| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "FILM WONDERFUL HORRIBLE LIFE LENI": |
|
|
Film: "The Wonderful, Horrible Life of Leni Riefenstahl", 2008.
This paper describes and analyzes Ray Muller's documentary film "The Wonderful, Horrible Life of Leni Riefenstahl", who is best known as a documentary filmmaker during the time of Hitler.
1,055 words (approx. 4.2 pages), 3 sources, APA, $ 37.95
»
Click here to show/hide summary
Abstract
The paper explains that title of the documentary "The Wonderful, Horrible Life of Leni Riefenstahl" captures the controversy, which Leni Riefenstahl arouses and summarizes the nature of her film work. The author points out that Riefenstahl is popularly acknowledge for having made two of the best documentary films ever produced but they have been denounced for their inherently horrible ideology of Nazism and central figure Hitler. The paper relates that, while this documentary is objective by presenting her admirable qualities, the film also exposes an infinitely less attractive dimension to Riefenstahl's personality, her self-defensive, over-brimming with self-justification and unwaveringly unapologetic stance about the services she rendered to Hitler and the Nazi party. The author discusses the use of voiceovers, flashbacks and contrasts in the production of the film.
From the Paper
""The Wonderful, Horrible Life of Leni Riefenstahl" compels mixed reactions to its protagonist, evoking both admiration and aversion towards Riefenstahl. In one of the scenes, she is depicted as walking on a pier, carrying her own, undoubtedly heavy, scuba diving gear. Her much younger companions are walking ahead of her and neither offers to help her with her equipment and, indeed, her demeanor suggests that she would have rejected any offers of help. This scene would not have been remarkable were it not for the fact that Riefenstahl was over 90 at the time."
| |
|
Film: Paul Leni's "Waxworks", 2008.
Explores the portrayal of evil in Paul Leni's film "Waxworks".
795 words (approx. 3.2 pages), 2 sources, MLA, $ 28.95
»
Click here to show/hide summary
Abstract
This paper explains that, in Paul Leni's film "Waxworks", the sub-stories become darker, more violent and more psychological as the film goes on. The author points out that, starting with a bad-intentioned but ultimately harmless sultan and ending with a dreamed encounter with the translucent Spring-Heeled Jack/ Jack the Ripper, the theme of evil becomes more dangerous while simultaneously becoming less incarnate, thus distorting its origin. The paper reveals that, by having the triumph of evil happen in the dream, the film is suggesting that evil exists fully within the psychological.
From the Paper
"In the second vignette, the villain is able to inflict much more pain than the preceding despot. Ivan the Terrible's actual connection to his bad intention however, is much more fluid. By not killing or torturing his victims himself, but instead ordering others to, Ivan's role presents evil as an entity that can be passed along from person to person. Again the villain replaces the love interest's role, this time much more forcibly. While torturing her would-be husband, Ivan abducts and forces himself on the would-be wife. However, Ivan is unable to accomplish his goal."
| |
|
Film: Leni Riefenstahl's "Triumph of the Will", 2005.
This paper critiques Susan Sontag in her article on the life and work of Leni Riefenstahl, especially her film "Triumph of the Will".
2,700 words (approx. 10.8 pages), 3 sources, $ 106.95
»
Click here to show/hide summary
Abstract
This paper explains that Susan Sontag in her article "Fascinating Fascism" on the life and work of Leni Riefenstahl explores the complex mix of the larger themes of Nazi ideology with an artistic vision that simply claims to depict pure history. The author points out that Sontag's analysis of Riefenstahl's work and particularly of her most prominent film "Triumph of the Will" 1944 sheds light on the director's fascist aesthetics. The paper contends that historical analysis of Riefenstahl's film suggest that Sontag may herself have been a victim of Riefenstahl's propaganda to some degree.
