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History and Film, 2003.
Two essays that discuss how history is represented in two films.
2,760 words (approx. 11.0 pages), 7 sources, APA, $ 95.95
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Abstract
This paper presents two essays that discuss how history is represented in films: the 1997 "Amistad" that deals with the 1839 revolt by kidnapped Africans against their captors, and the 1939 "Drums Along the Mohawk" that deals with the effects of the beginning of the American War of Independence on the lives of pioneers living in New York State.
From the Paper
"The film Amistad is an account of a fact-base story of the revolt by kidnapped Africans against their captors. The incident touched off no less than three court cases in the U S with former President John Quincy Adams ..."
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World History in Film, 2005.
An analysis of four documentary films about different periods of history.
900 words (approx. 3.6 pages), 4 sources, $ 35.95
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Abstract
This paper analyzes four documentary films in the context of world history. It discusses the history behind each film and how the film the audience a taste of what it was like to live in that time. The program offers reenactments of possible events during this period of history. This helps the viewer to see the various environments and filming theory that help bring to life a by-gone age. The paper also discusses any interviews that were screened in the films about the time period.
From the Paper
"Film Studies: Analyzing four Documentary Films in the Context of World History Film 1: Japan: Memoirs of a Secret Empire. This film seeks to understand and verify the historical premise of 16th through 19th century Japan. The various issues of Tokugawa Era samurai classes and the Shogun's leadership are evaluated through a variety of international sources. The program offers reenactments of possible events during this period of history. This helps the viewer to see the various environments and filming theory that help bring to life a by-gone age. Also, there are interviews with various western and Japanese scholars that abound within the historical topics being discussed. This helps to create a more balanced approach to realizing the impact of historical events that would influence Japan's role in the world theater after the end of the Tokugawa government."
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Hong Kong in History and Film, 2005.
This paper looks at the history and political life of Hong Kong through film.
2,700 words (approx. 10.8 pages), 3 sources, $ 106.95
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Abstract
The political life of Hong Kong is examined as it is portrayed in cinema. Both views are valuable because film can often accomplish in one image what would require many pages by the historian. The writer discusses that for historians and filmmakers, the two dominant Hong Kong themes are nationalism and Hong Kong identity and, except for 1997, the two approaches complement and reinforce one another.
From the Paper
"Historical views of Hong Kong and cinematic views are similar. To some extent, the history and political culture of Hong Kong can be learned through film. The value of film is that it stresses the human element, whereas history tends to ignore it. At the same time, cinema is limited since it only developed near the end of the 19th century. Furthermore, Hong Kong cinema was forced through repression to omit many aspects of life in the territory, including political aspects."
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The History of Film in America, 2002.
An examination of the U.S. film-making industry.
900 words (approx. 3.6 pages), 4 sources, $ 35.95
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Abstract
This paper examines the history of film in the United States, primarily through an analysis of the greatest films, the greatest actors and actresses and the advance of cinematic technology.
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Early American Film History, 2008.
An overview of the history of the American film industry from the late 1890s to the 1920s.
1,848 words (approx. 7.4 pages), 7 sources, MLA, $ 59.95
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Abstract
This paper discusses how American cinema from 1896 and thereafter really has its roots in Thomas Edison's early inventions relating to film projectors. The paper then takes a look at the development of early film and cinematography throughout the 1880s and 1890s, starting from the invention of the kinetophonograph. It also tracks the history of films beginning with the first motion picture called "Monkeyshines", filmed in 1891, through the building of the first film studio and movie theaters. In addition, the paper discusses how, by the 1920s, American film and cinematography seemed to mature as an industry and how the technology had advanced to such a degree that producers and directors could shift their attention from the technology to the actual making of a film and directing of the storylines.
From the Paper
"The development of cinema into an art form in its early years is inextricably related to the development and advances associated with the film technology itself. Eventually the dominance of the East coast film companies which had advanced various film projection technologies in tandem with film production such as Edison's own Edison Company and the American Mutoscope Company among others, gave way to film production companies which began to concentrate solely on film production rather than on the technology development as well as film production. This shift in focus from the film projector itself to actual film production began in earnest in the US with the work of Edwin Porter who is known as the father of the story film (Bordwell 57)."
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Film History Summary, 2003.
Summary of Chapter 3 of "Film History: Theory and Practice" by Robert Allen and Douglas Gomeny, 1985.
1,840 words (approx. 7.4 pages), 1 source, APA, $ 63.95
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Abstract
This paper presents a summary of "Chapter 3 of Film History: Theory and Practice" by Robert Allen and Douglas Gomeny that focuses on the need for an active process of reading and studying film history. It looks at film as a narrative and the personal agenda of the film historian. It looks at the economic and cultural assumptions of the film historian.
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Black Film History, 2002.
The history of the involvement of African-Americans in the Hollywood film industry with a focus on the contribution made by women.
2,641 words (approx. 10.6 pages), 8 sources, MLA, $ 79.95
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Abstract
This paper looks at the history of the inclusion of blacks in the film industry since the early 20th century. It discusses major players in the field, especially women, beginning with the all-black film movement that started in the silent era with the Lincoln Motion Picture company in Los Angeles in 1916. The writer mentions the hardships and hurdles that the African-Americans faced in the form of discrimination and racism before they could establish themselves in the film industry. The paper also examines the changing image of how African-Americans were portrayed in movies in the past.
From the Paper
"In recent years, both blacks and women have had to fight to become recognized in the film industry and to achieve any form of power. There are now a handful of black film directors, and a few women directors as well. In the silent era, though, when the economics of filmmaking were quite different, there were a number of women in the director's chair, many forgotten today, just as there were many black directors not in mainstream Hollywood filmmaking but in the all-black film movement. A number of these black directors were in fact women as well, and they constituted an early challenge both to white and male dominance of filmmaking."
