| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "KUNG FU CINEMA": |
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Kung Fu Cinema, 2006.
An overview of the history and influence of Kung Fu movies.
2,245 words (approx. 9.0 pages), 3 sources, MLA, $ 69.95
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Abstract
This paper looks at how, today, we see the influence of Kung Fu cinema through out the world and how in films such as "The Matrix", "Kickboxer", and "American Ninja", we see how the influence of style and culture of martial arts movies has influenced the way people view action movies and martial artists. It discusses how these films tell stories from Chinese mythology and how they have evolved from a means to save traditional stories and operas into an entire art form and genre used by directors throughout the world.
From the Paper
"In the 1930's, many movie production companies sprouted up. The Minxin Company became a part of the Linhua Company. This merged company entered the decade as the most important studio in Shanghai. It was a golden age for Chinese cinema until 1937, when the Japanese invaded. In 1933, the first ever Cantonese film with speaking was released by the Tianyi Company. "White Gold Dragon" starred famous Cantonese opera star Sit Kok-sin, and subsequently the movie broke all box office records in Hong Kong and Guangzhou. The success started a trend of Chinese opera movies which peaked until 1937 (Wasted Life par. 5)."
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Confucius Thought and Shaolin Kung Fu, 2004.
Examines how the martial art of Kung Fu draws its philosophies from Confucian ideas.
2,021 words (approx. 8.1 pages), 8 sources, MLA, $ 64.95
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Abstract
Comprehension of Confucius's ideas opens the door to understanding the philosophical reasoning of other Chinese principles, such as the martial art known as Kung Fu. The paper shows the message that seems to be extolled in ?gong fu?, or Kung Fu, is that there is a way, path, or message that, if followed, will lead to happiness and Heaven. This is a Buddhist philosophy and an integral component to the disciplines of Zen Buddhism, as well as the martial art of Shaolin Kung Fu. The paper explains that, while Kung Fu is considered a martial art, and, as such, deals with the physical realities of learning to defend oneself, it is also a component of a spiritual or religious sect. It shows, therefore, that the tenets of Confucianism cannot be separated from the art of Kung Fu.
From the Paper
"It is only by going 'outside oneself' that a person is able to overcome the restrictions of suffering and to reach Nirvana. Kung Fu embraces an understanding of reason, modeled on the natural world, which equates spiritual attainment with the successful manipulation of nature and natural phenomenon."
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Kung Fu, 2002.
An overview of the history and development of the martial art of Kung Fu.
4,900 words (approx. 19.6 pages), 9 sources, $ 178.95
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Abstract
This paper will seek to understand the history of Kung Fu, and present it in all of its facets. By dissecting the many influences that are part of this world-renowned sport, the ideal behind how it was invented can be assimilated into this study. Through the ages there have been many advancements in the development of this martial art, and the ways that have been taught have changed in the latest times. By showing the schools, the methods, and other training options that made Kung Fun, the images of the art can be fully shown by the actions they create. With all of these parts of the art of Kung Fu in mind, the true ideas of Kung Fu can be related here in the ways that they became a great sensation in the western hemisphere, as well as a dominant tradition in the eastern hemisphere. All of these topics will be covered within the studies done in this paper.
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Modern Chinese Kung Fu, 2003.
An analysis of the genesis of modern Chinese Kung Fu and its philosophy.
2,551 words (approx. 10.2 pages), 9 sources, APA, $ 77.95
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Abstract
This research projects examines three main factors: a) the postulation of a new philosophical entity; b) implementation of the method "Mahavipassana"; and c) identification of an object of contemplation. The problem investigated by this research project determines the extent to which Lenhua Cientao conforms to the holistic approach of Kung Fu, the general Chinese martial art.
From the Paper
"The various martial arts can be divided into the armed and unarmed arts. The former include archery, spearmanship, and swordsmanship; the latter (which originated in China), emphasize striking with the feet and hands or grappling. In Japan, traditionally a warrior's training emphasized archery, swordsmanship, unarmed combat, and swimming in armor. Members of other classes interested in combat concentrated on arts using the staff, everyday work implements (such as thrashing flails, sickles, and knives), and unarmed combat."
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Cinema du Look, 2003.
An overview of the key features of the cinema movement known as Cinema du look.
1,652 words (approx. 6.6 pages), 6 sources, MLA, $ 53.95
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Abstract
The paper examines how snubbed by French film academics, lovingly received (generally) by the audiences, Cinema du look at first appears as a triumph of style over substance. It systematically identifies the main features of the cinema movementby referencing the works of three main directors (Besson, Beineix and Carax) and demonstrates how the movement is not simply a triumph of style over substance. It shows how beneath the surface of these films (and these directors) is an interconnected postmodern reflection of contemporary society.
