| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "JEAN LUC GODARD CONTEMPT": |
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Jean Luc Godard?s ?Contempt?, 2005.
Summary and analysis of the Jean Luc Godard's 1963 film "Contempt".
986 words (approx. 3.9 pages), 5 sources, MLA, $ 35.95
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Abstract
This paper summarizes and analyzes Godard's film about the deterioration of a marriage between Paul Javal, a French writer and his wife Camille.
From the Paper
"So eager is Paul to succeed, that he sells his soul to the devil, so to speak, and accepts the task of fixing a script for the American producer, Jeremy Prokosch, played by Jack Palance. The screenplay he has been hired to fix is by Friz Lang, who plays himself as writer and director of an adaptation of Ulysses. The film, being shot at Rome's Cinecitta studios and the Isle of Capri, is suffering due to Prokosch's over-bearing interference."
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The French New Wave and Jean-Luc Godard, 2003.
An overview of the French New Wave film movement through an analysis of one of the key film makers of this period, Jean-Luc Godard.
2,031 words (approx. 8.1 pages), 6 sources, MLA, $ 64.95
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Abstract
This paper examines the French New Wave, one of the most significant movements in cinema?s history, which occurred during the period of around 1958 to 1964 and contained a whole new interpretation of cinema and narrative techniques. In particular, it analyzes Jean-Luc Godard's films "A Bout de Souffle" and "Le Mepris" and comments on the way these films show Godard's relationship with the classical Hollywood period through the visual style and techniques he uses.
From the Paper
"European cinema is felt to have gained its greatest strength in producing smaller-budget films as a reaction to the big budget genre films produced by the Hollywood studios. These are called ?art-house? films, or ?art cinema?. Instead of the escapism and spectacle that Hollywood narratives offered, art cinema focussed on realism (nouvelle vague), ambiguity and innovative styles. A Bout de Souffle (Breathless), Godard?s first feature length film, set the tone for the French New Wave as it was one of the first successes to come out of the period. It is still very much discussed today as it offers a good example of the period?s conventions. The film also uses many conventions of Hollywood genre narratives, but whilst it can be seen as pastiche, it could also be said that placing conventions from different cinemas also creates distance between them to allow for intellectual criticism. The film is based on a Hollywood type script by Truffaut, with a 1930?s film noir style narrative."
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"Bonnie & Clyde" ( Arthur Penn ) &" Breathless" ( Jean-luc Godard ), 1997.
Compares gangster films' styles, imagery, sources, characters, atmosphere and violence.
1,575 words (approx. 6.3 pages), 4 sources, $ 55.95
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From the Paper
" The gangster genre in film encompasses a number of different forms, and the range can be seen in a comparison of Arthur Penn's Bonnie and Clyde and Jean-Luc Godard's Breathless, two films which make use of conventions of the gangster film while extending those conventions into very different territory. The gangster genre in American film is primarily an urban phenomenon, while Bonnie and Clyde has a rural setting in keeping with a specific criminal history from the 1930s. Breathless draws its inspiration from American crime films of the 1940s and uses the conventions found there to express a different view of the urban criminal landscape and of the way a film should be structured. In some respects, the Penn film is more conventional in structure, but it as well reshapes the genre in service of a more mythic expression of American freedom and rebellion."
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Hitchcock, Fellini and Godard, 2006.
Shows why Alfred Hitchcock, Jean-Luc Godard, and Federico Fellini should be considered true 'auteurs'.
3,136 words (approx. 12.5 pages), 10 sources, MLA, $ 91.95
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Abstract
The word "auteur" has slipped from common usage when describing an artist of film. Perhaps, and there are critics that would rebut it, only Woody Allen is left as someone who is involved in every creative process of film making. The paper argues that while surely there were auteurs in the early days (D.W. Griffith , Charlie Chaplin, Mack Sennett and Cecil B. deMille), there are three pinnacles in recent times (i.e., since the 1950s) that truly deserve the name that was coined for them: Alfred Hitchcock, Jean-Luc Godard, and Federico Fellini. The paper shows how each provided audiences world-wide with a style that was uniquely theirs; some masterpieces and others just good entertainment. Each worked in a different country (countries, in Hitchcock's case, but mostly, his successes were in America), each brought a particular genre to the film, and it is as different auteurs that their work is examined and evaluated.
From the Paper
"La Strada, which was undoubtedly his first international success, Fellini considers "his most juvenile, lyrical, most confessional film." It was also one film which made Anthony Quinn a star- getting rid of his villain roles in American films, and providing him with a powerful image that changed his entire career. While it is often difficult for a writer-director, an auteur, to explain precisely what motivates the film, in the case of La Strada, Fellini said that "Jesus must be sought outside the church....Christ appears to men under different manifestations, even in the guise of a circus performer. Today we are finished with the Christ myth and await a new one." "
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Classicism and Art Cinema, 2007.
