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Gangster Film Genre, 2008.
An analysis of the historical context of the rise of the gangster film genre in the United States and its development from 1930 to 1960.
1,897 words (approx. 7.6 pages), 9 sources, MLA, $ 60.95
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Abstract
This paper looks at the history of the gangster film genre in the United States from the 1930s to the 1960s. It specifically looks at the impact that this film genre has had on American society and culture. The paper discusses the historical context of the rise of the gangster film genre and why it appealed to Americans at that time in their history. It gives specific examples of films and characters that fit into this category.
Table of Contents:
The Rise of the Gangster Genre
The Postwar World
1960's and Beyond
From the Paper
"As World War I ended, the 18th Amendment ushered in Prohibition and with it a wave of crime matched only by the drug and gang wars of our own era. Where brewing and distilling were once respectable trades, the importation, production, transportation and sale of alcoholic beverages was taken over by criminals during the 1920s. In big cities like New York or Chicago, headline grabbing mobsters battled for control of this illegal market. Competition among newspapers sensationalized and romanticized the stories of events like the St. Valentine's Day Massacre or the exploits of "Scarface" Al Capone. Our contemporary war on drugs can be seen as a parallel event - both of which run counter to the dominant free market and individual free choice ideology of the United States. Just as ethnic minorities were disproportionately represented as violating prohibition in the 1930s, those portrayed in modern gangster films are disproportionately Latino and Black or immigrant."
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Gangster Films and their Evolvement, 2001.
This paper compares the gangster film, "Goodfellas", to the Godfather Trilogy.
1,350 words (approx. 5.4 pages), 6 sources, $ 45.95
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Abstract
The author of this paper uses four films and quotes to illustrate the influence that the Godfather Saga had on the film "Goodfellas". It summarizes each of the Godfather movies including character analysis and connects them to the characters in Goodfellas.
From the paper:
"Gangster films have been popular for many years. Everybody loves a film that depicts the days of mobsters and the many deals and connections that were portrayed within those films. Perhaps there is a small piece of each of us secretly wishing we could throw away the straight-laced life and become a part of the gangster scene back when it had respect. Whatever the reason America loves the films they are a sure moneymaker at the box office. The Godfather Trilogy began in 1972 and had three films to its saga. Each one was popular and picked up where the other left us hanging to continue the story. We expected each Godfather film to resemble the previous work of art. What we didn't expect was the impact and influence these three films would have on a more recent project called Goodfellas. While Goodfellas is its own movie in its own right the movies is filled with the obvious influence of the Godfather Saga. "
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Gangster Film, 1989.
Discusses development & evolution of this film genre, 1925-1950. Examines major elements, style, influences, themes, mythic resonances, directors, stars and films from "Little Caesar" (Mervyn LeRoy) to "White Heat" (Raoul Walsh).
2,925 words (approx. 11.7 pages), 6 sources, $ 103.95
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From the Paper
"This paper will present a discussion of the development and evolution of the genre of the gangster film. The paper will focus on how the gangster film genre matured and changed over time from the year 1925 through 1950. The paper will also discuss the major elements of the genre, as well as the style, influences, themes, and mythic resonance's contained in gangster films. Specific films, directors and stars of the gangster genre will also be discussed.
Throughout its development, the gangster film genre provided an index of the social, political and cultural values of the times. As a popular form, gangster films reflected the ideas and concerns, which held the attention of the general public. As the genre developed, the moral stance, which these films presented (...)"
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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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Gangster Films, 1999.
Examines genre's values, violence and themes, focusing on two versions of "Scarface" (1932 and 1983).
1,350 words (approx. 5.4 pages), 3 sources, $ 47.95
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Abstract
"Films from a given period reflect the social attitudes of that time, no matter when they may be set in time. Thus, a science fiction film may exist in an imaginary future, but the attitudes are those of the time in which the film is made.
