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Film Versions of "Little Women", 2004.
Critiques two different film versions of Louisa May Alcott's "Little Women".
1,837 words (approx. 7.3 pages), 3 sources, MLA, $ 58.95
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Abstract
This paper discusses the 1994 film version of "Little Women" and compares it to the 1933 film version. The paper tries to determine how just a representation of the book each film is and in what way each version is characteristic of the period in which it was made.
From the Paper
"'Little women' was written by Louisa May Alcott in 1868 and since then it has been one of the most talked and written about books. With readers obsessing over the novel for more than a century, the book has been adapted to cinema four times with the most last version coming out in 1994. The book and its cinematic versions revolve around four young sisters who grow up during chaotic times of Civil War. The most well known cinematic adaptation of the novel came out in 1933 with Katherine Hepburn in the lead as JO March. This version was universally accepted for being most faithful to the book. Subsequent versions of Little Women were not as powerful as this one yet they have their fair share of merits. In this paper, we shall discuss the 1994 version and compare it to the 1933 version of 'Little women'."
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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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Three Film Versions Of Hamlet, 1999.
Compares styles, plot emphases, characterizations, atmosphere, design, the setting of the 1948 Laurence Olivier, the 1990 Franco Zeffirelli and the 1996 Kenneth Branagh versions.
2,700 words (approx. 10.8 pages), 7 sources, $ 95.95
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From the Paper
"Film critics point out from time to time how much the director brings to a film and that if two directors were given the same script to shoot, the results would be very different. Filmmakers are almost never given the same script to shoot, but an exception can be found in plays based on Shakespeare where the same essential script is indeed used and where decisions regarding such elements as costume and set design along with visual style can produce works with very different attitudes based on the same initial material. This can be seen in three versions of Hamlet, the Laurence Olivier version from 1948, the Franco Zeffirelli version from 1990, and the Kenneth Branagh version from 1996. The films have very different "looks" as well as giving emphasis to different aspects of the plot, the characterizations, and other elements, and watching the three ..."
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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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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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Women in Shakespeare?s Plays, 2004.
This paper discusses women in three Shakespearean plays as presented in the film versions. These include Kenneth Branagh's ?Much Ado about Nothing?, Trevor Dunn?s ?Twelfth Night?, and Baz Luhrman?s ?Romeo and Juliet?.
2,440 words (approx. 9.8 pages), 4 sources, MLA, $ 74.95
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Abstract
This paper explains that women play almost every conceivable role in Shakespeare?s plays; however, women cannot be the hero. The author points out that Shakespeare?s plays treat women as a piece of "goods", not worth having if they are not virgins, which was the attitude of the time in which the plays were written. The paper relates that Shakespeare symbolizes Juliet's youth in a display of numerological virtuosity designed to impress upon his audience and readers her unreadiness for adulthood and its attendant complexities.
From the Paper
"In "Much Ado About Nothing" the kind of love that Shakespeare chooses to display is the more realistic kind of love that is displayed more often in society around us. This is shown in the couple of Benedick and Beatrice. These two quick wits are constantly bickering and at each other?s throats, until they are tricked by their friends into each believe the other loves them. At this, all of their criticisms of love and claims to remain unmarried until death go right out the window. Suddenly, they are seized by a desire to be with each other, and their true feelings come out. It shows how love actually works in real life."
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"Jane Eyre": Fiction and Film, 2002.
A comparison of Charlotte Bronte's novel "Jane Eyre" to the 1944 film version of the story.
1,150 words (approx. 4.6 pages), 2 sources, $ 44.95
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Abstract
This paper looks at the comparisons between the book by Charlotte Bronte "Jane Eyre" and the film version made in 1944 starring Orson Welles and Joan Fontaine. The paper discusses the idea and concept of how the two formats differ in some ways and in others fit perfectly. Furthermore the paper looks at the concept of feminism and how it is translated into the book and how the feminist issue is noticeably missing or downplayed within the film version.
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"Hamlet" in Film, 2007.
An analysis of how the characters of Ophelia and Gertrude differ in different film versions of William Shakespeare's "Hamlet".
1,018 words (approx. 4.1 pages), 7 sources, MLA, $ 36.95
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Abstract
The paper discusses how different productions of a play such as "Hamlet" by William Shakespeare will have differing interpretations of characters. The paper focuses on the central female characters in "Hamlet," of Ophelia and Gertrude. It then looks at how they are portrayed differently in two film versions of the play - the 1949 version directed by and starring Laurence Olivier and the 1990 version directed by Franco Zeffirelli and starring Mel Gibson.