A comparison of Hollywood classicism and art cinema using the films "Singin' in the Rain," directed by Gene Kelly and Stanley Donen and "My Life to Live" (Vivre Sa Vie) directed by Jean-Luc Godard.
2,114 words (approx. 8.5 pages), 6 sources, MLA, $ 66.95
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Abstract
This essay attempts to broadly define the characteristics and underlying principles of both Hollywood classicism and the art cinema. It references one film from each category - "Singin' in the Rain," directed by Gene Kelly and Stanley Donen and "My Life to Live" (Vivre Sa Vie) directed by Jean-Luc Godard, respectively. The paper argues that the predominant stylistic distinction between the two modes lies in the art cinema's subversion of logical causality.
Table of Contents:
Introduction
Hollywood Classicism
The Art Cinema
Conclusion
From the Paper
"Moreover, Godard is also situating his work in the context of New Wave cinema for his audience. This is evident towards the end of My Life to Live in which - in one of the moving, documentary-like boulevard-scanning shots that are commonplace in the film - Godard shows and has his characters comment upon a line-up of movie patrons to see Truffaut's Jules et Jim; a work by his New Wave rival. Within the broader span of cinematic history Godard situates his protagonist, Nana, in a mirror relationship to the protagonist of La Passion de Jeanne d'Arc. As Nana watches her cinematic predecessor crying in closeup there is a closeup of a tear running down Nana's face as well; a referential cinematic relationship that Godard's audience would both expect and understand."
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Shakespeare's "King Lear" in Film, 1995.
This paper examines two film versions of Shakespeare's "King Lear", the 1987 version directed by Jean-Luc Godard and the 1984 television version starring Laurence Olivier: Style, critical reception, characters, narrative and adherence to Shakespeare.
2,475 words (approx. 9.9 pages), 12 sources, $ 87.95
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From the Paper
"The purpose of this research is to examine two film versions of Shakespeare's King Lear. The plan of the research will be to set forth the context for and fundamental premises of the two works, and then to discuss the style, tone, language, and treatment of the protagonist in each.
The television production of King Lear adapted by and starring Laurence Olivier is accurately described as straightforward in its style of treatment of the text. The production as a whole is set in pre-Christian Britain, which is consistent with the fact that, according to Rowse, the Lear story was familiar to Elizabethans from Holinshed's account of ancient British history and legend. The use of Stonehengelike pillars and rustic wood as structural elements, together with wilderness exterior settings, is consistent not only with ... "
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"Pierrot Le Fou", 2003.
Analyzes Jean Luc-Godard's 1965 film.
900 words (approx. 3.6 pages), 3 sources, $ 31.95
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Abstract
Discusses the example of the auteurism theory of the French New Wave and the concerns and themes of the film. Examines the formal aspects of mise-en-scene, lighting, editing, and other elements and how they expressed the auteur theory.
From the Paper
"Jean Luc-Godard's 1965 film Pierrot le Fou is one of the finest examples of the auteurism theory of the French New Wave, and as such it stretched the medium of film. American film critic Andrew Sarris, defining the auteur theory, wrote that "film should ..."
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?A Bout de Souffle? (?Breathless?), 2004.
This paper discusses that ?A Bout de Souffle? ("Breathless"), a romantic thriller directed by Jean-Luc Godard in 1960, is a treasure of its times.
1,475 words (approx. 5.9 pages), 6 sources, MLA, $ 48.95
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Abstract
This paper explains that ?A Bout de Souffle? ("Breathless") was made under the influence of the Nouvelle Vague movement in France, which desired to break free of conventions in filmmaking and highlight the importance of personal expression. The author points out that ?A Bout de Souffle? is remembered for its slick direction and for its symbolization of freedom and individuality. The author explains that the film is about a generation, which had lost interest in the ordinary life, or life as they saw it, and for this reason, they changed the way it appeared.
From the Paper
"Story-wise the movie is simple. The plot is fast and exciting absolutely perfect for the audience of 1960s. A guy Michel, played by Jean-Paul Belmondo, steals a car and dashes off to Paris to be with his girlfriend Patricia (Jean Seberg). On his way, he kills a cop who tries to stops him. However, Michel lacks remorse and is probably proud of his actions being a great Bogart fan. He wants to go to Italy and convinces her girlfriend to come along. But since Patricia is not willing to be a part of the adventure, she double-crosses him, which leads to his death in the last scene. The movie may have an ordinary Americanized storyline involving a gangster, a less than perfect girlfriend and few cops, but it is priceless where camerawork, direction and depiction through symbolism are concerned."
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"A bout de Souffl, 2002.
This paper takes a look at Jean-Luc Goddard's film "A bout de Suffle", or "Breathless" in English.
