| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "FILMS VITORIO DE SICA": |
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The Films of Vitorio De Sica, 2002.
Examines the concept of social pessimism versus the humanism in De Sica's films.
2,025 words (approx. 8.1 pages), 3 sources, $ 75.95
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Abstract
This paper examines De Sica's films in greater detail as well as the environment which shaped his views.
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Paul Valery's "Introduction de la Methode de Leonard de Vinci", 2002.
This paper compares a quote taken from Paul Valery's "Introduction de la Methode de Leonard de Vinci" and to Salman Rushdie's "Haroun and the Sea of Stories".
1,090 words (approx. 4.4 pages), 5 sources, MLA, $ 38.95
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Abstract
This paper reviews the specific pieces by Valery and Rushdie and other pertinent supportive material. The paper concludes that Valery was a man of words who often felt that those who used them didn't know their power. The author feels that Valery knew the power of words but often felt the "gift" to write was not empowering.
From the Paper
"His quote, "Beauty is a way of death. The novelty, the intensity, the strangeness, in a word, all the values of shock supplant it", can be likened to the hunter who loves the hunt more than the eventual catch. So it is with words for Valery. It is the process, the thinking, the effort that fascinates him?not the work itself. Perhaps that is because he left the world of literature for the analytical and precise world of science."
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"The Romance of the Rose" by Guillaume De Lorris and Jean De Meun, 1993.
A look at the duality of men's attitudes toward women (worship vs. contempt) in the novel about the Middle Ages.
1,125 words (approx. 4.5 pages), 1 source, $ 39.95
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From the Paper
"This study will analyze the duality of men's attitudes toward women as portrayed by Guillaume de Lorris and Jean de Meun in The Romance of the Rose. The study will consider the reasons that men worshipped women while at the same time having contempt for them, and will explore how this duality of attitude and practice helped shape the code of chivalry which men lived by during the Middle Ages.
In the Introduction to the book, we read that the story is told rather straightforwardly: "A Lover wishes to win his Lady (the Rose); her responsiveness (Fair Welcome) encourages him; her sense of modesty (Shame) fends him off; the dominance she exercises upon him (Danger --- a French form of the Latin word dominarium meaning 'domination') blocks his advance. Modern readers, accustomed to similar Freudian abstractions, can hardly..."
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"The Bicycle Thief", 2002.
A textual analysis of this 1948 film on post-WWII Italy, directed by de Sica.
1,150 words (approx. 4.6 pages), 5 sources, $ 44.95
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Abstract
De Sica is probably best remembered for his 1948 film, "The Bicycle Thief". It is a compelling cinematic commentary about post-war, post-Mussolini Italy. One of the striking features about it is the way in which de Sica downplays the emotions of the lead character in order to allow the setting, Rome, to take precedence.
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"The Garden of the Finzi Continis", 2005.
A look at how neo-realism is portrayed in Vittorio de Sica's film "The Garden of the Finzi Continis".
1,358 words (approx. 5.4 pages), 4 sources, MLA, $ 45.95
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Abstract
The neo-realist film "The Garden of the Finzi-Continis" (Vittorio de Sica, 1970) based on the 1962 novel of the same name by Giorgio Bassani, is the story of a Jewish young man, Giorgio, living in Ferrara, near Bologna, in Fascist Italy under Benito Mussolini. This paper discusses how, stylistically, the film contains many but not all essential elements of Italian neo-realism.
From the Paper
" Within The Garden of the Finzi-Continis, the main character Giorgio has been in love since childhood with beautiful, wealthy Micol Finzi-Contini, who lives in a walled family estate that contains a huge, beautiful Eden-like garden. The appearance and atmosphere of the Finzi-Contini estate and garden seem like heaven on earth, especially compared to the chaotic, anxious, increasingly dangerous outside streets of Ferrara. The Finzi-Continis, like Giorgio's family, are assimilated Jews, although, according to Giorgio's protective, disapproving father, the Finzi-Continis wear their Jewish identity too lightly, and "don't even seem Jewish." Still the action focuses on Giorgio's determined but ill-fated quest to win the heart of Micol."