From the Paper
"The role of Ophelia differs in the two versions as well. In keeping with the play, the Olivier version shows the deterioration of Ophelia as she descends into madness with the death of her father and other events in the play. The Zeffirelli version treats her in a manner similar to Claudius and Gertrude in that she starts at a high level and stays there. In the Zeffirelli version, Ophelia is distracted from the time we first see her so that her madness seems already entrenched and only needs a push to become full-blown. Her madness does not develop in the time of the play but is part of her make-up from the beginning, so just as we immediately see Claudius and Gertrude as guilty, we see immediately see Ophelia as insane."
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The Name Of The Rose, 1986.
Compares & contrasts the film & novel versions of Umberto Eco's THE NAME OF THE ROSE. Finds the novel to be complex & intellectually compelling, elements which the film version lacks.
1,125 words (approx. 4.5 pages), 2 sources, $ 39.95
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From the Paper
"The 1986 film version of The Name of the Rose, directed by Jean-Jacques Annaud, is an unsuccessful attempt to piggyback on the best-selling popularity of the book without actually having to film the book, which indeed would be impossible in any case. The filmmakers have focused largely on the murder mystery element of the novel, which is only one thread in the extremely complex tapestry of the novel. The real problem with the film, though, is that the filmmakers do a very poor job even with the murder mystery element that they have decided to feature, leaving many viewers confused on several levels.
Umberto Eco's 1984 novel is structured around play and games, with the author building a wide variety of medieval references, Christian symbolism, and forms of word-play into the fabric of the book in a very complex pattern. The power of the Church stands at the (...)"
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?Love Story?: The Film and the Novel, 2002.
This paper compares the film version and the novel of ?Love Story? by Erich Segal.
1,380 words (approx. 5.5 pages), 2 sources, MLA, $ 46.95
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Abstract
This paper states that the film version and the novel of ?Love Story? are very much alike; they even used a lot of the dialogue from the book with no changes in the film. This paper points out that the novel is told through the eyes of Oliver Barrett; but, in the film, the story is told by the camera and not with the voice of Oliver and, therefore, does not include as much about the inner thoughts of this character. The author explains that the father accepting these young people and their new ways is very different from the way romance is treated in China.
From the Paper
"Another change comes when a scene is moved. The scene between Oliver and the dean as Oliver asks about a scholarship takes place in the book after Oliver meets Jenny's father; but in the film, it takes place before. This has several effects. For one thing, it adds to the break between Oliver and his father and to the idea that Phil will have to accept Oliver as a poor person who will even have trouble getting through school. It also moves the meeting with Phil so that the next scene after that is the wedding, which helps the audience with some of Phil's reactions during the wedding. At the end of the scene in Rhode Island in the book, Phil is surprised when he hears that Jenny will talk during the wedding ceremony, and she asks, "Could you imagine any situation in which I would shut up?" This joke is not in the film. Instead, she tells her father that it is a whole new world today, and he agrees, sadly."
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Richard Boleslawski's Film "Les Miserables" (1935), 2005.
A comparison of the plots of Richard Boleslawski's 1935 film version of Victor Hugo's novel "Les Miserables" to the Old and New Testaments.
1,375 words (approx. 5.5 pages), 0 sources, $ 45.95
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Abstract
This paper examines how themes from the Old Testament, including the absolute authority of the law above all else and from the New Testament, including unconditional love, forgiveness, salvation and atonement, can be found in Richard Boleslawski's 1935 film version of Victor Hugo's novel "Les Miserables".
Outline
The Law
Unconditional Love
Forgiveness
Atonement
Salvation
From the Paper
"The concept of absolute authoritarian law is represented by Javert, the policeman. The law, according to Javert, is the answer to all conflict. This guides his judgment and decisions throughout the film. His relentless pursuit of Valjean is evidence of this. The only way to atone for wrongdoing is through harsh punishment, whether fully deserved or not. This concept is also representative of the society at the time. Paris during the 1830's was a harsh place, where many were poor and desperate. It is in fact a desperate crime that leads to Valjean's arrest and imprisonment. Thus, the slightest error would bring upon the perpetrator the harshest punishment. This is reminiscent of the Old Testament, where there was a law for everything from crime to the dress code. If God was not happy with something somebody did, they would be struck dead on the spot. Thus Valjean represents the merciless law of the Old Testament."