1,515 words (approx. 6.1 pages), 3 sources, MLA, $ 49.95
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Abstract
The paper attempts to answer the question of why this film is so popular when compared with other French classics. The writer posits that although the film does not have a distinct storyline, the film perfectly captures the mood of the 1960s. The paper gives examples from the film of techniques used by Goddard to inspire viewers and other artists alike.
From the Paper
"But Goddard didn?t achieve this goal through the storyline alone but also made use of distinctive camerawork. He is known for introducing a totally different set of camera techniques including jump cut, lifted filming, out-door shooting and quick-cuts. Filmmakers have repeatedly copied jump-cut technique since A bout de souffl??s phenomenal success. One website explain what jump cut really is: ?A jump cut occurs when two shots are mismatched in space or time. The transition between the two shots thus feels abrupt or awkward. shows the continuity of action by showing its start in one shot and its follow-through in the next shot. For example, Shot 1 A woman walks down a sidewalk toward a car. Shot 2 She stands next to the car and opens the door. The cut interrupts the flow between her walking down the street and her opening the door. In the first shot she appears in one place in the frame, and in the second frame she appears in another. We must pause a moment to figure out what happened between shots 1 and 2.""
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Contempt of Court and Free Speech, 2008.
This paper looks at the issues of contempt of court and free speech, discussing the debate of authority or right.
6,400 words (approx. 25.6 pages), 9 sources, APA, $ 148.95
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Abstract
In this article, the writer notes that the mindset of the law-makers in the U.S. gave way to the making of the Constitution, and more importantly the inclusion of an entire chapter that would particularly safeguard the rights and interests of the people against all other authorities in the country. These were known as the Fundamental Rights, which would cater to the needs of the average man in the country, thereby providing him respite even in the face of the highest authority in the nation if his rights were to be violated in any instance. With regard to the topic of contempt of court and free speech, the writer looks at the debate between the will of a higher authority that is the judiciary and the most basic yet unavoidable right of the common man, i.e. the right to freedom of expression. Since the project topic seems to be a conflict between the two, the researcher first defines or throws light on what both of them hold. The researcher then discusses both the aspects of this issue, thereby trying to draw a conclusion with regard to what finally over-rules; authority or right.
Outline:
Introduction
Chapter 1- Contempt of Court: A Punishable Offence
Chapter 2- Freedom of Speech: A Fundamental Right
Chapter 3- Contempt of Court vs. Free Speech
Chapter 4- Position of the Indian as well as English law in the context of Contempt of Court
Conclusion
From the Paper
"The present case is one of critical analysis and amazement as to how irresponsible and callous the media can be, in the pretext of doing their job. The fact that such media persons do not understand the implication of their publications, attacking and impugning the very integrity and character of the judges, is indeed, a very disgraceful thing to happen in the context of freedom of speech and expression. Nevertheless, in all this process the publishers got what they wanted- intense publicity and profits at the expense of a panel of a few judges. And all the judiciary did in this respect was to let them off on the basis of a tendered apology. This does send negative signals to the mass at large, that might start thinking that they can say and do anything they want to in the exercise of their freedom of speech and expression, and can get away with the same by tendering false apologies to the Court, to escape punishment. In this way, not only did the reputation of the judiciary suffer a blow, it also did not succeed in meting out proper justice to the wrong-doers by simply letting them loose."
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Blue Jeans and Society, 2006.
A look at the history of denim jeans and the impact denim has had on society.
2,325 words (approx. 9.3 pages), 11 sources, APA, $ 71.95
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Abstract
This paper reviews the intertwined, complicated history of denim jean fabric and how the name came about. This paper also takes a look at how the denim jean fabric has had an impact on society, fashion and culture.
Contents:
Introduction
The Origin of Jeans
Technical Aspects: What is Denim?
The History of Blue Jeans
Impact on Society
Conclusion
From the Paper
"There are several sources which ascribe various meanings to the word denim. Many of the source books on the subject state that denim is derived from the English translation of the South of France French phrase 'serge de Nimes'. Denim fashion history has therefore become associated with Serge de Nimes. (Denim Jeans - Fashion History). The Serge de Nimes was originally a wool silk mix, twill weave. There was also fabric which was known as "nim" in France and both these fabrics were composed partly of wool. (A history of Denim)
The word "Jeans" is considered by most source to come from 'Genoese'. This was the name give to Italian sailors in Genoa who "...when at sea dressed in blue fustian fabric composed of a cotton and wool or linen blend." (The Blue Jeans Story) Another European fabric made from a cotton, linen and wool blend "... was known as 'jean' after the sailors of Genoa, Italy, who wore it." (Denim Jeans - Fashion History)"
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Culture of Jeans, 2000.
A look at the ideology and symbolic meaning behind jeans and how this has changed over time.
