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Men in Film, 2005.
An example of the stereotypical manner in which men are portrayed in movies.
1,584 words (approx. 6.3 pages), 4 sources, MLA, $ 51.95
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Abstract
This paper explains that little research has been done about how men are portrayed in films. It looks at examples of the ?man?s man? as portrayed in film, television, and advertisements, with a consideration of how men are portrayed and the reasons for this portrayal.
From the Paper
"The ?Marlboro Man? is an early example of the above trend. A man of few words, he preferred to speak through his actions. And the message was always that he was strong, healthy and well built. He worked best alone. The characters normally portrayed by Vin Diesel share many of the Marlboro Man?s characteristics. He is a typical example of the ?action hero? type of man ? strong and rugged. The characters he portrays are men of few words, who prefer to demonstrate their ideals by means of action, like the Marlboro Man."
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Treatment Of African American Men In Hollywood Films, 2002.
Discusses stereotyped portrayals of black males in various films.
2,475 words (approx. 9.9 pages), 14 sources, $ 87.95
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Abstract
Discusses stereotyped portrayals of black males in various films. Cites examples from THE BIRTH OF A NATION, GUESS WHO'S COMING TO DINNER, the blaxploitation genre, MANDINGO, 1930s films of the old South, THEY WON'T FORGET, 1940S STEREOTYPES AND THE "New Negro," TO KILL A MOCKINGBIRD. Realistic treatment of black males in several independent later films.
From the Paper
"D. W. Griffith's The Birth of a Nation (1915) and Stanley Kramer's Guess Who's Coming to Dinner? (1967) represent opposing poles in the treatment of the African-American male in Hollywood films. The portrayal of black men in both films is absurd, but their intentions were quite different. Griffith, the Southern-born director whose great career was a milestone in the development of the medium, claimed until his death that his film was not racist despite the thousands of African Americans and white Americans who explained why it was, indeed, a landmark in screen racism. His conception of the old stereotype of the sexually predatory black male, intent on despoiling white females, gave cinematic form to one of the most prevalent myths involved in white fear of black people. Kramer, on the other hand, was a devout liberal interested in furthering the cause of ..."
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Film: "12 Angry Men", 2008.
Analyzes the 1957 film "12 Angry Men", a critically acclaimed film directed by then first time director Sidney Lumet.
845 words (approx. 3.4 pages), 1 source, MLA, $ 30.95
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Abstract
This paper states that the film "12 Angry Men" was well written and well directed with an exceptionally professional performance from the cast. The paper explains that the film is about the court trial of an 18 year old Spanish-American boy who is accused of murdering his father. The paper also points out that the jury, consisting of 12 men, must come to a unanimous decision whether to acquit or convict the boy. The paper then analyzes the dynamics of the 12 jurors and what might have influenced them in taking a decision in favor of or against the accused.
Table of Contents:
Abstract
Story Line
Temerity of Juror #8
Conclusion
From the Paper
"The movie begins with the scene in which the judge is seen giving instructions to a jury consisting of 12 gentlemen. The judge informs the jury that the defendant will have to take the electric chair if proved guilty. The jury is also instructed that their judgment should be unanimous. The jury then moves into the jury room where they get acquainted with the other members of the jury and start their work. The case which opens up as an open and shut case takes a turn when one of jurors (juror #8) decides to veto the decision of the other eleven jurors."
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Film: "Austin Powers: International Man of Mystery", 2007.
This paper analyzes the film "Austin Powers: International Man of Mystery", which was released in the United States and Canada on May 2, 1997.
1,105 words (approx. 4.4 pages), 0 sources, $ 38.95
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Abstract
This paper explains that the film "Austin Powers: International Man of Mystery" was inspired by a slew of sixties spy movies including the James Bond films. The author points out that most of Mike Myers inspiration came from the spy spoofs "Helm Series" produced by Columbia Pictures and loosely based on Donald Hamilton's novels. The paper explains that, in the part described by the author, the producers purposely switched the female character with a male character just after Austin hits the woman, setting the stage for the classic good versus evil theme of the film. The author underscores that the costumes play a huge role in the film with Austin dressing a bit on the feminine side, unlike the masculine 007 Sean Connery. The paper concludes that the film seems to reinforce stereotypes of men and woman in both space and time.
