| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "FILM PERSPECTIVES HISTORY": |
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Comparative Film and Perspectives on History, 2005.
Examines three movies ("The Best Years of Our Lives", "Seabiscuit" and "Malcolm X") to show how they have successfully and accurately portrayed events in history.
2,460 words (approx. 9.8 pages), 4 sources, MLA, $ 74.95
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Abstract
The trouble with filmmakers using history as a genre to appeal to the mass audience is that most times the view of history is skewed to fit the status quo perception of the event. Fortunately filmmakers like Spike Lee, Gary Ross and William Wyler have brought it upon themselves to attempt to make movies that tell a history in the correct framework of historical context. This paper examines the three films: "The Best Years of Our Lives", "Seabiscuit" and "Malcolm X" to show how these filmmakers worked to bring the stories of historical events to light and used different film techniques to accomplish this feat.
From the Paper
"Because for much of his racing career the horse was considered undersized and therefore the underdog, this movie is considered a feel good film for today's audience. The movie takes place during a time of the American economy at its worst, during and after the Depression. The movie effectively paints the picture of how bad things were for people by using a grey color scheme and grey urban settings. The only time the viewer sees color such as reds and browns are in the context of the rich or the businessman's home."
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Character Perspectives in Hitchcock Films, 2006.
This paper illustrates Alfred Hitchcock's techniques of allowing the audience to be part of his films.
1,125 words (approx. 4.5 pages), 2 sources, $ 44.95
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Abstract
The paper discusses how in the films "Psycho," "North By Northwest," and "Rear Window," Alfred Hitchcock uses the action of the camera to invite the audience to take part in the voyeuristic activities of the characters. In "Psycho" and in "Rear Window" Hitchcock invites the audience into very specific moments in which the main characters observe others in the films without their knowledge. The paper depicts how these voyeuristic moments were a trademark of Hitchcock films that provided a moment in time for the audience to be part of the film and view action that called the audience in as second party voyeurs lead by Hitchcock himself.
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World History in Film, 2005.
An analysis of four documentary films about different periods of history.
900 words (approx. 3.6 pages), 4 sources, $ 35.95
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Abstract
This paper analyzes four documentary films in the context of world history. It discusses the history behind each film and how the film the audience a taste of what it was like to live in that time. The program offers reenactments of possible events during this period of history. This helps the viewer to see the various environments and filming theory that help bring to life a by-gone age. The paper also discusses any interviews that were screened in the films about the time period.
From the Paper
"Film Studies: Analyzing four Documentary Films in the Context of World History Film 1: Japan: Memoirs of a Secret Empire. This film seeks to understand and verify the historical premise of 16th through 19th century Japan. The various issues of Tokugawa Era samurai classes and the Shogun's leadership are evaluated through a variety of international sources. The program offers reenactments of possible events during this period of history. This helps the viewer to see the various environments and filming theory that help bring to life a by-gone age. Also, there are interviews with various western and Japanese scholars that abound within the historical topics being discussed. This helps to create a more balanced approach to realizing the impact of historical events that would influence Japan's role in the world theater after the end of the Tokugawa government."
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Film History Summary, 2003.
Summary of Chapter 3 of "Film History: Theory and Practice" by Robert Allen and Douglas Gomeny, 1985.
1,840 words (approx. 7.4 pages), 1 source, APA, $ 63.95
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Abstract
This paper presents a summary of "Chapter 3 of Film History: Theory and Practice" by Robert Allen and Douglas Gomeny that focuses on the need for an active process of reading and studying film history. It looks at film as a narrative and the personal agenda of the film historian. It looks at the economic and cultural assumptions of the film historian.
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Early American Film History, 2008.
An overview of the history of the American film industry from the late 1890s to the 1920s.
1,848 words (approx. 7.4 pages), 7 sources, MLA, $ 59.95
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Abstract
This paper discusses how American cinema from 1896 and thereafter really has its roots in Thomas Edison's early inventions relating to film projectors. The paper then takes a look at the development of early film and cinematography throughout the 1880s and 1890s, starting from the invention of the kinetophonograph. It also tracks the history of films beginning with the first motion picture called "Monkeyshines", filmed in 1891, through the building of the first film studio and movie theaters. In addition, the paper discusses how, by the 1920s, American film and cinematography seemed to mature as an industry and how the technology had advanced to such a degree that producers and directors could shift their attention from the technology to the actual making of a film and directing of the storylines.