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The Bicycle Thief, 2008.
This paper examines the themes of poverty and dignity in Vittorio De Sica's film "The Bicycle Thief".
2,123 words (approx. 8.5 pages), 3 sources, APA, $ 66.95
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Abstract
The paper examines Vittorio De Sica's 1948 film "The Bicycle Thief" that portrays the thousands of Italians suffering in the desperate times of the 1940s. The paper describes how the film employs the experiences of one man in order to illustrate the detriment of poverty to the human condition. The paper shows how the film explores the protagonist's essentially admirable motives, his desire to retain dignity and ultimately, his ethical dilemma. The paper highlights the film's conclusion that poverty directly alters and degrades the individual human experience.
From the Paper
"The cinematic representation of poverty is, especially in the European output of the mid-20th century, subject to all manner of interpretation. Following the wretched stagnation of the Depression Era and the cataclysmic duration of World War II, the conditions of economic despair had become widespread. A direct product of this tumult, Italy of the 1940's was a shattered nation with a long rebuilding process ahead of it. Vittorio De Sica's 1948 masterpiece, The Bicycle Thief, offers a snapshot of this moment in his nation's history. There is, in his piece, an intercession between a film background which captures the thousands of Italians suffering anonymously under the thumb of desperate times and a foreground which depicts one family's struggles. The macro and microcosmic landscapes merge to present the viewer with a demonstration of poverty's human ramifications."
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'Bicycle Thief' and 'Un Chien Andalou', 2006.
A review of Vittorio De Sica's 'The Bicycle Thief' and Luis Bunuel and Salvador Dali's 'Un Chien Andalou' as two examples of avant-garde cinema.
1,798 words (approx. 7.2 pages), 4 sources, MLA, $ 57.95
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Abstract
This paper reviews two examples of avant-garde cinema, Italian neorealist filmmaker Vittorio De Sica's 'Bicycle Thief' and Spanish filmmakers Luis Bunuel and Salvador Dali's 'Un Chien Andalou'. According to the paper, avant-garde pushes the boundaries of what is accepted as the norm within definitions of art, culture and reality.
From the Paper
" For example, Lamberto Maggiorani, the actor who played Antonio, was in real life a factory worker in Rome ("Bicycle Thieves"). (In the aftermath of World War II, it is also likely, however, that this casting of "real people", instead of professional actors, was done to save money by not having to pay professional actors). The documentary-style camera work of De Sica's The Bicycle Thief, moreover, further increases for the audience the sense that the film is about true-to-life people and real situations, a characteristic also typical of post-World War II Italian neo-realist cinema. This is, also, an avant-garde filmmaking technique that resists, explicitly and implicitly, the commercialism of Hollywood, while offering, instead, a "purer", more "realistic" (and lower-cost) alternative to film audiences."
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Italian Cinema, 2002.
A look at modern Italian cinema through the review of the style of three different directors, De Sica, Fellini and Tornatore.
1,650 words (approx. 6.6 pages), 4 sources, $ 62.95
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Abstract
This paper will explore three phases in modern Italian cinema as represented by the work of three directors. As will be seen, De Sica's neorealism, Fellini's auteur cinema and Tornatore's modern sentimental revisioning represent a complex progression in the concerns and aesthetics of Italian cinema.
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Writings by Cabeza de Vaca, 2005.
Examines how Cabeza de Vaca?s narrative, "The Relation of Ivar Nunez Cabeza de Vaca", provides rare glimpses of Indian culture and way of life that no longer exist today.