From the Paper
"Cinema du look, to some extent, can also be viewed as a return to the early days of cinema, where the spectacle of the movies was paramount. The ?cinema of attractions? as it is known. What is on the screen is there to amaze and astound the viewer, to be pleasing to her eye. Science fiction movies and other spectacle movies like The Fifth Element (1997), which I would argue definitely shares qualities with other cinema du look texts (fantastic colours, the ?Diva? who sings an operatic number, the lack of attention to characterisation and a wafer thin story) are viewed as being in a formulaic genre. The history of French cinema, and accordingly the attitudes of French establishment film critics, is the history of the auteur, and may go some way to explaining the hostility met by cinema du look amongst the French critics of the time."
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"Nisa: Life and Words of a !Kung Woman", 2002.
An in-depth look at the life of the !Kung through one woman's eyes, and a comparison to modern American life.
2,368 words (approx. 9.5 pages), 1 source, MLA, $ 72.95
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Abstract
This paper examines "Nisa: The Life and Words of a !Kung Woman", by Marjorie Shostak which is about an African people called the !Kung, or !Kung San, or Bushmen. They live in the Kalahari desert in southwestern Africa and the !Kung are hunter gatherers, also called foragers. It explains how this cross cultural comparison examines all we have in common with this way of life that is fading fast.
From the Paper
"As a result of ignorance, most people living in the U.S. believe that our way of life is the only way of life. Consequentially, the different cultures of different societies are not truly appreciated for their complexity and beauty. An ethnography - an in-depth description of a culture based on firsthand experience - can change all that. Anyone who reads Nisa: The Life and Words of a !Kung Woman, by Marjorie Shostak, an ethnography on the !Kung people, is bound to value this culture which is completely different from our own. They will also discover that although the culture is very foreign, many aspects of everyday human life resemble our own."
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Rebellion in Canadian Cinema, 2007.
An analysis of the representation of rebellion in Canadian cinema as compared to American and British cinema.
1,911 words (approx. 7.6 pages), 0 sources, MLA, $ 61.95
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Abstract
This paper argues that Canadian films such as "Goin' Down the Road"(1970), directed by Donald Shebib and "Nobody Waved Goodbye"(1964), directed by Donald Owen, ultimately suggest that Canada has not yet found its solution to the problems of societal rebellion and tension and neither adolescents nor adults can articulate an ideology of meaningful resistance.
From the Paper
" The film's jerky camera motions, overlapping dialogue, and clumsy scene splicing highlights this unfinished nature as well. Peter is an unfinished person, isolated even from other people his own age, and the only coherent windows on his life are provided by the jumps and jerks of the confined black-and-white cinematic lens. Unlike the delinquents of America who gleefully flee to the open road with a sense of possibility, to Peter the nation of Canada is so vast, so isolate and rural, that he feels he has nowhere to go within its borders, even when he is driving in a (stolen) car. "
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Third Cinema, 2003.
A summary of Scott Cooper's article on third cinema in the United States.
920 words (approx. 3.7 pages), 1 source, MLA, $ 31.95
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Abstract
This paper summarizes Scott Cooper's 1989 article third cinema in the United States". It emphasizes the need for disenfranchised peoples to tell their stories from their own perspectives. The author discusses the problems of ideology. The paper also explores common characteristics of Third Cinema and Third World Cinema.
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Iranian Cinema, 2005.
This paper discusses the history of Iranian cinema especially the period after the revolution.
1,790 words (approx. 7.2 pages), 6 sources, APA, $ 57.95
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Abstract
This paper discusses that, although cinema has not always been a part of Iranian culture, its growth was slow yet steady in a country ruled by Islamic rules and regulations. The author points out that the Islamic Revolution of 1979 brought an end to the already slowing cinema industry of Iran; theatres were destroyed believing they were symbolic of moral decay that had plagued the society. The paper relates that, after the revolution, the situation of the Iranian cinema gradually improved especially as women began to experience more freedom and interaction rules were relaxed; women became directors resulting in some famous movies including "Rakhshan Bani'etemad's Kharej AZ mahdudeh" ('Off Limits', 1987) and Nargess' "Tahmineh Milani's Tazeh cheh khabar" ('What's New?' 1992).
Table of Contents
An Introduction to Iran
Brief Overview of Cinema in Iran
Iranian Cinema after the Revolution
From the Paper
"The first film ever made in Iran was a silent movie produced in 1921 and talkies came later in 1933 when first sound movie Dokhtar-e-Lur came out. This marked the beginning of Iranian industry which was technically inferior to many advanced film industries of the world. While the industry was suffering because of lack of technical expertise, audience's appetite for foreign films didn't help the situation either. Most theaters therefore screened foreign films only and Iran rarely produced any movies for first fifty years. By 1947, Iran had produced only 2 films, in 1952 the number reached 20, by 1962 it increased to 30 and in 1971, Iran had produced 88 films. In 1977, the number of domestic films came down to 50 while foreign films during that period totaled 504."