From the Paper
"Films from a given period reflect the social attitudes of that time, no matter when they may be set in time. Thus, a science fiction film may exist in an imaginary future, but the attitudes are those of the time in which the film is made. The gangster film has a particular history of reflecting social and political concepts of the time when the film is made because of the effort to show the way society may cause crime and the effect crime in turn has on society. An interesting way of analyzing this is to examine the same story filmed in two different periods, such as the two versions of Scarface (1932 and 1983). Each takes an overt stance to the issue of the relationship between crime and society even as each also reflects different ideas of how the criminal is formed by his psychology. The two Scarfaces are motivated largely by a desire to get ahead in the ..."
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The Gangster Movie Genre, 2002.
An analysis of "The Godfather" films as examples of the gangster movie genre.
2,155 words (approx. 8.6 pages), 5 sources, MLA, $ 67.95
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Abstract
This paper discusses the gangster movie genre in film and how "The Godfather" and "Godfather Three" are representative of this genre. The gangster world and its history are presented and an overview of the films given. Examples from the movies that illustrate characteristics of the genre are provided.
From the Paper
"Film productions often mimic real life. It is what allows them to be placed into genre categories. Genres in the movies are very much like genres in the world of literature. There are romance genres, history genres and others that depict the type of movie that the film falls under. One genre waxes and wanes in its popularity. The gangster genre is one in which many movies have been made and they are classified as gangster genre by the characters attitudes, the events and the historical context of the movie plot. Two very classic gangster genre films are The Godfather and The Godfather Part Three. Critics have admired as well as panned these movies depending on the critics taste and film desires, however they all agree that they are classic illustrations of the gangster genre."
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The War Film Genre, 2002.
An examination of the war film genre, which is the most prevalent and often used genre in most films produced in the 21st century.
1,888 words (approx. 7.6 pages), 6 sources, MLA, $ 60.95
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Abstract
This paper provides an in-depth analysis of the war film genre, its history and examples of some of the films that have been identified as a war film genre. The writer provides a list of common characteristics of the genre and examines several historical as well as modern war movies -19th century "Tearing Down the Spanish Flag"; "The Birth of a Nation" (D. W. Griffith); "Full Metal Jacket"(Stanley Kubrick) and "Life is Beautiful" (Roberto Benigni).
From the Paper
"The war film genre is also referred to as the anti-war film genre, since some of the war films do not only discuss war sentiments, but anti-war sentiments as well. War as a film genre "often acknowledge the horror and heartbreak of war, letting the actual combat fighting (against nations or humankind) provide the primary plot or background for the action of the film." Furthermore, war films can also be "paired" with other film genres, wherein the topic of war can be interspersed with comedy, drama, or romance as a co- or sub-genre of the film. Tim Dirks, in his article about the war film genre, enumerates several characteristics and themes that can often be found in war film genres:"
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The Coen Brothers: A Study in Genre and Aesthetics, 2002.
A study of the career of independent film-writers, directors and producers, the Coen Brothers.
3,040 words (approx. 12.2 pages), 9 sources, MLA, $ 89.95
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Abstract
This essay discusses the aesthetic choices the Coen Brothers made throughout their career. It studies the films "Raising Arizona" for creative lens use in a farce, "Miller's Crossing" for camera angles in a gangster film, "Fargo" for long takes in a police thriller and "The Man Who Wasn't There" for lighting in a film noir. The paper argues that through the use of aesthetics the Coens shape each genre they try with their own signature auteur style.
From the Paper
"In a world where big-budget studios control most of what is seen in theatres, the Coen Brothers have managed to make independent features that they write, produce and direct as a team, and have had some moderate success. Their scripts often focus on unlikely heroes; they choose completely average people and places to become the focus of their quirky dialogue and situational comedy. Their charismatic "normal" characters have attracted a number of top actors and actresses to their projects, such as Holly Hunter, Nicholas Cage, John Goodman, Steve Buscemi, John Turturro, and Francis McDormand. In fact, with a reputation for making quality films, although often commercial failures, some of Hollywood's most respected actors have lowered their usual salaries to appear in Coen films. Tim Robbins appeared with Paul Newman in The Hudsucker Proxy, between projects of his own in the early nineties, Jeff Bridges took the leading role in The Big Lebowski with Julianne Moore in a supporting part, George Clooney followed up his success on ER with the main role in Oh Brother, Where Art Thou, and the Coens recruited Billy Bob Thorton and James Gandolfini for The Man Who Wasn't There. These stars have helped the brothers propel their own names into stardom, despite the only moderate success of their feature films, and have made their pictures well-known cult classics."
