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The Making of the Movie "The Godfather Part Two", 1990.
Outlines the casting, directing, editing, and financial decisions for the making of "The Godfather Part Two".
1,125 words (approx. 4.5 pages), 2 sources, $ 39.95
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From the Paper
The Godfather Part Two
"The sequel to The Godfather was the follow-up to the highest-grossing film to that date, though it has been superseded since by a number of pictures. The sequel was also the first simply to call itself "Part II" and then to continue the story. Earlier sequels had different titles for their sequels, even if it was merely to add "Son of. . ." or "Return of. . ." to the original title.
The characters for The Godfather: Part II derive largely from The Godfather, the novel by Mario Puzo that was a bestseller before it was filmed by Francis Ford Coppola and released in 1972. The novel was published in 1969 and was on the best-seller list for 67 weeks, selling a million hardcover and twelve million paperback copies..."
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The Movie Remake, 2006.
This paper examines the movie industry's practice of remaking previously successful films.
2,786 words (approx. 11.1 pages), 9 sources, APA, $ 83.95
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Abstract
This paper explores movie remakes and questions whether the film industry uses its assets efficiently or wastes the audience's, as well as the film industry's, time and money by rehashing socially irrelevant characters and worn out plots. When a movie company produces a film, they have a tangible asset by owning the rights to that particular movie to do with as they please. The writer of this paper asserts that while the original movie may have been good in its time, it may not always stand the test of time when producers remake the film in an attempt to spark a renewed interest in it. This paper focuses on two films, "Shaft" and "Planet of the Apes," both socially controversial films from 1968 and compares them to their remakes in 2001.
From the Paper
"The 1960s was a time of racial turmoil. After nearly 250 years of oppression, blacks had finally won equal rights with the 1964 Civil Rights Act. Gone were the Jim Crow laws and other attempts to legally separate people according to race. However, simply making a law did not automatically erase the social confines that surrounded the issue of racial differences. Blacks and Whites had been legally separated for many years. Their origins were two different perspectives and ancestries. Even though blacks could no longer be discriminated against according to the law, this did not mean that they automatically gave up their own unique styles and culture."
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"Of Mice and Men" - The Movie, 2005.
A comparative analysis of the two movie versions of John Steinbeck's novel "Of Mice and Men".
2,089 words (approx. 8.4 pages), 0 sources, $ 65.95
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Abstract
The novel "Of Mice and Men" by John Steinbeck has two movies based on it. This paper examines how these two movies have two slightly different interpretations on how the story should be depending on the specific year that it was made. One movie was made in the year 1939 while the other movie was made in the year 1992. It looks at how although these two movies share the same title as the original novel, both of them have to some extent, different perspectives on the opening sequence, elements of humor, character portrayal, the time the movies were made for and metaphors.
From the Paper
"For the 1939 version, there was less violence, subtle use of swear words and indirect language. Viewers in the 1930s lived in the era of the Great Depression that was occurring throughout the world at that time. Many people did not want to be reminded of the hardships all around them. And because of this, violence was not portrayed directly in the movie. The actors involved in a violent scene will practice 'self-censorship' in which they will cover-up their violent acts: George covering his gun with a handkerchief before shooting Lennie or the camera will not focus directly on the event: Curley's wife's neck being broken by Lennie."
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"The Republic" by Plato and the Movie "The Matrix", 2001.
A discussion on the concept of truth, righteousness and reality as portrayed in "The Republic" and in the movie "The Matrix".
1,630 words (approx. 6.5 pages), 0 sources, $ 53.95
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Abstract
This essay discusses the issues of righteousness, truth and reality as depicted in "The Republic" and the movie "The Matrix". In addition, the author provides examples from the movie? The Matrix" to support his views.
From the Paper
"Where does the truth lie? And if we were to discover its hiding place, would we necessarily be happy with what we find there. Plato, in his allegory of the cave as put forth in The Republic, and the movie The Matrix each suggest to us a metaphor, a symbol, of the relationship between truth and the larger society ? although both the ideas of society and the ideas of truth vary dramatically.
The Republic was meant by Plato to be a criticism of the-current political system. Much of the criticism that Plato leveled against his own government was based in the philosopher?s metaphysical system, in his belief in a world of permanent Forms that existed well beyond the limitations of human experience. Plato argues that the state and political institutions should exist to promote these ideal Forms. "
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Movie Director's Notes, 2007.
A presentation of a movie director's notes for shooting a film beginning on an airplane.