From the Paper
"The development of cinema into an art form in its early years is inextricably related to the development and advances associated with the film technology itself. Eventually the dominance of the East coast film companies which had advanced various film projection technologies in tandem with film production such as Edison's own Edison Company and the American Mutoscope Company among others, gave way to film production companies which began to concentrate solely on film production rather than on the technology development as well as film production. This shift in focus from the film projector itself to actual film production began in earnest in the US with the work of Edwin Porter who is known as the father of the story film (Bordwell 57)."
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History and Film, 2003.
Two essays that discuss how history is represented in two films.
2,760 words (approx. 11.0 pages), 7 sources, APA, $ 95.95
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Abstract
This paper presents two essays that discuss how history is represented in films: the 1997 "Amistad" that deals with the 1839 revolt by kidnapped Africans against their captors, and the 1939 "Drums Along the Mohawk" that deals with the effects of the beginning of the American War of Independence on the lives of pioneers living in New York State.
From the Paper
"The film Amistad is an account of a fact-base story of the revolt by kidnapped Africans against their captors. The incident touched off no less than three court cases in the U S with former President John Quincy Adams ..."
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Black Film History, 2002.
The history of the involvement of African-Americans in the Hollywood film industry with a focus on the contribution made by women.
2,641 words (approx. 10.6 pages), 8 sources, MLA, $ 79.95
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Abstract
This paper looks at the history of the inclusion of blacks in the film industry since the early 20th century. It discusses major players in the field, especially women, beginning with the all-black film movement that started in the silent era with the Lincoln Motion Picture company in Los Angeles in 1916. The writer mentions the hardships and hurdles that the African-Americans faced in the form of discrimination and racism before they could establish themselves in the film industry. The paper also examines the changing image of how African-Americans were portrayed in movies in the past.
From the Paper
"In recent years, both blacks and women have had to fight to become recognized in the film industry and to achieve any form of power. There are now a handful of black film directors, and a few women directors as well. In the silent era, though, when the economics of filmmaking were quite different, there were a number of women in the director's chair, many forgotten today, just as there were many black directors not in mainstream Hollywood filmmaking but in the all-black film movement. A number of these black directors were in fact women as well, and they constituted an early challenge both to white and male dominance of filmmaking."
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Hong Kong in History and Film, 2005.
This paper looks at the history and political life of Hong Kong through film.
2,700 words (approx. 10.8 pages), 3 sources, $ 106.95
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Abstract
The political life of Hong Kong is examined as it is portrayed in cinema. Both views are valuable because film can often accomplish in one image what would require many pages by the historian. The writer discusses that for historians and filmmakers, the two dominant Hong Kong themes are nationalism and Hong Kong identity and, except for 1997, the two approaches complement and reinforce one another.
From the Paper
"Historical views of Hong Kong and cinematic views are similar. To some extent, the history and political culture of Hong Kong can be learned through film. The value of film is that it stresses the human element, whereas history tends to ignore it. At the same time, cinema is limited since it only developed near the end of the 19th century. Furthermore, Hong Kong cinema was forced through repression to omit many aspects of life in the territory, including political aspects."
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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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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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The Film "Pretty Woman": A Sociological Perspective, 2001.
This paper reviews the popular movie ?Pretty Woman? and relates the movie to sociology concepts, such as social influence, social norms and stereotypes.
1,715 words (approx. 6.9 pages), 2 sources, APA, $ 55.95
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Abstract
The paper states that the two main male (Edward) and female (Vivian) characters come from different cultures; but, as people are not that different, they simply react to social norms differently. The author feels that the entire movie?s concept is built around the dilemma of coupling someone who is used to conforming to the norms of polite society with someone who is totally clueless when it comes to these norms. The paper presents examples from the film that demonstrate the sociological principles.
From the Paper
"Julia Roberts? character in ?Pretty Woman,? Vivian, the prostitute, strongly exhibits individualization. She is her own person, acting as she pleases, without worrying about what society thinks of her. Societal norms don?t affect her. Edward, Richard Gere?s character, however, is different. He is a rich man who has been brought up in the aristocracy and has learned societal norms. He adheres to these norms strongly. He is embarrassed by others around him who do not conform to the norms of ?polite society.?"
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Sociological Perspectives in "Pleasantville", 2004.