From the Paper
"Susan Sontag, in her article on the life and work of Leni Riefenstahl "Fascinating Fascism," explores the complex mix of "the larger themes of Nazi ideology" with an artistic vision that simply claims to depict "pure history" (Sontag, 42). However, while Sontag's analysis of Riefenstahl's work - and particularly of her most prominent film Triumph of the Will (1944) - sheds light on the director's fascist aesthetics, historical analysis of Riefenstahl's Triumph of the Will suggest that Sontag may herself have been a victim of Riefenstahl's "propaganda" to some degree."
| |
|
"Olympia" a Film by Leni Riefenstahl, 2002.
The paper analyzes the film ?Olympia?, directed by Leni Riefenstahl. According to the writer, the film presents a realistic and powerful fusion between sports and politics.
12,594 words (approx. 50.4 pages), 0 sources, MLA, $ 241.95
»
Click here to show/hide summary
Abstract
This paper summarizes the controversial life of the most famous film-maker in Nazi Germany. In detail, the paper examines the making of the movie "Olympia", a documentary film about the Olympics that served the Nazi Government in Germany in 1936. The writer asserts that this film is the first sports film.
Table of Contents:
Introduction
Riefenstahl before ?Olympia?
Production and Funding
The Preparations
Track and Field
Festival of Beauty
Conclusion
From the Paper
"The National-Socialist Party was elected to the German Government in 1933 and brought with it large social changes. The Reich was supposed to control all the aspects of life, including the arts. Probably, at the begging, the arts, and specially the visual arts, were not a goal of the Nazi ideology, but de factum it became a tool in order to promote the Nazi desires. One could think the Nazi Government obligated the artist community to follow a certain ?Nazi style?. However, this is not the case; it was impossible to create a ?Nazi artistic model? in a period of time that was too short. Gradually, all the different art movements were expulsed, they were told to be ?degenerative? and were blamed to be influenced by the international community, the Jews and the Bolsheviks. This situation triggered the growth of irrelevant artists and dormant artistic movements that were accepted by the Nazis. These artists and movements were those that created the core of the Nazi Art during twelve years of Nazi Regime? They had a pro-Nazi tendency and the Nazi ideology is recognized in their works. The Cinema was an integral part of this process and existed as an important part of the Propaganda Machine; becoming an instrument by which the esthetics and the ideas of the Nazi were presented. About 1200 movies were made during the twelve years of the Reich; most of them were argumental but, in all of tem (including comedies, romantic drama, films for children, etc.), we identify the National-Socialist Doctrine and the Nationalist-Totalitarian approach. Leni Riefensthal?s movie, ?Olympia?, from 1936, is in fact the documentation of the Olympic Games and it was filmed formally for the Olympic Games Organization Committee, under the direction of its General Secretary Carl Dime. In those days Riefensthal was in her professional zenith, she became a movie star in some of the successful ?Mountain Films? of Arnold Panck and showed to everyone her talent as director and editor in ?Triumph of the Will?, also a documentary film, about the Nazi Congress of 1934, that provided her with a good quote of publicity. She was the brilliant filmmaker that became the favorite of the Fuhrer. Although she did not want to be involved in any other documentary movie, she accepted the project and tried to transform it in a revolutionary piece of art. Indeed, ?Olympia? was filmed with modern technology and sophisticated techniques: rapid cameras, sub-aquatics cameras, cameras on the top of towers, in planes, balloons, and boats. Holes were excavated in the stadium in order to film the athletes from a special angle and slow-replay clips were introduced (a very modern technique in those days). The professional team, numbering dozens, was directed by Riefensthal and worked intensively during the Olympic Games days. The accurate production and edition took months, and the result was a two-parts brilliant film. We cannot approach the analysis of ?Olympia? without looking at the context of the cinema industry under Nazi Government. The central question is whether Riefensthal was independent or not in relation to the Nazi Party, and specially in relation to the Propaganda Minister of the Reich, Joseph Goebbels. We might notice that her relations with the Party and the Government influenced the making of the movie, as well as its goals and its impartiality. Many questions arise while watching ?Olympia?: Are we discussing about Nazi Propaganda or about the documentation of the Olympic Games (maybe the best one ever done)? Is this movie trying to improve the Classic or the Nazi esthetics standards? Is this a movie about sports or about politics? Maybe, the answer is that ?Olympia? is all of them together. The film that documents the 1936 Olympic Games of Berlin included the spirit of the consentaneous Nazi Art. Many aspects of the National-Socialist esthetics are found in ?Olympia?. The film was used for the profit of the new Government and it became a part the general propaganda system that glorified the power of the strong Germany, its noble roots, its citizens, and their loyalty to their country and leader. The so reduced Nazi iconography found its place also here: the idealization of the human body, the virgin nature as a primitive element, the German ?vital space?, and the rustic panorama. The same esthetics elements appeared in every visual art (posters, newspapers, post-cards, etc.) and it was part, as we said, of ?Olympia? too."