From the Paper
"The scene I will look at is at the five minute and 18 second mark. It is in the beginning of the second chapter. The atmosphere is electric because Austin is at a club called the Electric Psychedelic Pussycat Swingers Club. Pink Floyd himself would be proud of the colors mixed in at the club. Lighting is very high for a club. The only effects are the different colors and shapes of light to signify a psychedelic mind-tripping club, which was typical in the sixties. The music was The Strawberry Alarm Clock "Incense and Peppermints" which are from southern California and was popular in 1967."
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Man?s Unceasing Struggle for Freedom in Film, 2001.
This paper examines the common theme of the films "Braveheart" and "Spartacus" in man's battle for independence.
2,130 words (approx. 8.5 pages), 4 sources, MLA, $ 66.95
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Abstract
This paper looks at the popular appeal of the films "Braveheart" and "Spartacus" as a result of their theme and cinematic qualities. The paper explores their subject matter of the eternal struggle of man to become free of oppression and external control. Both movies feature a brave, charismatic leader who reluctantly leads an oppressed, but courageous and valiant people to fight against their villainous and greedy oppressors. The paper describes in depth the cinematic techniques, actors and story line of the films of great critical acclaim.
From the Paper
"The movies Spartacus and Braveheart are variations on the classic theme of man?s unceasing struggle for freedom. Braveheart and Spartacus share numerous similarities, but are also highly distinct. In both movies, an average man is horribly wronged, and is thus forced to fight for freedom and vengeance against what seem to be almost impossible odds. The average man who becomes a tragic hero is charismatic, and rallies his loyal supporters against an overwhelming enemy. In both Braveheart and Spartacus, the reluctant hero dies a dramatic death in his struggle for freedom."
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Film: "12 Angry Men", 2007.
This paper analyzes the film "12 Angry Men" by applying Lee Bolman and Terrance Deal's four frames theory.
5,345 words (approx. 21.4 pages), 6 sources, APA, $ 132.95
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Abstract
This paper explains that the application of Bolman and Deal's theory of frames to the analysis of "12 Angry Men" reveals that frames could be used to understand group dynamics and help re-shape group dynamics. The paper also asserts that frames could not only be used to change group interactions, but could also help achieve different outcomes, without requiring changes in personnel or available resources. The author points out that one of the more interesting aspects of the movie is that it demonstrates an interrelationship between the personal frames of leaders and the political frame of this jury. The paper relates that a crucial part of frame analysis, which is that people do not always understand their own frames of reference, is shown in "12 Angry Men".
From the Paper
"The third frame in Bolman & Deal's four-frame model is the political frame. Bolman and Deal compare the political frame to the jungle. The political frame's core concepts are power, conflict, competition, organizational politics. The leaders in political frames are seen as advocates and they bring power or the perception of power to the frame. The organizational ethic in the political frame is justice. Juror number three in "12 Angry Men" is a great example of a person working from within the political frame."
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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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Seventies Films Versus Today's Films, 2001.
A comparison between films from different periods in time, and the differences in their entertainment methods.
2,625 words (approx. 10.5 pages), 8 sources, $ 79.95
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Abstract
A comparison of three honored films from the seventies, "Easy Rider", "Five Easy Pieces", and "The Godfather" and two films from the the year 2000, "The Gladiator" and "Erin Brokovich". The paper considers how they differ in the realm of providing distracting entertainment versus probing consideration of timely issues, concluding that seventies films left a more lasting vision.
From the Paper
"What do we want from our movies? Do we seek simple escape or deeper understanding of our lives? Can a movie be both probing and entertaining? Are entertainment, eye candy and special effects enough, or do we seek something deeper? Do we want to look inside ourselves and ask questions, or to merely stay on the surface, distract ourselves, and deny that there is anything more to be considered? These questions arise when comparing three movies from the 1970s with two films nominated for Academy Awards in the 2000. The films considered are: from the seventies, Easy Rider, Five Easy Pieces, and The Godfather, and from 2000, Gladiator and, Erin Brokovich. Pauline Kael, the well-know New Yorker film critic, commenting on how she got hooked on films, agrees another critic, Paul Coates, that in its ideal form, ?Cinema is the dream of an afterlife from which to comprehend this one? (Kael 63). In light of this quote, the films from the seventies embody elements which through the focused vision of the director offer mythic qualities that provide not only entertainment but an opportunity for viewers to examine their lives. That in accomplishing this, they provide images that remain in the mind?s eye could be considered the tradition of the seventies. In contrast, recent films Gladiator and Erin Brokovich are entertaining distractions, providing no lasting vision."