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The WWII Combat Genre, 2004.
This paper examines Norman Mailer's novel "The Naked and the Dead" in which the author incorporates the symbols, characters and narrative conventions of the WWII combat genre.
2,775 words (approx. 11.1 pages), 2 sources, APA, $ 82.95
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Abstract
This paper details the introduction and perception of the WWII combat genre in both film and literature. The writer of this paper defines genre as an element consisting of a shared set of rules, symbols and story patterns. In Norman Mailer's novel, "The Naked and the Dead," the author engages the symbols, characters and narrative conventions of the combat genre in a complex dialogue, both enmeshing and reinforcing audience expectations. By tracing the minority character of Martinez in "The Naked and the Dead," one can see how Mailer incorporates the genre in a way that reflects both the unique capacities of the novel as a medium separate from that of film. This paper also expands on Mailer's particular view of film as an inadequate representation of the complexities of war and America. The writer of this paper contends that Mailer's novel must be read in the context of the combat film genre, which was well established in the memory of American audiences by 1948 as a frame of reference for understanding and justifying WWII. This paper clearly details the characteristics of Martinez which fits the conventional stereotype evolved from and established within the genre of the World War II combat film. The writer also discusses the significance of various WWII related films that were released in the 1940s including: "Bataan," "GI Joe" and "Home of the Brave."
From the Paper
"The multiracial platoon acts as a symbol of democracy, functioning to distinguish Americans from a racist enemy, the Nazis. At the same time, the visual presence of minorities helps to legitimize 'good' racism (racism against the Japanese) by framing it with images of racial integration. Feigning inclusion of minorities is also a propaganda tactic aiming to harness collective support for the war. In Bataan there are four minorities: a Mexican-American, two Philipinos and a black man. The Philipinos are associated with nature; they are implicitly more primitive and closer to the enemy. The Mexican-American is associated with jazz music and a womanizing past, and the black man is associated with spirituality. All four characters die fairly early on in horrible barbaric deaths. In later movies, some or all of these characteristics may be lumped together into composite minority representatives."
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Western Film Genre, 2008.
An analysis of Andre Bazin's "The Western: Or the American Film Par Excellence" in which he analyzes the western filmmaking genre.
777 words (approx. 3.1 pages), 1 source, MLA, $ 27.95
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Abstract
This paper discusses the evolution and success of the western genre of filmmaking. It discusses Andre Bazin's "The Western: Or the American Film Par Excellence" in which he analyzes this genre. It describes Bazin's arguments, as well as his comparison of the western to the courtly romances of the medieval era in their focus on the chaste woman and his comparison of them to the Russian revolutionary genre.
From the Paper
"To Bazin, the only other modern epic cinema was the Russian revolutionary genre, which had some parallels to the western: both showed a new society undergoing its tumultuous birth pangs, imposing a new order and morality upon a vast canvas of human activity during a fleeting historical moment. Bazin concludes that, like the mythologized history of the Russian revolution, the story of the American west would have been relegated to much lesser international prominence were it not for the power of the moving image to universalize human experience."
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Genre Applications in Education, 2008.
This paper argues for the balance of normative and adaptive applications of genre for teacher/scholar educational standards.
1,116 words (approx. 4.5 pages), 3 sources, MLA, $ 38.95
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Abstract
In this article, the writer analyzes the basis for genre standardizations that would include both a normative approach and adaptive approach in educational research and application. The writer notes that by realizing the importance of normative genres in language studies, students can better understand how to categorize various issues in writing. However, the writer maintains that these normative standards cannot be so heavily relied upon that they deny new genres of significant importance. In essence, the writer argues that a balanced approach to normative and adaptive genre applications must be adhered to in an effective writing criterion for modern educational perspectives.