| |
|
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
»
Click here to show/hide summary
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."
| |
|
L. Frank Baum's "The Wonderful Wizard of Oz", 2006.
A comparison of the original story of "The Wonderful Wizard of Oz" by L. Frank Baum and the 1939 screen adaptation of the story.
1,350 words (approx. 5.4 pages), 2 sources, $ 53.95
»
Click here to show/hide summary
Abstract
Almost four decades of history and innovations in media technology separate the text of L. Frank Baum's "The Wonderful Wizard of Oz" (1899) and MGM's 1939 musical "The Wizard of Oz". Although the plot of the film is roughly comparable to that of the book, the filmmakers made a great many changes in their adaptation of the story. This essay argues the thesis that the changes and modifications between the text and the cinematic version represent more than just the efforts of the filmmakers to adapt the story to a different medium.
| |
|
"The Wonderful Wizard of Oz", 2008.
An examination of L. Frank Baum's connections to the populist party and his references to it in his classic novel, "The Wonderful Wizard of Oz."
2,500 words (approx. 10.0 pages), 10 sources, MLA, $ 75.95
»
Click here to show/hide summary
Abstract
This paper analyzes the politics of the populist party that can be found within L. Frank Baum's classic novel, "The Wonderful Wizard of Oz." It provides a brief history and correlative analysis of the ideology of the populist party, in order to reveal Baum's influences in writing the plot for the novel. The paper also examines the correlation to Baum's own socialist ties with populist reform in the Midwest.
From the Paper
"In conclusion, the involvement of L. Frank Baum in the Populist Party Movement is a major facet of the plot and character structure in his novel: The Wonderful Wizard of Oz. The symbolic use of Dorothy and her companions seeking to find the Great Oz, so that they can free the people is paramount to Baum's own quest to garner better living conditions and governmental regulations on the banks that were closing down and confiscating farms all over the Midwest. In this manner, Baum offers a parable of the Populist Party struggle in the Wizard of Oz, but also provides biographical and societal information about his involvement and propagandistic agenda for writing this classic novel for the turn of the 19th century in America."
| |
|
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
»
Click here to show/hide summary
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."
| |
|
Liberalism: Great or Horrible, 2006.
A critique on liberalism based on the teachings of religion and the doctrines of Karl Marx.
2,248 words (approx. 9.0 pages), 2 sources, APA, $ 69.95
»
Click here to show/hide summary
Abstract
The paper states that liberalism is a subject on which people have varying views and one which some philosophers and interest groups support. The paper then continues and discusses how other thinkers and individuals find liberalism to be lacking. This is either because liberalism, in their opinion, is flawed or they simply find that liberalism does not meet their personal needs. The paper specifically discusses Karl Marx's critique on liberalism, explaining that it is based on his understanding of the position of the economically deprived. Moreover, the paper compares Marx's views on liberalism with those of Thomas Hobbes and John Locke, as well as the views on liberalism that might be held by a religious person. The paper concludes that liberalism seems to be a good system of government for the present time, and while liberalism may not always be the best system of government, it seems be the best option for present day society.
