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Changes in the Use of Narrative in Early American Cinema, 2004.
Describes how film, once perceived as a new and innovative form of technology, has evolved into what many consider to be a form of art.
967 words (approx. 3.9 pages), 2 sources, MLA, $ 34.95
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Abstract
This paper explores the evolution of film from a technology to an art form. The changes that took place in filming technology, the changes in the approach to filming, and changes in attitudes towards film are cited as reasons why the early perception of film changed from that of a new technology to that of an art form. The paper also talks about how the introduction of the narrative helped enforce the growing belief that film was an form of art, not just another new technology.
From the Paper
"Although it may be difficult to conceive of in our modern era, as film has taken its place alongside the long-accepted artistic mediums of painting and sculpture as an ?art form,? during the early era of silent film this was far from the case. At the beginning of the 20th century, film had the status more of a modern technological curiosity or ?freak show? rather than the status of art. The earliest works of film of the very end of the 19th century encouraged the viewer to simply marvel at the ?moving picture? before his or her eyes, almost regardless of its content. Quite often these early clips of film had no narrative to speak of. The purpose of such shorts was to simply show the nature (and the limits) of the medium and to capture, however imperfectly, dancers, actors, and other noteworthy individuals of the day in motion, much like a moving newspaper."
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Narrative Structures in Two Early Films, 2003.
A comparison between Renoir's "La Regle du Jeu" and Wiene?s "Des Cabinet des Dr. Caligari" to the classical Hollywood narrative structure.
2,146 words (approx. 8.6 pages), 12 sources, APA, $ 67.95
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Abstract
The narrative strategies and artistic approaches of Wiene?s "Des Cabinet des Dr. Caligari" and Renoir?s "La R?gle du Jeu" appear significantly different from both the classical Hollywood model and from each other to warrant comparative analysis. This essay examines the alternative narrative strategies used in both films in relation to the classic narrative system and briefly compares the formal, technical, and aesthetic approaches of the two films with each other.
From the Paper
"Another interesting feature is the use of iris transitions to and from black to point out certain objects or characters in a frame. This can be used as a less jarring alternative to close-ups (of which there are few) and is especially effective when used to highlight the emotion of a dramatically important scene, such as the malevolent lingering on Caligari?s black striped glove as he lures Jane into his caravan, or when used to link related subjects, such as the iris close on Francis on the right side of the frame and subsequent iris open at the same place on the screen to reveal Jane near the start of the film."
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The Significance of Narrative in the Early Years, 2001.
An examination of how to use children's plays to begin the process of literacy.
1,675 words (approx. 6.7 pages), 6 sources, APA, $ 54.95
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Abstract
This essay gives advice to the parent or teacher on how to begin the process of literacy in a child through play. The essay begins with Sarah Wilford's five "literacy goals" that can be accomplished by nurturing a child's natural tendency toward play. These are: 1) developing an understanding of the symbolic process, 2) fostering language growth, 3) strengthening the child's problem-solving abilities, 4) motivating children to continue in literacy activities, and 5) helping the child develop a joy in participating in all facets of literacy. The paper then expands on these goals, providing various ways to encourage literacy through play.
From the Paper
"By nurturing a child's natural tendency to play, a parent or teacher can nurture the child's growing understanding of literacy. As children begin to understand the concept of props and players being representations of other people or things in their playtime activities, they begin to grasp a basic understanding that written words represent spoken words in the same way. By trying to help others to understand the meanings of their representations, their vocabularies increase. When they attempt to solve problems encountered in play, they are adding to their knowledge of their understanding of the purpose of words, and their uses."
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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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Italian-American Women in Cinema, 2002.
A compare and contrast analysis of the role of Italian-American women and American women in cinema.
1,373 words (approx. 5.5 pages), 5 sources, MLA, $ 45.95
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Abstract
This paper discusses the role of the Italian-American women in American cinema and the functions that they fulfill within the Italian-American community and draws a comparison between Italian-American female roles and the parts played by American actresses. It examines some of the more famous Italian-American female characters in films such as cinematic masterpieces such as ?The Godfather" and ?True Love? and how they are usually portrayed as working class and victims of violence. It shows how both Italian-American and American female characters in movies are challenged by a patriarchal society. The only difference is that the American character is free to do something about it even if all odds are against her whereas the Italian-American female characters on the other hand do not possess that luxury because their cultural norms do not allow such liberties.