Applies four major perspectives of sociology to the film, "Pleasantville," directed by Gary Ross.
1,667 words (approx. 6.7 pages), 1 source, MLA, $ 54.95
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Abstract
In contemporary sociology, four major perspectives are widely accepted. Each of these viewpoints serves as a platform from which one can understand the same sociological phenomena. Although they are each distinct ways of interpreting reality, each can be used to derive conclusions about specific phenomena that occur. The paper describes the four contemporary theoretical perspectives as the functionalist perspective, the conflict perspective, the symbolic interactionist perspective, and the postmodern perspective. The paper looks at how all four of these angles are exhibited clearly in Gary Ross's film, "Pleasantville".
From the Paper
"The fact that this inevitable struggle eventually brings about social change clearly supports the neo-Marxist approach to the conflict perspective. Unlike the functionalist perspective, this viewpoint is shown somewhat before the children leave their reality at home. The scenes of modern-day high school also moderately display the different social groups and cliques which compete for social status. The students are learning about the "competitive world" ahead of them in class. They are being taught that a degree will get them everywhere and that it is the only way to succeed. This is going to perpetuate the Weber belief in the importance of economic conditions in producing inequality and conflict in society."
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The Transformation of Derek Vinyard in "American History X", 2004.
A look at the film "American History X", its plot, main character and the message it presents to society.
900 words (approx. 3.6 pages), 4 sources, MLA, $ 31.95
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Abstract
This paper discusses the film, "American History X", in terms of culture and the images it presents to society. The paper focuses on the transformation of the main character from a skinhead to someone who rejects both racism and violence.
From the Paper
"American History X" depicts the several transformations of Derek Vinyard, a Neo-Nazi skinhead whose life is depicted in a series of flashbacks. Shreve Vinyard is a young man who is introduced as a serious student with no racial prejudices and who becomes a radical skinhead after the murder of his fireman father by African-Americans during a fire in a crack house. In prison Vinyard is befriended by a Black inmate..."
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"American History X", 2008.
This paper discusses the issue of racism that is present in the film "American History X".
1,665 words (approx. 6.7 pages), 8 sources, MLA, $ 54.95
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Abstract
In this article, the writer maintains that while 'American History X' tries to be a movie about ultimately overcoming racism, it fails in this task.
The writer looks at the unstated contrast between the white characters and the black characters in the film and discusses that throughout this movie, the various groups interact in ways that reflect confrontation and eventually violence rather than cooperation. The writer also discusses that the implicit message in this film is that whites have made huge sacrifices on issues of civil rights. The writer notes that according to the film, the whites are the ones who have gone through the transformation, so they are now the ones suffering from discrimination.
From the Paper
"Throughout this movie, the various groups interact in ways that reflect confrontation and eventually violence rather than cooperation. In one of the critical scene, a flashback, three black youths try to break into Derek's car. Alerted by little brother Danny, Derek rushes out to his car and shoots two of the three youths. This is his murder scene, and he clearly enjoys the power of life and death over the black youths."
"This movie tries to be a story about the dangers of white supremacy, but in many ways it is almost literally the opposite of that. It contains many white supremacist messages and a great deal of problematic imagery and material. While the filmmakers may not have intended that it be read in this way, they may have inadvertently perpetuated many of the very stereotypes that they claim to have wanted to challenge. This is often a problem of insidious rather than overt racism."
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Spielberg's "Schindler's List" and Michael Marrus' "The Holocaust In History", 1994.
This paper compares the approaches to Nazi genocide in the emotional film Spielberg's "Schindler's List" and the historical book Michael Marrus' "The Holocaust In History".
900 words (approx. 3.6 pages), 2 sources, $ 31.95
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From the Paper
"The Holocaust has been addressed in books, articles, films, novels, stories, and poems hundreds and thousands of times over the last half century, and now and again a particular work comes along that brings the entire issue into the open once more and introduces a new generation to the horrors of World War II and to the evil that human begins can do to one another. Such a work is "Schindler's List", a film that has proven to be very popular and that has engendered controversy on a number of fronts. There are, of course, arguments over whether the film is accurate or whether it evokes the truth of the Holocaust to a sufficient degree. There has also been controversy brought about by the thoughtless actions of some young people who laughed when they saw the film, leading to a variety of dissections of the current generation and its ability to understand the suffering of others."
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