From the Paper
" Marx believes that these fears move the wheels of society. This view varies from Hobbes, who believes that humans' fear and vulnerability is what makes all of us equal. Marx also firmly believes that in the modes of production there are many inequalities. Marx attests that inequalities are due to fact that the individual is kept un-free in capitalistic, money-driven societies. "This realm of natural necessity expands with his development, because his needs do too; but the productive forces to satisfy these expand at the same time". In this type of system Marx believes there is no need for humans to possess any kind of individuality, and that all creative forces are quashed. Marx again traces this back to the idea that capitalism has no need for the masses to possess any kind of individuality. Instead, he asserts that capitalism not only causes, but also encourages, the masses to be constantly producing. Marx gives an example of the concept of mass production; the example he offers is the assembly line. Marx also believes that the Capitalist's main goal is to take as much surplus value from labor as they possible can. Marx basically does not find liberalism to be a good system because he does not agree with the capitalistic system and he does not think that work defines human beings. He asserts that what one does to economically support him- or herself and family should not define the individual as a person, but the mere fact of being an individual human being should be what defines each member of society separately and uniquely. This is because Marx believes that individuals are not free and do not choose their jobs. This means that individuals are defined by not-choosing. Also, jobs are just a means to an economic end, and human creativity should instead be the end. In a capitalist government, the state enslaves the individual to his or her job and controls the person through it."
| |
|
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
»
Click here to show/hide summary
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
| |
|
"A Wrinkle in Time" and "The Wonderful Wizard of Oz", 2002.
An analysis of the female characters in the two novels "A Wrinkle of Time" by Madeline L'Engle and "The Wizard of Oz" by L. Frank Baum.
1,900 words (approx. 7.6 pages), 3 sources, APA, $ 60.95
»
Click here to show/hide summary
Abstract
This paper compares and analyzes "A Wrinkle of Time" and "The Wizard of Oz" and shows how both books attempt to broaden the stereotypical view of women by introducing us to two strong female protagonists Margaret 'Meg' Murray and Dorothy.
From the Paper
"The ability to be different and define ones own destiny are important literary components for a protagonist to possess. Meg, from A wrinkle In Time, is not like other girls her age. She is outspoken and not afraid to voice her own opinion. Meg's father has been absent from home for quite a while and it is causing emotional distress in her life. The townsfolk begin to murmur that her father has abandoned the family. She is determined to keep a stiff upper lip and not let others get the best of her. Meg states, "As long as she (Mother) says Father is coming home then I'll believe that." (L'engle p. 25) Even her school principal advises her that she'd "make a better adjustment to life if (she) faced facts." (L'engle p. 25) Adjusting to life is not what a protagonist does."
| |
|
Larkin's Wonderful World, 2002.
An analysis of the influence of the blues on the poetry of Phillip Larkin.
2,945 words (approx. 11.8 pages), 11 sources, MLA, $ 87.95
»
Click here to show/hide summary
Abstract
This paper analyses the influences on the poetry of Phillip Larkin in relation to Ezra Pound's principles of Logopoeia as described in his "How to Read". It looks at Larkin's objection to Pound's abstract principle of Logopoeia, by which all words hold historical and poetic significance by their being charged with their use by the poet's predecessors. It shows how this is deconstructed by his use of the imagery of the blues in his poetry.
From the Paper
"Further evidence for the inconsistency of Larkin's objection to the use of allusions in poems to other poems or poets can be seen in 'Deceptions'. His alteration of Ophelia's line 'I was the more deceived' to 'That you were less deceived' undermines the dominance of the rapist - parallel to Hamlet's control of Ophelia - by suggesting that he is 'more deceived' in pursuing sexual 'fulfilment' than any victim experiencing suffering which at least has clear causes and effects. The modification of this allusion was important enough to Larkin for 'The Less Deceived' to later become the title of the whole collection of poems in which 'Deceptions' appeared."
| |
|
Olympic Games Documentary Films, 2005.
This paper contrasts the 1936 Olympic Games documentary film by Leni Riefenstahl and the 1964 Olympic Games documentary film by Ton Ichikawa.