1,417 words (approx. 5.7 pages), 4 sources, MLA, $ 47.95
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Abstract
This paper focuses on how Ivar Nunez Cabeza de Vaca's "The Relation of Ivar Nunez Cabeza de Vaca" has historical significance by providing examples from the text and citing outside sources. This paper shows how important de Vaca?s book is as he gives his account of the lives of the Indian tribes in the 1500s. Since these Indians had an oral tradition instead of a written one, information about these tribes, and especially the role of women within these tribes, would not exist today without de Vaca?s book.
From the Paper
"Unlike many other cultures in that time, women had a voice and held some power in their society, making them more equal in power with men than in other cultures. Many traders were women as ?women of several native groups?performed roles as traders, guides, and peacemakers? (Wade 339). Essentially, de Vaca was a man doing women?s work, but it showed him moving from one role to another. This knowledge is important because it shows the roles that the women and men had in their culture and ?the flexibility of the native social structure of groups classified as gathering and hunting societies? (Wade 339)."
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'Don Quijote de la Mancha', 2006.
A review of 'Don Quijote de la Mancha' by Miguel de Cervantes Saavedra.
1,783 words (approx. 7.1 pages), 0 sources, APA, $ 57.95
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Abstract
This paper reviews the life of Miguel de Cervantes Saavedra, born 1547 in Alcala de Henares, Spain and how he used his experiences to write the book 'Don Quijote de la Mancha'. According to the paper, while the old fashioned ideals of chivalry, romance and aristocratic justice were steadily becoming hackneyed in burgeoning renaissance Spain, Cervantes took out his pen and wrote the relished story of 'Don Quixotes', the vivacious man from La Mancha whose imagination was as wild as the embraced socio-cultural history of the nation.
From the Paper
"This lackluster punctuation of daily duty was of no surprise to Cervantes, whose own personal histories were none too different. After the publication of his first literary work, "Serenisima Reina En Quien Se Halla," dedicated to the birth of Phillip II's second daughter, Cervantes spent his young years under the tutelage of Diego de Urbina aboard the royal Marquesa. In 1571, Cervantes was ill with malaria when his ship was attacked, and imbued with the same raptured infatuation for antiquarian ideals of nobility, he stood valiantly strong with his shipmates. "Cervantes is stricken with malaria but, in spite of high fevers, fights heroically from the bow of the ship, in the 'greatest moment that past centuries have seen and which those to come have no hope of seeing." At the battle of Lepanto, the event was less colorful; he was an injured, low-ranking shipman with little hope for career advancement and the ideals of a hero less applicable in the reality of a fighter struggling for one side in a bloody role for national cultural definition."
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Simone de Beauvoir, 2002.
Discusses the life and philosophy of Simone de Beauvoir with special emphasis on de Beauvoir's relations to existentialism.
1,400 words (approx. 5.6 pages), 3 sources, $ 53.95
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Abstract
This essay considers the life and philosophy of Simone de Beauvoir. A brief overview of de Beauvoir's life is offered here, followed by a critical consideration of de Beauvoir's relations to existentialism.
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Rebecca and Mrs. de Winter, 2006.
This paper analyzes the conflicted relationship between Rebecca and Mrs. de Winter in Daphne Du Maurier's classic 1938 novel, "Rebecca."
1,352 words (approx. 5.4 pages), 1 source, MLA, $ 45.95
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Abstract
This paper discusses the plot of the novel which revolves around the second Mrs. de Winter who becomes obsessed with tales of Rebecca, the first Mrs. de Winter, who was mysteriously murdered. The writer contends and explains why Mrs. de Winter's longing to be like Rebecca leads to a journey of self-discovery which also helps her unearth the mysterious past of her husband Maxim and his first wife. The paper discusses the author's use of symbolism to foreshadow Mrs. de Winter's connection with Rebecca. This paper delves into the second wife's feelings of inadequacy when trying to measure up to the image of her husband's first wife. The writer of this paper details the immense power Rebecca has over Mrs. de Winter while also delving into the dysfunctional relationship between Mrs. de Winter and her husband.