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The Life and Words of a Kung Woman, 2007.
This paper discusses child discipline in Kung! society versus western society.
1,042 words (approx. 4.2 pages), 1 source, MLA, $ 36.95
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Abstract
In this article, the writer notes that in both Kung! and Western society, the mother-child bond is considered to be the primary bond between parent and child. The writer points out that fathers play a role in child rearing, but the mother-child bond is the most intense. The writer notes that unlike the conventional, nuclear parental division of authority and discipline in the West, Kung! women have the authority. The writer explains that the father coming home from work dispensing discipline is not the figure of reverence and/or fear as in the West. In Kung! society it is the mother. The writer discusses that this division of disciplinary labor is accepted, there is neither patriarchy nor an attempt for mother and father to have equal authority upon the child.
From the Paper
"In both Western and Kung! culture there is some anxiety attached to the correct time to sever the close bond between mother and child upon weaning and to give the child the status of a formal, autonomous member of the tribe. But unlike Western mothers who must work outside the home, Kung! mothers have little motivation or resources to find other ways of providing nutrition for their children other than breast-feeding. There seems to be little anxiety about nurturing a child correctly, perhaps because rather than the multiplicity of models of motherhood that Western women are subject to, Kung! society is far more mono-cultural. Because it is not thought appropriate or healthy for a pregnant mother to nurse a child, the justification for weaning is usually biological rather than sociological, as Western women may be apt to wonder about harming the child's socialization. Kung! mothers wean their children much later, usually around the age of three, and as late as age five, if they are expecting no other children."
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Cinema- Voice for Political and Social Issues., 2006.
An examination of cinema as a means to voice political and social issues.
3,690 words (approx. 14.8 pages), 5 sources, MLA, $ 102.95
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Abstract
In this paper the author highlights many of the uses of cinema as a means to political and social communication. He cites many examples of where politics have been affected by the use of cinema and social trends have been established as a result.The author also centres on cases where American movies have been banned due to political issues and influences. The paper concludes by stating that cinema is not the only influence on the changes that have occurred in politics and society.
From the Paper
"A lot of Canadians seem to be loyal to Canadian art, Canadian music, orchestras perform works by Canadian composers, and theatres that perform Canadian plays. But at the same time there are movies that are being now produced and shot in Canada when once they sued to be shot and filmed in the US. Although a lot of Canadians say that they would prefer to be distinctive of their own culture and society at the end of it seems like if they were given a choice they would rather opt for the American way of living."
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Classic Cinema, 2004.
A look at the definition of classic cinema and some older movies that deserve the title.
2,766 words (approx. 11.1 pages), 8 sources, MLA, $ 82.95
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Abstract
This paper discusses how classic cinema doesn?t simply happen and how it takes time, dedication, and a certain ?Je ne sait quoi? to create a theme, method, or a wave of influence that can be seen and felt years after its initial pass. It examines how classic cinema goes above and beyond the call of simple entertainment and how it creates a benchmark and platform, which future filmmakers will use to create new and interesting ways to tell a same story over and over again. In particular, it analyzes how films, such as "Birth of a Nation" (1915), "The Cabinet of Doctor Caligari" (1920), and "Battleship Potemkin" (1925) ,through their unique, pioneer, or innovative approach to the film medium, created ideas and methods that are still in use today and how they have bestowed upon themselves the right to carry the title of classic cinema.
From the Paper
"In the film "The Cabinet of Doctor Caligari" (1920) the most obvious image is that of surrealism. This movie is an eerie look into issues that revolve around insanity and hideousness. The set itself is incredibly expressionistic and offers the viewer many elusive and vague images. This fits in well with the location, which is, through most of the movie, an insane asylum. The doctor has hypnotic powers, which is depicted as the ultimate power over the bourgeois, violence and the fragile qualities of love. The film's background is also incredibly surrealistic, and for the time is was created this would be incredibly frightening."
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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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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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Asian Cinema and Hollywood, 2002.
Explores the similarities and differences between Asian cinema and its Hollywood counterpart.
2,150 words (approx. 8.6 pages), 6 sources, $ 80.95
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Abstract
This paper will consider the differences of both Asian and American cinema. This paper will also look at the role of the hero in the action genre of these cinemas. A suggestion will be made that examining the ways heroes are portrayed reveals a great deal about the unspoken concerns of these two vastly different societies.
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