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The Genre of Travelogues, 2008.
This paper discuses the genre of travelogues by comparing Caryl Phillips' "The European Tribe" and Karen Connolly's "Touch the Dragon - a Thai Journal".
3,470 words (approx. 13.9 pages), 7 sources, MLA, $ 97.95
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Abstract
This paper states that Caryl Phillips' "The European Tribe" and Karen Connolly's "Touch the Dragon - a Thai Journal" are two very different types of 20th century travelogues. The author points out that Caryl Phillips' book is definitely superior in its attention to history and context because the author kept searching, reflecting and reporting on what he noticed in his travels in Europe. The paper concludes that Connolly's work is immature, has little to report of Thailand as a greater phenomenon but has much to account about the teenage, feminist impressions of Karen Connolly herself. The paper relates that "Touch the Dragon" does serve a growing market for travelogues produced by young people for youths who typically wish to travel as a guaranteed source of self development.
Table of Contents:
Introduction
Caryl Phillips and "The European Tribe"
Karen Connolly, "Touch the Dragon - a Thai Journal"
Travel as Source of Identity
Concluding Remarks
From the Paper
"She is gradually introduced to Thai etiquette, which she confesses to sometimes resenting, as in the need for great politeness or just not pointing with one's foot. The reader does wonder how some Thai people with whom she came in contact thought of their visitor. Again, there is the sense of a book not written by the best caliber of Canadian, but by a person of a certain age used to self-promotion to think that her impressions should be taken seriously or as significant, as a very unattractive feature of this book."
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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 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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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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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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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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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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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 Short Story as Genre, 2006.
A paper looking at whether short stories can be categorized as a genre.
4,006 words (approx. 16.0 pages), 8 sources, MLA, $ 108.95
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Abstract
This paper discusses the various definitions of short stories that have been put forth over time by authors and experts in the field of literature and considers whether these definitions adequately prove that the short story can be considered a genre. The paper discusses the features of a short story that these authors and experts describe but concludes that, after all is said and done, there is no definitive feature of a short story that puts it in a genre by itself.
From the Paper
"A standard definition would allow readers to distinguish the short-story genre from a multiplicity of other genres. Additionally, the definition would enable readers to recognize similarities between genres: tragedy, the essay, the sonnet, but also verse narratives, so-called natural narratives, myths, jokes, anecdotes, or news stories, novels, short novels, annals, long stories, scientific reports, and plot summaries. Still, no such definition seems to exist."
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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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Challenging a Genre, 2005.
A review of Jean Rhys's 'Wide Sargasso Sea' and George Bernard Shaw's 'Pygmalion' as works that cleverly challenge the genre in which they are classified.
1,350 words (approx. 5.4 pages), 2 sources, $ 53.95
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Abstract
'Wide Sargasso Sea' by Jean Rhys and 'Pygmalion' by George Bernard Shaw are both excellent examples of this literary phenomenon of challenging audience assumptions about genre. The former is an example of prose fiction while the latter is an example of theatrical drama. While both possess many of the overarching, superficial characteristics of each genre, both Shaw and Rhys manipulated their work so as to challenge their respective audiences.
From the Paper
"Works that challenge our expectations are not nearly as common as some readers and critics might imagine. It is more difficult to challenge the basic presumptions of a given genre that one might think. After all, in order to even be considered part of a given genre, a piece of literature must conform to some of the standards that make up that genre. Prose fiction cannot comfortably be called prose fiction if it is written wholly in stanzas. That would break too many genre barriers for critics to easily be able to evaluate the work as a part of any genre. As a consequence, it takes an adept author to create a literary work that is recognizable as belonging to one genre or another and yet which simultaneously challenges the expectations of critics and readers alike. Nonetheless, this task can be accomplished."
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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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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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Tom Clancy and the Techno-Thriller Genre, 2002.
Examines the literary genre of the "techno-thriller", particularly the novels of Tom Clancy.
1,400 words (approx. 5.6 pages), 6 sources, $ 53.95
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Abstract
This paper includes brief summaries of three Tom Clancy novels and compares and contrasts them. A brief background of Tom Clancy himself is included, as well as an explanation of how he originated the "techno-thriller" genre.
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How Publishers Construct Genre, 2006.
An examination of the publishing industry's ability to direct consumer reading patterns through the construction of new book "genre", using Penguin Group as an example.
1,951 words (approx. 7.8 pages), 4 sources, MLA, $ 62.95
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Abstract
The paper examines the history of Penguin Group, starting with the growth of its parent company, S. Pearson and Son, in the 19th century. The paper examines several companies within the group, and focuses on the changes since the mid 1990s. It gives quotes from and examples of actions by members of management from various of these companies to show how they determine what content to market. In conclusion, the paper finds that Penguin makes genre in order to make money.
From the Paper
"More people are buying more books than ever before. The global market for English language consumer books is currently valued at around $20bn a year. And it is set to grow by around 4% per year over the next five years. Book production is geared by the resulting statistics of what is selling and what isn't. The more a book sells, the more it is printed and distributed. If Penguin finds itself with a high-selling author, they will promote that author to the readers, who, in turn, will probably buy more books by that author and therefore triggering the printing and distribution process for that book. But today Penguin Group is looking to capitalize on the changing nature of consumer publishing to grow faster than the market as a whole."
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