inmate who they thought was dead. Odysseus from the original epic and Ulysses from the film (played by George Clooney) both have to prove to their wives that they are true: Ulysses must bring Penny the ring to redeem himself. In the Odyssey, Book 23, Penelope declares that ?there are tokens with which we two alone are acquainted,? (Butler trans.). Although it was written millennia ago in ancient Greece, the parables of the Odyssey remain extant for a reason: Its themes are universal and accessible and adaptable for all time. The Coen brothers' movie "O Brother Where Art Thou?" exemplifies Homer?s timelessness, as well as their own versatility.
From the Paper
"Homer?s Odyssey is more than an epic tale of a man ?who wandered far and wide,? across the sea; it is an archetypal journey with universal and enduring import. It is not difficult to find parallels between Odysseus?s adventures and modern ones, for ultimately the Odyssey transcends its details. Homer erected a narrative structure that lends itself to adaptation and reconstruction. Most notable to modern reinterpretations of Homer?s Odyssey is James Joyce?s Ulysses, which focuses on and develops the relationship between father (Odysseus/Leopold Bloom) and son (Telemachus/Stephen Dedalus). In the year 2000, the inventive and provocative filmmakers Joel and Ethan Coen reworked the Odyssey in an equally liberal way, changing scenes, settings, and characters. But whereas Joyce?s version of the Odyssey is microcosmic, its journey more psychological than physical, the Coen brothers? O Brother Where Art Thou? rambles through a decidedly physical and farcical tale. At first glance the film resembles Homer?s epic little: only certain elements are obvious like George Clooney?s character?s name (Ulysses) and the three sirens by the river. A deeper investigation of the film and the original text reveals numerous, if more subtle, references."
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Joel Coen?s "O Brother, Where Art Thou?", 2004.
Analysis and review of the film, "O Brother, Where Art Thou?".
1,156 words (approx. 4.6 pages), 4 sources, MLA, $ 39.95
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Abstract
This paper presents a film review of Joel Coen's spoof on Homer's classic, "The Odyssey". The film "O Brother, Where Art Thou?" is summarized, and the characters and their roles are compared to the traditional notion of heroes and heroic actions as seen in "The Odyssey". The paper also points out the underlying social themes of the film and comments on the artistic use of music as an integral part of the film's success.
From the Paper
"Based loosely on Homer?s Odyssey, including a hero with the same name, O Brother Where Art Thou is a tall tale of three convicts escaping from a chain gang in the Depression-era South. The hero, Ulysses Everett McGill (played by George Clooney), in keeping with the intended spoofiness and hilarity of the film, is the anti-thesis of the traditional hero. There is hardly anything noble about him. Yet, he fancies himself as a man of reason. Staunch allies usually support all heroes and O Brother stays with that tradition. However, the film is faithful to its mission of taking a hilarious look at heroes and adventures and so, McGill?s two partners, Pete (John Turturro) is an argumentative con while Delmar (Tim Blake Nelson) is a sweet numbskull. Hardly, the epitome of men out on a serious mission!"
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"O Brother, Where Art Thou?", 2002.
This paper reviews the Coen brothers' film, "O Brother, Where Art Thou?" that is based on Homer?s Odyssey.
680 words (approx. 2.7 pages), 1 source, $ 24.95
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Abstract
This paper discusses that, in their film, "O Brother, Where Art Thou?", the Coen brothers built in ironic commentary that underscores the understanding of the story of Odysseus. The author classifies the film as a ?road picture?. The author states that like Homer the always-inventive Coen brothers have taken recognizable allusions to other movies and the surprise of new ones and blended them into a remarkable film.
From the Paper
"Into this, they weave some very obscure allusions: Waldrop is the surname of Penny?s suitor and of Howard Waldrop who wrote a novel called A Dozen Tough Jobs, in which the central character is a modernized version of Hercules. The title of the movie comes from a 1941 play by Preston Sturgis, called Sullivan?s Travels, in which the protagonist must choose whether to obey the studios and create a facile, feel-good comedy or portray the real sufferings of exploited man."
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"Oh Brother, Where Art Thou?"--A Film Review, 2007.
This paper reviews the recent film "Oh Brother, Where Art Thou?" which starred George Clooney.
1,020 words (approx. 4.1 pages), 0 sources, $ 36.95
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Abstract
This paper reviews the film about an epic quest entitled "Brother Where art Thou?" which was based on Homer's "The Odyssey." The paper describes the adventures the protagonists faced and the various references the film made to Homer's original work. The reviewer also examines the goal of Ulysses, the main character in the movie, and concludes it is a righteous goal, even if he attempts to achieve it in a dubious manner.