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Film Studies: Analyzing Three Films within the Context of South East and Asian Historical Perspectives, 2005.
The Chinese Communist Party soon came to power after years of exile and puppet rule that Pu Yi had experienced in the ever changing political and gove...
1,350 words (approx. 5.4 pages), 6 sources, $ 53.95
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Abstract
The Chinese Communist Party soon came to power after years of exile and puppet rule that Pu Yi had experienced in the ever changing political and governmental landscapes of China. In 1950 Pu Yi was forced to leave his Soviet township and soon became a prisoner of the new Communist Party politics.
From the Paper
ABSTRACT TOO SHORT
Film Studies: Analyzing Three Films within the Context of South East and Asian Historical Perspectives Essay 1: Understanding the Premise of Vietnamese Communism within the Film: Full Metal Jacket The film Full Metal Jacket (1987), directed by Stanley Kubrick, offers an American point of view of a Vietnamese conflict that depended heavily on the communist (NLF) National Liberation Front. The communist resistance to American pressure to abdicate to the puppet regimes of older leaders, such as Ngo Dinh Diem, resulted in the NLF being called the "Viet Cong" or a "Democratic Dictatorship" within military and governmental propaganda. The reason for this is reflected in the film, as the Tet Offensive becomes the symbolic part of the movie where the Americans begin to lose the war, marking the American military's last real ground-based initiative to take the country. In this manner, a historical perspective of the NLF can be analyzed, but
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"The Station Agent", 2006.
Provides a discussion of the relationship between two lonely men the dwarf in the film, "The Station Agent".
690 words (approx. 2.8 pages), 4 sources, APA, $ 23.95
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Abstract
This essay provides a discussion of the relationship between two lonely men, the dwarf Fin and the coffee shop owner Joe from the film "The Station Agent". The paper explains how through his unique communication style, Joe eventually provides the defensive Fin with hope for a personal and social life.
From the Paper
"In The Station Agent Finbar Fin McBride is a lonely dwarf who inherits an abandoned trains station when its owner his only friend dies. He moves to the station in Newfoundland New Jersey where he expects to live a life of ..."
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?Man with a Movie Camera?, 2003.
An examination of Dziga Vertov?s montage in the film "Man with a Movie Camera".
1,630 words (approx. 6.5 pages), 2 sources, MLA, $ 53.95
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Abstract
This paper describes how, while working within the most innovative period in Soviet cinema, before the coming of sound, Dziga Vertov created the film "Man with a Movie Camera", a tribute to the newly formed Communist State, urban environments and technological advancement. It analyzes how in order to create a variety of themes, including those comparing the bourgeois and working classes, man and machinery and the nature of film itself, Vertov uses editing to relate a series of seemingly unrelated shots. It looks at how these shots are comprised of five types of images: industrial construction, traffic, machinery, recreation and citizen-workers. It also shows how he constructs meaning through editing in the film to form an argument in favour of the newly formed soviet state by juxtaposing disjunctive images, but also linking the images through composition.
From the Paper
"The main theme of Vertov?s film is a cameraman performing his daily routine in an urban environment, and this meaning is produced through the films ability to show both the cameraman at work and the reaction he receives from the people he films. The entire film is reflexive in the sense that the audience is constantly reminded that film is a constructed environment, designed by the filmmaker. Mixing in shots of the camera, the cameraman, and the editing process maintain the idea that the film is just a part of Vertov?s usual routine. The sequence opens with a shot of the cameraman reflected in the camera?s lens, continues with a shot of the urban setting in which the events will unfold, and then returns to the filmmaker?s ?work? of filming traffic."
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"The Elephant Man", 2007.
An analysis of the film "The Elephant Man," directed by David Lynch, as viewed by the philosophy of Anita Silvers in her essay "From The Crooked Timber of Humanity, Beautiful Things Can Be Made."
898 words (approx. 3.6 pages), 2 sources, MLA, $ 31.95
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Abstract
This paper discusses the film, "The Elephant Man," directed by David Lynch. It specifically analyzes the film according to the philosophy of Anita Silvers in her essay "From The Crooked Timber of Humanity, Beautiful Things Can Be Made." The paper describes Silvers' view that the standards of symmetry and wholeness should be rewritten as a standard for human health and discusses how this relates to the themes in "The Elephant Man."