1,194 words (approx. 4.8 pages), 0 sources, $ 40.95
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Abstract
This paper is written as a creative writing piece. It presents instructions for a director for shooting a movie that begins on an airplane. It describes the scenery, the types of shots that should be taken and how the characters should be positioned in the shots. The paper presents details for three scenes in this short movie.
Table of Contents:
Airplane Scene One
Scene Two: Having fun in Europe
Final scene
From the Paper
"The next scene spins in showing dancers with the mountains visible out the windows but only lit by the lights of the slopes. We identify the couple as they dance by the camera and the next scene spins in showing a 45 degree angle shot of the couple at a table is a nice restaurant with a different view out the window. The lighting is romantically low and warm, but not dark. The story action can be continued here, as the camera moves to full frontal table shot and then dollies in until we have full frontal couple shot. The camera angles alternate between full frontal couple, and individual head and shoulder shots as they talk while drinking wine and sampling hors d'ouvres. They are seated almost as closely as the airline seats enforces. Outside the large windows it is dusk and we see a cityscape of Paris."
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Movie: "Crouching Tiger, Hidden Dragon", 2005.
This paper review the movie "Crouching Tiger, Hidden Dragon", directed by Ang Lee, and taken from Chinese mythology.
915 words (approx. 3.7 pages), 0 sources, $ 32.95
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Abstract
This paper explains that the movie "Crouching Tiger, Hidden Dragon" means hiding one's strength from others, a skill mastered by most of the major characters. The author points out that both warriors and bandits were tied to their lifestyles as the very essence of their existence. The paper relates that the movie showed what it was like to live in China in the Qing Dynasty conveying the rich culture and personal conflicts of people in that era.
From the Paper
"Jiao Long aspired to learn more than what her master could teach her and hid her skills from her master. Not the way a disciple should act. She reacted to the attack by the bandits by chasing the head bandit Dark Cloud. This is not the way a young noblewoman should act. She later became his lover. Another action unbecoming of a noblewoman. She disdained marriage to another aristocrat and left her groom hanging by taking off. She resisted authority till the end, ending her life by jumping from Wudan Mountain, because it seemed like she was forever searching for more. A conformist, Jiao Long is definitely not."
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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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The Movie Version of "The Turn of the Screw", 2006.
A look at the psychological interpretation of the "The Innocents", the movie adaptation of "The Turn of the Screw".
1,075 words (approx. 4.3 pages), 2 sources, APA, $ 37.95
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Abstract
This paper explores the supernatural tones of the movie "The Innocents" and the book on which it is based "The Turn of the Screw" and argues that it is more a psychological story than a supernatural story. Exploring various mental illnesses including bipolar disorder, and obsessive compulsive disorder, the author of the paper illustrates why there are stronger psychological undertones than supernatural undertones.
From the Paper
"The Turn of the Screw was such a popular story that it was adapted into a play and then later a movie. The story is based on a governess and her experiences after accepting a job being in charge of two young children. Throughout the book, the play and the movie there are implications of supernatural powers, but never are they proven. As the movie, book and play unfold and one places them under a microscope of analysis one will see that it is more about the psychological problems of the governess that create the illusion of supernatural powers."
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"Good Will Hunting" Movie Review, 2001.
The paper is a movie review of "Good Will Hunting" and how it also relates to today's society.
713 words (approx. 2.9 pages), 0 sources, $ 25.95
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Abstract
This short paper is a movie review of the film, "Good Will Hunting". The author recaps the plot of the film and then delves into its metaphoric and psychological aspects.
From the Paper
" Throughout the movie, social issues were brought forth. The most obvious social issue was poverty. As stated above, Will lives in South Boston in a one-room apartment. It is a very dirty and dingy place with an old stove and furnace, a mattress on the floor for a bed and a few chairs. He works from job to job. His only mode of transportation is the train and his best friend, Chucky? car when he picks Will up for work at a construction site. Another social issue is intragenerational mobility. With Will?s god-given talents, he has the ability to go from the bottom rung to the top level whenever he pleases, with the help Professor Lambeau and his connections with people in high places. The movie gives Will four close relationships. Two are his relationships with Sean and Professor Lambeau. They are both, in sense father figures."
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Movie Review: "A Knight's Tale", 2005.
A review of the historical inaccuracies in the movie, "A Knight's Tale".