From the Paper
"The three face many adventures, including many references to Homer's epic poem. They meet a blind oracle who tells them they will have many adventures and face many "ob-stack-ales." They meet sirens, and Cyclops, and many other characters, just as Ulysses discovers the same things in his journey. The film does not seem to have the same outcome as the poem, but in the end, it does, and that is one of the things that makes it so enjoyable. The viewer does not know what is coming until the end, and the journey is complete."
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Ulysses Everett McGill and Charlie Wales: Getting it Together?, 2002.
A discussion of the similarities and differences between Ulysses Everett McGill, the main character of the Coen Brothers' film "O Brother Where Art Thou?" and Charlie Wales, the main character of F. Scott Fitzgerald's short story "Babylon Revisited".
1,640 words (approx. 6.6 pages), 2 sources, MLA, $ 53.95
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Abstract
This essay compares and contrasts the main characters of the film 'O Brother Where Art Thou?' written and directed by the Coen brothers and the short story 'Babylon Revisited' by F. Scott Fitzgerald, also made into a film. What seems at first an unlikely comparison turns out to be revealing. Ulysses Everett McGill and Charlie Wales are from vastly different backgrounds and social strata yet face similar dilemmas. Wales the wealthy socialite would seem more likely to succeed in his case to retrieve his daughter and get his life together. However, it is the escaped convict McGill, whose Ulysses-like Odyssey is discussed in depth, who succeeds in his quest, while the "recovering" alcoholic Wales is frustrated and delayed.
From the Paper
"Ulysses Everett McGill, the central character in the film, O Brother Where Art Thou? produced in 2000, and Charlie Wales, the main character in the F. Scott Fizgerald story, ?Babylon Revisited,? published in 1931, and made into a movie in 1954, may at first glance appear to be vastly different, but turn out to share similarities. Ulysses Everett McGill and Charlie Wales are from vastly different classes and backgrounds, yet both live in approximately the same time period, the 1920s/30s, the time of the Great Depression and both are men deprived of wife and family. Neither one is exactly the ordinary man surviving under the duress of the depression. McGill is a crude and lowly escaped convict fleeing through the Bible belt, while the sophisticated Wales, who still seems to have plenty of money and social status despite the crash, is visiting Paris. Both want to get their lives back into some semblance of togetherness. Each seems to be continually sabotaged in his quest. As we watch both men we wonder if the destructive energy comes from outside or is inner generated. The resemblances are many, but the differences are greater, especially when it comes to the end results of their attempts to get it together."
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G. M. Hopkins "Thou Art Indeed Just, Lord", 2003.
This paper discusses the sonnet "Thou Art Indeed Just, Lord" by Gerard Manley Hopkins.
690 words (approx. 2.8 pages), 5 sources, $ 23.95
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Abstract
This paper presents a short biography of Gerard Manley Hopkins, followed by an analysis of his sonnet, "Thou Art Indeed Just, Lord". The author notes that none of Hopkins work were published until after his death at age 44 from typhoid fever. The paper relates that he gave up writing for a while after he became a Jesuit priest and destroyed all his earlier work.
From the Paper
"Gerard Manley Hopkins was born in Stratford in England on July... . He was the son of a prosperous and artistic family and studied Classics at Balliol College, Oxford in ... . In two years after reading John Henry Newman's ... "
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John Keats' "Bright Star, Would I Were as Thou Art", 2004.
A close analysis of John Keats' "Bright Star, Would I Were as Thou Art".
1,395 words (approx. 5.6 pages), 2 sources, MLA, $ 46.95
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Abstract
This paper analyzes Keats' poem with respect to the laws of a Shakespearean sonnet and the spirit of the Romantics. The paper examines the wording, motif, style, diction, religious associations and use of personification to analyze and interpret the meaning of the poem.
From the Paper
"In his poem, "Bright Star, Would I Were as Thou Art"(1819), Keats (John, 1795-1821) allows a close insight into a moment of intimacy between lovers while one is sound asleep and the other--who narrates--wishes to eternally stand guard beside his beloved one. By constructing a definite scheme of a Shakespearean sonnet, Keats exploits the classical elements of such a love sonnet (e.g., courtly love, masculine subjection before a mistress, and so on) to the advantage of, generally, the themes and ideals of his time , such as the mystery in nature, solitude, the meditation of the creative spirit; where personally, Keats 'injects' into the poem the themes more common of his style: the recognition of the claims of passion and emotion in the living and the vulnerability and temporality in human life as overshadowed by death. An even more intimate perception of the poem would eventually reveal the innuendoes related to Keats' own tragic love-life, and not in vain, for it was characteristic of the poets of that period to "invite [their] readers to identify the hero with the writer. ""
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Art and Pop Art, 2002.
A comparative analysis of art with pop art using the works of Andy Warhol and Leonardo Da Vinci.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
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Abstract
This discusses art and pop art, and distinguishes between the two by noting the characteristics of each form. As examples of each, two works of Andy Warhol are compared and contrasted to Da Vinci's "Last Supper" and Rembrandt's "Syndic of the Clothmaker's Guild.