From the Paper
"Then there are directors such as Martin Scorsese and Francis Ford Coppola who have made powerful Mafia movies ?Goodfellas? and ?The Godfather? respectively. Even though the main theme of their movies is the havoc that the mafia wrecks in the lives of Italian-American immigrants there always exists a strong underlying theme that relates the role of the mothers, daughters and wives of these mafia members. In short the role of the ?family?. For example in a comic scene in the ?Goodfellas? Scorsese makes a connection between food and death when Tommy?s mother serves them a mouth-watering meal just after her son and his friends have returned from trying to commit murder."
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American Cinema, 2004.
An overview of American films, with a focus on ? The Killing? and ?Touch of Evil?.
1,348 words (approx. 5.4 pages), 5 sources, MLA, $ 45.95
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Abstract
This paper discusses various American films and the American cinema in general, highlighting the features of two films, ? The Killing? and ?Touch of Evil?. It looks at how the two films belong to the 1940s and 1950s, an era in which American cinematography was beginning to gain a new momentum and was thus highlighting a new beginning in cinemas and films. It shows how both films are American classics and highlight the problems of society and the corruption found during those days.
From the Paper
"?The Killing? depicts a society, which is greedy for money and will do anything and everything in their power to get hold of easy money by wrong means, even if it calls for the shedding of innocent blood. The movie has symbolized the various aspects of the society while showing the greed for money exists in every class of the society from the rich to the poor. ?The Killing? is not exactly a murder plot, but instead is the ?kill for money?, it has also narrated the horse racing culture, which was found during the 40s and 50s; and how ordinary people bet large amounts of money during these races. These people can go to extreme measures for attaining the money they wish to win."
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Chaucer's Early Narrators, 2006.
A review of the early works of Geoffrey Chaucer.
900 words (approx. 3.6 pages), 1 source, $ 35.95
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Abstract
This paper discusses and reviews the work of Geoffrey Chaucer, whose book 'The Canterbury Tales' is thought to be his greatest achievement and most compelling addition to the English literary canon. This paper goes on to focus primarily on his early poetry, as not only can his pre-Canterbury Tales poems be rich in their own right, but Chaucer's development as a master writer can be seen through them. His development into a narrator of skill and depth is the most astounding path which a reader can follow. Watching as the Chaucer who narrates the early dream-vision poetry readies himself for the multiple and interesting narrators of his later masterpiece is truly compelling.
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Early German vs. Early Russian Filmmaking, 2004.
This paper discusses early German vs. early Russian filmmaking
in terms of a controlled versus an uncontrolled narrative perspective.
980 words (approx. 3.9 pages), 6 sources, APA, $ 34.95
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Abstract
This paper explains that the primary difference between the early Russian films of the first half of the 20th century and the German Expressionist movement, whose films exemplify an artistic ethos, is the significance given to narrative and to expressing a singular and coherent ideology for the viewer. The author points out that, in the case of Russian filmmakers such as Eisenstein, the narrative and descriptive sequences of the film are manipulated over the course of the film to invest particular images and aspects of the film with great importance. The paper relates that the German cinema creates a more ambiguous sense of meaning within its choice frames; the visual, rather than the story-based aspects of the film?s shot and the film?s overall plot arc, have greater significance.
From the Paper
"The greater emphasis on narrative within early Russian cinema also is evidenced in the way that the Russian directors, most notably Eisenstein, create meaning between frames of narrative, rather than within frame in a miens-en-scene approach. In this approach, the meaning of a single scene has a meaning in and of itself and can be invested with different meanings outside of the filmed narrative sequence. For instance, ?Potemkin? makes use of what is known as a dialectic montage, or a composition of rapidly evolving scenes, too rapid for the viewer?s eye simply to apprehend just one. The composition and the apprehension of scenes all at once creates a singularity of emotion and intent regarding the action, as opposed to a sustained scene where the viewer is able to consider the image and come to his or her own conclusion regarding the events that are transpiring. Miens-en-scene or middle of the scene approach became very popular in postmodernist and post-structuralism critiques and film analysis. Even the most impressionist examples of Russian cinema, such as the ?Man with a Movie Camera,? have a highly ideological and uniform tone, that of the glory of Russia, in sequences where seemingly unrelated images are created."
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Qumran, Early Christians, and Early Rabbinic Judaism, 1999.
Examines these three major religious groups, major beliefs and the use of canonical scripture.
3,150 words (approx. 12.6 pages), 8 sources, $ 111.95
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Abstract
Although fundamentalists in religious life assert that the answers to all human problems are available in inerrant scriptural form, there is still the problem of interpretation. From the beginning, differing stories, differing translations, and differing interpretations of scripture have led to the development of separate communities and sects within communities.