From the Paper
"Rebecca is thus an elusive entity for the girl who longs to become more like her and thus develops her own images and version of her. She follows these images, copying them in her desire to be deserving of the title of Mrs. De winter. Her marriage with Maxim was not exactly successful because the girl was pre-occupied with her middle-class upbringing and wanted to somehow trade that for a more adult, grown-up attitude. She found herself inexperienced in sexual matters which left her often feeling empty and unfulfilled after her sexual encounters with Maxim. Mrs. De Winter blamed this on her middle-class ness, something that she had come to resent deeply. She felt that only a woman like Rebecca could have a fulfilling marriage and a satisfying sexual life with her husband since she was experienced in the art of winning and pleasing people."
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"Hernando de Soto and the Indians of Florida", 2002.
A review of "Hernando de Soto and the Indians of Florida" by Jerald T. Milanich and Charles Hudson.
924 words (approx. 3.7 pages), 1 source, MLA, $ 32.95
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Abstract
This paper examines how "Hernando de Soto and the Indians of Florida" by Jerald T. Milanich and Charles Hudson which chronicles the expedition of the titular Spanish explorer through which what was to de Soto?s eyes a New World and to the Native inhabitants a homeland. It analyzes how the New World that promised to enrich de Soto and his nation of Spain ultimately proved the cause of his demise and how de Soto?s expedition, more importantly, caused the demise of the Native way of life of those whom de Soto engaged in combat and in contact with. It looks at how the authors Milanich and Hudson attempt to present a more three-dimensional, non-European counter and compliment to de Soto?s work through the use of archaeological evidence.
From the Paper
"Milanich and Hudson do not take issue with the characterization of de Soto as a man bent on personal enrichment as well conquest, though they do view his reportage of his encounters with interest as well as trepidation. But their new archeological information regarding Native life provides the ?other side? that has so long been missing from accounts of de Soto?s expedition. Providing this ?other side? is particularly important, given that de Soto?s relationship with the Native Americans were more often than not, adversarial. Relying solely upon de Soto?s accounts as an objective source is not unlike relying solely upon the winning side?s words in evaluating a war."
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Italian Neorealistic Film, 1997.
Analyzes three major films: Rossellini's "Open City", De Sica's "Bicycle Thief" and Visconti's "Obsession". Examines style, themes and social messages.
2,700 words (approx. 10.8 pages), 9 sources, $ 95.95
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From the Paper
"Italian neorealism developed under onerous circumstances and became a form by which Italian filmmakers could express themselves in a new way. Essentially, the early neorealist filmmakers were doing what they could with the tools at hand and doing it under the watchful eyes of an antagonistic ruling class, From the tensions this arrangement produced, they created something distinctive, allowing them to develop ideas and to do so in a new cinematic style. At the time, Italy was ruled by fascists, who viewed art as valuable only to the degree it was useful. Yet, these films were not made in service of fascist ideas but as a counter to them. The forces that helped shape these films, the style that was produced by these tensions, and some important examples demonstrate the vitality achieved by Italian directors as World War II ended."
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Italian Neorealistic Cinema, 1996.
Innovative styles & social themes in Rossellini's [Open City], De Sica's [Bicycle Thief] & Visconti's [Obsessione].
1,575 words (approx. 6.3 pages), 6 sources, $ 55.95
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From the Paper
"Italian neorealism developed as a particular form of cinematic expression during the period when Italy was ruled by the Fascists. One of the best-known of what would be called the neo-realist approach to film was Roberto Rossellini's Open City (1945), and many of the characteristics of the movement were evident in this film. These films had an anti-establishment, revolutionary attitude. They had an extemporaneous, documentary quality enhanced in the early era by the materials from which they were made--war-time film stock, cobbled-together equipment, non-professional actors, and location shooting. Open City is a good example of this early period in neorealism, while Vittorio De Sica's The Bicycle Thief (1948) is an expression of the fully developed tradition from the period after the expulsion of the fascists and after the end of World War II. Luchino Visconti's..."
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