From the Paper
"In her essay, "From The Crooked Timber of Humanity, Beautiful Things Can Be Made," Anita Silvers makes a profound call that the standards of symmetry and wholeness be rewritten as a standard for human health in a way that is sounded like a clarion call throughout the film "The Elephant Man." Merrick's unique plight is not simply tragic, rather his presence elevates the lives of others, and shows the valuable moral contribution that persons with so-called disabilities can make to society. Because of Merrick's unique presence in their lives, the cold medical professionals gain insight into the need to view human subjects and illness in a mode that is not simply mechanical, but humane and compassionate. The concept of how health is understood in moral terms becomes destabilized because of Merrick's overwhelming, instinctive morality, based upon his skillful perception of his situation."
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"The Man With a Movie Camera" - An Analysis, 2006.
This paper discusses Soviet film-maker Dziga Vertov's philosophy of film. This is done through an examination of his masterpiece "The Man with a Movie Camera."
2,300 words (approx. 9.2 pages), 8 sources, MLA, $ 70.95
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Abstract
Vertov's approach to film is explored in the various roles presented in his film "The Man with a Movie Camera." First, the author discusses the role of the cameraman in the film. Next, he describes the role of the editor, and finally the role of the viewer. Additionally, Vertov's political and artistic philosophies as intertwined with filmaking are examined.
From the Paper
"In motion picture terminology, a montage (literally "putting together") is a form of movie collage consisting of a series of short shots which are edited into a coherent sequence. Viewers infer meaning based on context; Lev Kuleshov, in his Kuleshov Experiment established that montage is one way of leading the viewer to reach certain conclusions about the action in a film. David Griffith was one of the early proponents of montage, introducing cross-cutting to show parallel action in different locations, and codifying film grammar in other ways as well."
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Dziga Vertov's "A Man with a Movie Camera", 2005.
This paper analyzes the radical film "A Man with a Movie Camera" by Dziga Vertov.
2,475 words (approx. 9.9 pages), 8 sources, $ 97.95
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Abstract
This paper explains that Vertov's film "A Man with a Movie Camera" is radical not only for how it transforms consciousness but also for allowing the viewer to observe how this transformation is accomplished. The author points out that Vertov has an avant-garde vision of a utopia where workers and machines are one. The paper relates that Vertov firmly believed that "the kino-glaz [the eye of cinema] was ideal for revealing the world of ordinary people.
From the Paper
""Man with a Movie Camera" illustrates a truly radical work of art. The film depicts not merely a day in the life of a city but is additionally a study of the art of filmmaking. Not only does the film demonstrate that art can transform consciousness, but the view actually can observe just how consciousness is transformed. Vertov was committed to the concept of the socialist documentary but aligned himself with the futurists. He firmly believed that "the kino-glaz [the eye of cinema] was ideal for revealing the world of ordinary people" (Dashiell 1)."
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?Dead Man Walking?, 2002.
This paper discusses Tim Robbin?s film, ?Dead Man Walking?, a true story of Sister Helen Prejean's struggle to come to terms with the issues surrounding the death penalty.
610 words (approx. 2.4 pages), 1 source, MLA, $ 21.95
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Abstract
This paper discusses the plot of the film, ?Dead Man Walking?:
Sister Prejean (Susan Sarandon) gets pulled into this dark world through her correspondence with Matthew Poncelet (Sean Penn), a man on death row for the horrible and brutal murder of two young teenage lovers. The author believes that the movie presents several thorough and balanced opinions on the death penalty. The paper states the movie's conclusion in Poncelet?s last words: "I don't think killing is right, whether I do it, or you, or the government."
From the Paper
"One of the most common arguments for the death penalty is based on the "eye for an eye" philosophy. Certainly, the parents of the dead teenagers? grief and loss suggest that someone should pay for these crimes. Vernon Harvey, a man whose stepdaughter was murdered by one of the inmates that Sister Prejan visited, argues that the man who committed that horrible crime should have the same sort of crime committed upon him. Certainly, vignettes of the brutality of the murders committed by Poncelet also seem to bring forth a need for vengeance."
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