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Shakespeare's "King Lear" in Film, 1995.
This paper examines two film versions of Shakespeare's "King Lear", the 1987 version directed by Jean-Luc Godard and the 1984 television version starring Laurence Olivier: Style, critical reception, characters, narrative and adherence to Shakespeare.
2,475 words (approx. 9.9 pages), 12 sources, $ 87.95
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From the Paper
"The purpose of this research is to examine two film versions of Shakespeare's King Lear. The plan of the research will be to set forth the context for and fundamental premises of the two works, and then to discuss the style, tone, language, and treatment of the protagonist in each.
The television production of King Lear adapted by and starring Laurence Olivier is accurately described as straightforward in its style of treatment of the text. The production as a whole is set in pre-Christian Britain, which is consistent with the fact that, according to Rowse, the Lear story was familiar to Elizabethans from Holinshed's account of ancient British history and legend. The use of Stonehengelike pillars and rustic wood as structural elements, together with wilderness exterior settings, is consistent not only with ... "
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Gangster Films, 2001.
Discusses auteur theory, development of a genre. Compares 1932 & 1983 film versions of "Scarface" to illustrate changes in gangster genre films.
1,125 words (approx. 4.5 pages), 4 sources, $ 39.95
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From the Paper
"The auteur theory developed by French film critics beginning in the 1950s is partly a convenient way of categorizing and analyzing films, collecting titles as the body of work of the director. More than this, though, the theory holds that it is the director more than anyone else who is responsible for the finished film, since he or she is the one who determines visual style and other matters in the course of production. The theory finds that the director expresses meaning through visual style and that analyzing the visual style of a given director reveals consistent thematic concerns, similarities in character development, and other repeated and recognizable signs of a single intelligence at work. At the same time, though, film remains a collaborative medium, and it would seem that directors would be influenced by their..."
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Baz Lurman's Film "Romeo and Juliet", 2006.
This paper compares the 1996 film version of Baz Lurman's "Romeo and Juliet" with William Shakespeare's original version of this romantic tragedy.
775 words (approx. 3.1 pages), 3 sources, MLA, $ 27.95
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Abstract
This paper explains that, while Baz Lurman's "Romeo and Juliet" presents the main theme of the play as a conflict between the bad values of the older generation and the disaffected but still hopeful younger generation, Shakespeare's play evolves more as a tale of fate and the fragile nature of love. The author points out that the film's images stem from a modern sense of alienation, an idea underlined in the overall design of the film, in which a Pluralist or post-modern pastiche of Hispanic, contemporary and some Renaissance images creates a sense of confusion mirrored in the lovers' own difficulties in finding meaning in their world. The paper relates that, although the themes of youthful alienation exist in both versions but are more present in Lurman's cinematic re-telling, Shakespeare, as is consistent with the Renaissance era, takes the example of the lovers to reflect upon the 'chance' nature of romance.
From the Paper
"The unavoidability of fate was an important idea of the Renaissance era during which Shakespeare wrote. Also important, well into the Baroque era was the question of how much respect and deference a child owed his or her parents in terms of selecting a marital partner. Shakespeare sides with the lovers in their passion, but clearly shows how Romeo and Juliet's love upsets the rulership of Verona, and how society is harmed as well as helped. Good aspects to society, such as the kind prince, and Juliet's more loving father and mother are upset when Juliet decides to eschew parental care."
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Awakenings: Comparing the Novel and Film., 2002.
Analysis and comparison of the novel "Awakenings" by Dr. Oliver Sacks to the film version starring Robert de Niro.
1,150 words (approx. 4.6 pages), 5 sources, $ 44.95
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Abstract
The exercise of comparing the film adaptation to Dr. Oliver Sacks' volume "Awakenings" has been helpful in realizing that the written word and the film produced for a commercial and entertainment market, represent two very different kinds of expression. This paper involved a rereading of Sacks' "Awakenings" after viewing the acclaimed film of 1990 in which Robert de Niro played the character of Leonard, the first of several patients upon whom L-dopa medication is tried by the neurologist, Dr. Malcolm Sayers, s played by Robin Williams. From its opening minutes, the film is only based vaguely upon the account provided by Sacks of his treatment provided to a Miss Frances D. The book centers on this particular doctor-patient interaction while the film shows a young neurologist dealing mostly with the character of Leonard, the first to try L-dopa, but who also interacts with the other patients affected by the same condition.
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