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The "Art" of Art Forgery, 2002.
Shows that forgery is more than just a copying process, involving complex techniques found in art.
2,900 words (approx. 11.6 pages), 5 sources, $ 106.95
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Abstract
This paper examines the skill involved in producing 'true' forgeries within the world of art. It is stressed that the forger is to be seen as an artist, in that he or she must sometimes enter the mind of the original artist, master his or her techniques,and otherwise execute works that can withstand the expert eye. Forgery is a normal aspect of the art world.
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Homer and Coen Compared, 2002.
A comparison and contrast of "The Odyssey" by Homer and the Film "Oh Brother Where Art Thou?" By Joel Coen.
650 words (approx. 2.6 pages), 2 sources, $ 26.95
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Abstract
This paper will compare and contrast the movie "Oh Brother, Where Art Thou" and compare the events of the movie with the Homeric epic "The Odyssey", which it is said to be modeled after. By understanding how they made this movie from the ancient Greek fable, we can learn the nature of the direction it takes and how closely it resembles it. It also shows how the modern twist the movie takes can give us an idea of how it is different in this scope.
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Art, Sex, and Freedom of Expression in Asian Art, 2008.
An analysis of sex and sexuality in contemporary Asian art.
1,332 words (approx. 5.3 pages), 6 sources, MLA, $ 44.95
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Abstract
This paper explores the expressions of sex and sexuality in the contemporary art of three Asian nations: Japan, China, and South Korea. The paper also looks at public and critical reactions to such works of art, in order to gain insight into the role sex and sexual art play in Asian cultures. The paper then points out that to a Western viewer, images of sex in contemporary Asian art are often shocking in their explicitness or sheer strangeness. The paper explains that once we begin to understand the context in which it has emerged, the representation of sex in contemporary Asian art is analogous to our own in the Western world. The paper concludes that sex is clearly a universal area of interest for artists from all over the world. While some nations, such as the Japanese, are free to explore the subject in all its glorious, perverse, and occasionally horrific detail, other nations punish their artists for making the most minor transgressions.
From the Paper
"In Japanese art, what comes across as shocking to an American audience does not necessarily seem so to the Japanese themselves. This is because the Japanese do not carry the burden of Christian guilt, nor have they been influenced by the Puritan ideals that continue to surface in American discourse. Indeed, the Japanese have a much more open attitude towards sex than any other nation in Asia. Sex in art, however, is often used to challenge accepted modes of discourse in Japanese culture, and is thus considered to be a tool of dissent. This is particularly true for Japanese women artists who wish to challenge the Confucianist idea of women as submissive beings."
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Influences of Ancient Egyptian Art on Ancient Greek Art, 2005.
A paper on how Egyptian art influenced Greek artists.
1,350 words (approx. 5.4 pages), 5 sources, MLA, $ 47.95
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Abstract
This paper provides a discussion of the long tradition of the influence of ancient Egyptian art on ancient Greek artists. The paper looks at how the art of both are affected by their societies' world views. The paper discusses the primary functions of Egyptian art and the different style of Greek art, particularly in relation to depiction of figures.
From the Paper
"This paper compares ancient Egyptian art with ancient Greek art and considers the ways in which the Greeks were influenced by Egyptian art. Egypt established a long and enduring artistic tradition. Greek art drew heavily on that background, using many of the same kinds of subjects and incorporating many similar symbols but then reinterpreted them through very different eyes and a strikingly different cultural perception. Both visions continue to have a profound impact on artists in modern cultures from their representation of everyday life to the varied..."
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Art Found: The Database as an Alternative Art Space for New Media, 2001.
A different perception for databases and their potential.
3,010 words (approx. 12.0 pages), 10 sources, MLA, $ 88.95
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Abstract
This paper covers many complex ideas relating to the way that we view databases in our culture. It proposes that the database will be the canvas of the future for artistic and cultural exploration. This paper also includes many references from leading scholars in the field.
From the Paper
"Hail, hail to the menu driven computer interfaces that we have come to expect. These well made navigational systems of logical menus and clearly written labels, three button mice and ergonomic keyboards give us one of the most important technologies of our time the human computer interface (HCI). The HCI and the Graphical User interface (GUI) have been thought about and redefined as every new piece of computer hardware and software have been created. (The terms HCI and GUI will be used interchangeably as we are addressing the notion of interface.) The creation of the HCI has now mostly become the task of the new media artist. This becomes a very limiting constraint on the artist when the interface is the only element of a new media object that has any hope of becoming seen as a relevant area to create art. There are at least two other clearly definable media objects, the data and the database. I will focus here on the database. It is my contention is that a new media art piece can consist solely of a database without the need for the involvement of an interface. "
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