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Comparative Film and Perspectives on History, 2005.
Examines three movies ("The Best Years of Our Lives", "Seabiscuit" and "Malcolm X") to show how they have successfully and accurately portrayed events in history.
2,460 words (approx. 9.8 pages), 4 sources, MLA, $ 74.95
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Abstract
The trouble with filmmakers using history as a genre to appeal to the mass audience is that most times the view of history is skewed to fit the status quo perception of the event. Fortunately filmmakers like Spike Lee, Gary Ross and William Wyler have brought it upon themselves to attempt to make movies that tell a history in the correct framework of historical context. This paper examines the three films: "The Best Years of Our Lives", "Seabiscuit" and "Malcolm X" to show how these filmmakers worked to bring the stories of historical events to light and used different film techniques to accomplish this feat.
From the Paper
"Because for much of his racing career the horse was considered undersized and therefore the underdog, this movie is considered a feel good film for today's audience. The movie takes place during a time of the American economy at its worst, during and after the Depression. The movie effectively paints the picture of how bad things were for people by using a grey color scheme and grey urban settings. The only time the viewer sees color such as reds and browns are in the context of the rich or the businessman's home."
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"Movie-Made America", 2002.
A review of Robert Sklar's "Movie-Made America", a critical history of film in America.
2,400 words (approx. 9.6 pages), 1 source, $ 89.95
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Abstract
This essay is a book review of Robert Sklar's (1994) "Movie-Made America." Sklar's book is a critical history of film in America, and an analysis of larger socio-political influences in the development of the American film, including the role of war propaganda films of the 1930s, 1940s, and anti-Communist films of the 1950s. The author of this paper indicates Sklar's analysis is uneven and at times contradictory, particularly when discussing contemporary films of Lucas and Spielberg.
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"Let America Be America Again", 2006.
A review of Langston Hughes's "Let America Be America Again".
1,150 words (approx. 4.6 pages), 3 sources, MLA, $ 39.95
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Abstract
This paper considers Langston Hughes's experience of living as a minority in America as conveyed in the poem "Let America Be America Again." It also looks at the historical context of the poem.
From the Paper
"In Let America be America Again, Langston Hughes relates the unique experience of being a minority in America. More specifically Hughes uses the poem to explore what it means to be an African-American in the United States and given the time period during which ..."
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"Let America be America Again", 2006.
An analysis of the poem "Let America be America Again" by Langston Hughes.
1,067 words (approx. 4.3 pages), 4 sources, MLA, $ 37.95
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Abstract
This paper takes a look at Langston Hughes' poem "Let America be America Again". The paper focuses primarily on the theme of hope and protest that are prevalent throughout the poem. According to the paper, Hughes emphasizes the conflict he sees for African-Americans and, at the same time, he visualizes hope for them.
From the Paper
"Here we see how the poet is reaching for hope that he has not yet seen but believes is possible. This passage reveals how America can be the dream that his people long for without tyranny and the notion that one man can crush another. Here, we see how the poet longs for every man to get along and believes that it can happen at some point in history. This is also evident when the poet writes, "opportunity is real, and life is free,/Equality is in the air we breathe" (13-14). He writes, "I am the young man, full of strength and hope,/Tangled in that ancient endless chain/Of profit, power, gain, of grab the land!" (26-8). This is an interesting passage because it unites the hope the poet believes in and the underlying reason for protest of why it does not exist. Again, we see that the poet clings to hope because he realizes how important it is to the human psyche. "
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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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Cultural Patterns in America and Latin America, 2002.
A comparison of cultural patterns in North and Latin America.
1,900 words (approx. 7.6 pages), 8 sources, $ 71.95
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Abstract
A 8-page paper outlining the cultural patterns that are existent today in America and Latin America and comparing how their differences could be resolved through common ground rules of interpersonal communication.
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"Africans in America: America's Journey Through Slavery", 2002.
An overview of this book by Charles Johnson and Patricia Smith.
1,400 words (approx. 5.6 pages), 2 sources, $ 53.95
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Abstract
This paper is in the format of an essay on "Africans in America: America's Journey Through Slavery", by Charles Johnson and Patricia Smith. The author provides an autobiographical sketch of Johnson and Smith and analyzes the content and quality of the book.
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?Let America Be America Again?, 2002.
Analyzes this poem by African-American poet and social-writer, Langston Hughes.
1,104 words (approx. 4.4 pages), 3 sources, MLA, $ 38.95
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Abstract
Langston Hughes was one of the world's most important interpreters of the African-American experience in the United States during the decade prior to World War II and the subsequent civil rights movement. Hughes published a variety of famous works, including the thought-provoking poem, "Let America Be America Again.? The paper shows that in this poem, Hughes presents a strong awareness of the American dream, yet talks about it as if it were a thing of the past, even to those who had once believed in it and even profited from it. It shows how Hughes cleverly uses a method of physical disconnection to demonstrate how Negroes, at the time, never experienced the American Dream. The paper also shows how Hughes? writing style is influenced by his race and culture, showing hints if jazz and blues in the poem.
From the Paper
"Many critics say that Hughes? poem is written in the tone of a black sermon, as if he were preaching to his audience (Wagner, p. 311). Others say that the poem is written in a conversational style, in which Hughes enables the speaker and audience to interact with one another. Still, the rhythm and rhymes contribute to the overall effectiveness of the poem, in which Hughes conveys his thoughts, emotions and beliefs about America in the 1930?s."
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