1,900 words (approx. 7.6 pages), 6 sources, $ 60.95
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Abstract
The ideology of Jeans in the United States has been changing for decades due to the shift in pop culture. Because of the diversity of American culture, the idea behind the jeans has evolved from hard-working to self identification. The author examines the changing symbolic significance of jeans for American society over time and the symbol they serve for popular culture.
From the Paper
"Jeans, or to be exact, blue jeans, have been carrying its very symbolic significance for America over the last 150 years. For the past century and a half, the culture of jeans has changed the ideological symbolism from initial proletarian wardrobes (toughness, independence, and hardworking) in the mid-nineteenth century to modern twenty-first century representation of selfness (uniqueness, individuality, and personal styles). Not only has the ideology changed over time, but the jeans per se, its design, style, embellishment, or even marketing strategy also change from ?western-era? plain style emphasizing durability, through ?rebellious-period? creative style stressing anti-tradition, to ?post-war epoch? advocating casualness, following neck-and-neck along the societal pulsation. Jeans therefore can serve as an accurate barometer of trends in contemporary, now and then, popular cultures."
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Jean Lafitte: The Gentlemen Pirate.
This paper discusses Jean Laffite, a pirate who played a heroic part in the Battle of New Orleans.
850 words (approx. 3.4 pages), 6 sources, APA, $ 30.95
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Abstract
This paper explains that the legendary pirate, Jean Laffite, who lived from 1780 to 1825 (approximately), was born in Bayonne, France. The family eventually migrated to the Island of Espanola from where the Laffite brothers sailed the Gulf and the Caribbean and were involved in many privateering missions. The author points out that a pardon was offered to Laffite in 1814 by the British if he would assist them in attacking New Orleans, but Lafitte refused and informed the U.S. of the plans, which resulted in Lafitte fighting for Andrew Jackson in the Battle of New Orleans in 1815 and receiving a pardon from President James Madison. The paper relates that Laffite sailed to Mugeres Island, which is off the Yucatan coast, where he continued his pirating activities until sometime around the year of 1825 when he became "mortally ill," returned to the mainland, and died.
Table of Contents
Jean Laffite
Laffite and Governor Claiborne
Laffite and General Jackson: The Battle of New Orleans
Laffite: The Hero
Conclusion
From the Paper
"The U.S. Army and Navy attacked Laffite and captured some of his ships. Laffite still announcing his loyalty to the United States offered his assistance to the worn and weary troops of General Andrew Jackson defending New Orleans in exchange for a full pardon for himself and his men. General Jackson accepted the proposition and Laffite and his men, now called the Baratarians, fought with all their might in the Battle of New Orleans, which took place in December of 1814 and January of 1815. General Jackson said that Laffite was "one of the ablest men" in battle and a proclamation of pardon was issued by James Madison, President, for Laffite and his men."
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Apple Bottoms Jeans, 2005.
An analysis of the company and product, "Apple Bottom Jeans".
2,475 words (approx. 9.9 pages), 10 sources, $ 97.95
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Abstract
The paper reports on the company and the product "Apple Bottoms Jeans", a line of women's jeans designed by a rapper named Nelly and sold through a distribution company. The paper examines how Nelly designs the clothing and his cousin operates the company. The paper further examines how the company does its own marketing, and the product is sold through an association with the music world, as well as other endorsements and methods of marketing.
From the Paper
"Apple Bottom Jeans is a company that has had considerable success in a relatively short period of time. It is also a company with an unusual genesis, having been created by a hip-hop artist who designed a pair of jeans for women and has since marketed those jeans in a very effective manner."
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Comparing Michel Foucault and Jean-Francois Lyotard, 2007.
This paper compares the philosophies of Michel Foucault and Jean-Francois Lyotard through two of their works.
2,832 words (approx. 11.3 pages), 4 sources, APA, $ 84.95
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Abstract
This paper compares Michel Foucault and Jean-Francois Lyotard, both early postmodern philosophers, through the use of two of their works, as well as other sources. These works are Foucault's "The Body of the Condemned" and Lyotard's "The Postmodern Condition". In addition to these works, other information about Foucault and Lyotard is used to indicate the similarities and differences between these two works, their philosophies and their beliefs. While the two works are analyzed, the overall philosophies of Foucault and Lyotard are also addressed.
Outline:
Michel Foucault
Jean-Francois Lyotard
Conclusion
From the Paper
"Foucault fits into the general philosophical tradition, but it is the critical tradition, similar to Kant, and most of what Foucault writes about and proclaims is a very critical history where human nature and thought is concerned (Foucault, n.d.). This does not mean that the history of ideas that he discusses is also an analysis of the errors that might be seen when issues are examined after the fact. Instead, it should be taken to mean that Foucault's work is an analysis based on the relationship between object and subject, and what conditions are seen to either form or modify those relationships (Foucault, n.d.)."
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