From the Paper
"Critics of normative genre approaches in writing provide important arguments that explain why genre studies norms must be provide a form of standardization that must be adhered to. The premise of normative standards is only providing an outline for the growingly diverse set of genre studies that have arisen in the new globalized community. Many more cultural norms and values are being expressed, which reestablish the normative ways in which people think and write. However, the premise of normative genre values is essential for various cultures to establish their cultural identity, which provides the foundation in which to understand other cultures and genre-based evaluations. This perspective is helping teachers to understand the complexities of genre studies. Devitt defines this critical stance in educational standards that is important to realizing why genre categorizations can be dangerous to effective critical thinking, yet they are needed to establish a basis for localized identity issues for the educational scholar.."
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Culture, Genre and the Construction of Love in Comparative Literature, 2002.
A look at the themes of culture, genre and the construction of love in "Waiting for Godot" by Samuel Beckett, "The Rez Sisters" Tomson Highway and "Things Fall Apart" by Chinua Achebe.
3,150 words (approx. 12.6 pages), 3 sources, $ 115.95
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Abstract
This essay will argue that there are different kinds of love endorsed and criticized in each text. In general these may be grouped into two categories: (1) love for one's fellow human being; and (2) love for something transcendent of the individual, whether it be a community/culture or a deity. As will be seen, the generic conventions of drama limit the expression of meaning to characters' words and actions. However, both Beckett and Highway stretch the boundaries of convention in their dramas which, by flouting the conventional realism of the dramatic genre, permit the exploration of complex representations of love. In contrast, it may be argued that Achebe remains more within the conventions of his genre than Beckett and Highway in theirs. This is not a weakness, however, in that the novel form allows Achebe to represent human character and motivation - in terms of the manifestation of love - on levels that the dramatic genre cannot.
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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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New Genre Public Art and Social Policies, 2006.
A review of the history of new genre public art encompassing various social issues.
972 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
This paper reviews and discusses new genre public art, which developed as a result of artists becoming interested in addressing social issues and changes through their artistic endeavors. The paper concludes by discussing how new genre public art has come to encompass various social issues over the years including racism, violence against women, AIDS and environmental damage.
From the Paper
"Starting in 1974, the NEA began encouraging artists to develop artwork that was representative of the physical site on which it stood. This led to artists' differentiation between "public art" and "art in public places". "Public art" referred to sculptures occupying a public space that glorified one version of national history adhered to by members of the socially dominant group in society. The "cannon in the park" phenomena is an example of such art, in which America's military might and glory celebrated by its privileged members of society was put on artistic display in public spaces such as parks, plazas, shopping malls, and so on. In contrast to this, "art in public places" referred to artwork that sought to bring attention to the physical, visual, historical, and social properties of a particular site. This type of public art led to its burgeoning use in the seventies towards promoting social and historical concerns of groups traditionally under-represented in the art world, such as women and minorities."
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New Genre Public Art and Social Policies, 2006.
A review of the history of new genre of public art.
979 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
This paper reviews and discusses a new genre public art, which developed as a result of artists becoming interested in addressing social issues and changes through their artistic endeavors. According to the paper, the evolution of art began in the 1950s. The paper concludes by discussing how new genre public art has come to encompass various social issues over the years including racism, violence against women, AIDS and environmental damage.
From the Paper
"Starting in 1974, the NEA began encouraging artists to develop artwork that was representative of the physical site on which it stood. This led to artists' differentiation between "public art" and "art in public places". "Public art" referred to sculptures occupying a public space that glorified one version of national history adhered to by members of the socially dominant group in society. The "cannon in the park" phenomena is an example of such art, in which America's military might and glory celebrated by its privileged members of society was put on artistic display in public spaces such as parks, plazas, shopping malls, and so on. In contrast to this, "art in public places" referred to artwork that sought to bring attention to the physical, visual, historical, and social properties of a particular site. This type of public art led to its burgeoning use in the seventies towards promoting social and historical concerns of groups traditionally under-represented in the art world, such as women and minorities."
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