1,375 words (approx. 5.5 pages), 0 sources, $ 45.95
»
Click here to show/hide summary
Abstract
This paper explains that that Leni Riefenstahl's film of the 1936 Olympic documentary is propaganda, focusing more on German and German-sympathetic athletes and the ambiance of the Berlin stadium, seen in its new Nazi grandeur; whereas, in the most stunning photography, Ton Ichikawa's film of the 1964 Tokyo Olympiad is a salute of the exertion of the athletes regardless of race, nationality or ethnic background. The author points out that "Tokyo Olympiad 1964" is not a "sports documentary" in the traditional sense of showing races, winners and celebrating crowds but rather a technically and emotionally gripping documentary about the effort of preparation and the Olympic spirit. The paper concludes that, in a sense, this film is just as much a propaganda piece about Japan's new maturity as was Olympia 1936 but in a way that the glorification politics do not interfere with the presentation of the athletics.
From the Paper
"There is no real story line easy to follow, even though this nearly three-hour film opens with buildings being demolished to make way for the Olympic stadiums and arenas, and training areas as well as housing. As we see this, there is a voice-over which gives the other previous Olympic locations and dates. One of the next scenes is the obligatory Olympic documentary one of the torch reaching Japan, and the following thew various runners in the countryside, running to bring the torch to Tokyo and its new Olympic stadium. For Americans, the win of the Native American, Billy Mills, in the 10,000 meter race is a highlight. But, interestingly enough, the camera stays at the finish line until every racer has finished. There is also a somewhat poignant story line about the single athlete from Chad, who shares no common language with any other athlete, and trains alone. When he loses in the semi-final heat, Ahmed Isa is ignored by the crowd, but not Ichikawa. Here is loneliness amid the shouts of tens of thousands."
| |
|
Leni Riefenstahl, 2002.
A look at the works of Nazi film maker Leni Riefenstahl.
3,900 words (approx. 15.6 pages), 11 sources, $ 142.95
»
Click here to show/hide summary
Abstract
This sixteen-page undergraduate paper discusses Leni Riefenstahl and the politics of propaganda. Using her two most widely known Nazi-era films, "Triumph of the Will", and "Olympia", the author evaluates her position within the Nazi propaganda machine, and concludes the paper with a personal response to whether these films should be discounted as simply sad reflections of a terroristic regime or as secular landmarks of film art.
| |
|
Women in Film Noir, 2004.
An in-depth look at the role of women in the genre of film known as film noir.
7,839 words (approx. 31.4 pages), 21 sources, MLA, $ 170.95
»
Click here to show/hide summary
Abstract
Among the various styles of producing films, the noir style is one that has come to be recognized for its uniqueness in characterization, camera work and striking dialogue. Film Noir of the 1940s and 50s was well known for feminine characters that were the protagonists, the femme fatale. This was most common with the French and later accepted in the United States. This paper begins by introducing film noir, its definition, how it started and also the history of this genre in the United States of America. It looks at films such as the "Maltese Falcon" (1941) and "A Touch of Evil" (1958). In the second section, the paper explores how women are represented in film noir (heroine and femme fatal) by discussing the aforementioned films and analyzing them. The paper examines different authors, such as Ann Mary Doane whose research is based on feminism and psychoanalysis and Ewing Dale ("Style and Content in Film Noir"), to discuss their ideas. The paper also compares two film noirs - the "Maltese Falcon" (1941) and "Basic Instinct" (a contemporary noir), to see how women express themselves, looking to see whether they express themselves through their sexual diversity. In the third and last section, the paper examines how women are represented in contemporary noir by analyzing and discussing one contemporary noir - "Mulholland Drive" (2001). The paper analyzes sequences to demonstrate the movie's connection with film noir and examines the role of women in the film. The paper includes illustrations from movies.
From the Paper
"Mulholland Drive reinforces the dominance of the femme fatale in contemporary film noir. In present times the role of the woman in society is observed to have a variation, and this is because of the fact that there is a change in the way that she can express herself. It also highlights the way that she can dominate men without them even knowing it. It is perhaps only when they reach their ultimate doom that they realize that women have exploited them. This kind of character portrayal is one that has increased over the years since the beginning of the film noirs. From then it has developed itself in American filmmaking, which has reflected the strengths and weaknesses both in American society."
|
|
|