2,536 words (approx. 10.1 pages), 6 sources, MLA, $ 76.95
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Abstract
This paper begins with a plot summary of the movie and then continues with a discussion of the historical accuracies and inaccuracies, using comparisons to Chaucer's "Canterbury Tales" and "Medieval Times".
From the Paper
"The movie "A Knights Tale" has many inaccuracies and very little accurateness. As a movie about a knight in medieval times this movie is certainly out of place. It is unclear whether the director wanted the movie to be this confused about its identity. What is clear is that the director wanted to appeal to younger audiences. He added relatively new rock songs for the soundtrack. Some actors were dressed appropriately for the times and then some were completely out of place. The great writer Geoffrey Chaucer is portrayed as a peasant with a horrible gambling problem. Although there are references to God and the Bible the characters do not have the sort of faith that was practiced during medieval times. Also the main women characters seem to have a lot of freedom. With all of these things combined this movie turns out to look sloppy and un-researched."
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Consumer Attitudes to Local Movie Theatres, 2001.
A research paper which examines the attitudes of consumers in Windsor, Canada to local movie theaters, including amenities.
7,608 words (approx. 30.4 pages), 6 sources, MLA, $ 166.95
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Abstract
The theater business in Windsor, Canada is in the midst of significant changes. With the increased competition in the city, theaters have to do much more than assume what customers want, they must thoroughly investigate the exact desires of customers. The paper shows that by using this research effectively, the theaters can better position themselves for a leap into the new millennium. The research problem identified in this study is to determine respondents? attitudes toward the competing movie theaters in Windsor. The responses are categorized for evaluation by gender, age, marital status, income, education and occupation. This breakdown is crucial to analysis, as it allows results to infer characteristics of different market characteristics.
From the Paper
"The comfort level of seating at the Parkway theatre revealed a significant difference among income groups. The lowest value was calculated for those earning less than $20, 000 per year. 10.3% of those respondents' would likely find the seating at the Parkway uncomfortable. Significantly higher are the respondents' earning over $20, 000 per year. Of those earning from $20, 000 to $49, 999, 40.9% would likely find the seating uncomfortable and 41.7% of those earning $50, 000 and over would likely agree that the seating at the Parkway is uncomfortable. Results of this analysis are found in Appendix 16.
In assessing the length of ticket lines by annual income, the significant difference exists respective to Silver City. 20.8% of those earning over $50, 000 annually find the ticket lines long at the Silver City theatre. 24% of those earning under $20, 000 find the ticket lines long at Silver City. Significantly greater were those in the $20, 000 - $49, 999 category, with 45.5% of respondents finding the ticket lines long. The reliable results of this analysis are found in Appendix 16."
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Competition in the Movie Theater Industry, 2001.
This paper examines John Keynes? theory of the nature of competition through the movie theater industry.
1,110 words (approx. 4.4 pages), 3 sources, APA, $ 38.95
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Abstract
This paper observes the movie theaters marketplace for facts in the nature of competition and the idea of ?perfect competition?, a concept rooted in the work of John Maynard Keynes. It examines the concept of equilibrium in the marketplace and traditional economic theory.
From the Paper
"When we decide to go see our third viewing of ?The Mummy Returns? we?re usually more concerned with what time the next show is than with what movie theaters ? with their 6-dollar tubs of popcorn ? can tell us about the nature of economic competition. However, the movie theater business is ? like all arenas of economic activity ? capable of telling us something about the structure of a particular market place, the history of that commodity or service and the nature of competition in that particular market place. Movie theaters can tell us something the nature of competition and indeed about the nature of the idea of ?perfect competition?, a concept with roots in the work of John Maynard Keynes and his questions about the concept of equilibrium in the marketplace. Traditional economic theory assumed that a group of producers operated in a perfect market for any given commodity with each producing only a small part of the whole supply. Thus, for each producer (and for each commodity) the price was determined by the market. Each producer maximized its profits by selling only as much as would make marginal cost equal to price, in other words, each producer would produce exactly the amount that, if any more were to be produced that the additional product would add more to costs than it would to profits (MacHovec, 1995, p. 38). Each producer of any commodity (whether widgets or blockbusters) thus worked to capacity, to the point where profitability was limited by rising costs (MacHover, 1995, p. 42)."
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Relationships in the Movie "Parenthood", 2002.
Examines the family dynamics in the movie "Parenthood".
1,400 words (approx. 5.6 pages), 3 sources, $ 53.95
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Abstract
The different relationships in the movie "Parenthood" are addressed.
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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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"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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