From the Paper
"Research on Qumran, Early Christians, and Early Rabbinic Judaism
Introduction
Although fundamentalists in religious life assert that the answers to all human problems are available in inerrant scriptural form, there is still the problem of interpretation. From the beginning, differing stories, differing translations, and differing interpretations of scripture have led to the development of separate communities and sects within communities. The intent in this essay is to look at three separate groups the Qumran community, the Early Christians and Early Rabbinic Judaism exploring their major beliefs and their use of canonical scripture."
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Afro-Americans in American Film, 2002.
An overview of the stereotyping by American cinema of African Americans through a review of the movie "Black identity".
900 words (approx. 3.6 pages), 3 sources, $ 35.95
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Abstract
This paper will discuss the idea of film playing a part of in the media in the creation of stereotypes of harshness in "Black identity". By examining some of the film, which led to this, we can learn much about blacks are portrayed as 'hoods' or associated with crime in some or another. By making this distinction in film, we can learn how this image is clearly projected in black culture by white dominated media.
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Narrative Therapy: A Case Study, 2008.
A discussion of narrative therapy and its application as a treatment strategy for anorexia.
1,774 words (approx. 7.1 pages), 7 sources, APA, $ 57.95
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Abstract
The paper discusses narrative therapy, which is considered a post-modern therapy and mental health treatment that seeks to gain the cooperation and insight of the patient himself. The paper applies narrative therapy to an anorexic patient to illustrate how this therapy can be utilized in the patient's recovery.
Outline:
Narrative Therapy Overview
Characteristics
Narrative Perspectives
Narrative Concerns
Narrative Therapy in the Future
Narrative Therapy in Application
From the Paper
"Narrative therapy can be considered a post-modern therapy and mental health treatment that seeks to gain the cooperation and insight of the patient him or herself. It consists of the integration of individuals' expressions of their unique experiences in life, an account of the individuals' interpretive processes about those experiences, and in relating these unique experience sets to both the culture background of the individual and the treatment plan (Bull, Dettinger, Detwiler, Petersen & Propst, 2005, paras.1-12). It is the counselor's or therapist's duty to reconcile these experiences and, most importantly, the individual's interpretive perception of them, with the particular mental affectation that is manifesting itself."
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Plague in Medieval and Early Modern Europe, 2007.
A discussion on how the responses to the plague in medieval and early modern Europe can be best characterized as early examples of the operation of disciplinary power.
2,291 words (approx. 9.2 pages), 11 sources, MLA, $ 70.95
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Abstract
This paper discusses Michel Foucault's contention of the plague as a historical phenomenon, out of which a controlling, intrusive and discursively powerful form of modern rule emerged in Europe. The paper relates that, from a retrospective look at the responses to the plague in mediaeval and early modern Europe, it is tempting to conclude that the responses represented clear early examples of disciplinary power in action. Moreover, plague regimes appear to have been interventionist, controlling and totalizing. The paper then explains that this view leads to a distorted understanding of power as all-encompassing when, in reality, it was anything but. The paper concludes that it would be historically inaccurate to leave the impression that these plague regimes were omnipotent, for the simple reason that the enforcement of power was a messy, contested and negotiated process. There is also a limit to seeking examples of disciplinary power in a past period that Foucault himself did not necessarily see as completely emblematic of his theory.
Outline:
Introduction
Power as Interventionist and Controlling
Power as Limited and Hyped
Conclusion
From the Paper
"Certainly England did eventually move towards a continental style of control. But this move, instigated under the rule of Charles I, was quickly abandoned following the outbreak of the Civil War. (Naphy and Spicer, 2000, p.100) Even if this plan had been carried out by the Crown, which had by and large succeeded in setting up pest houses throughout the rest of the kingdom, London would surely have resisted, for it rejected a system of pest houses in favour of continuous home quarantine, which obviated the need for "an extensive and expensive system of workers". (Naphy and Spicer, 2000, p.126) More significantly, London insisted on relying upon local and national charities as well as normal taxation to fund measures to cope with the plague rather than resort to a special plague tax that would have made the victims of disease wholly dependent on the benevolence of the state - to this extent inhabitants were not subject to the totalizing power of the state. (Naphy and Spicer, 2000, p.126) "
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Continuous Narrative Art, 2007.
This paper discusses the art technique called continuous narrative in which the same figure appears more than once in a single scene.
3,580 words (approx. 14.3 pages), 7 sources, MLA, $ 100.95
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Abstract
This paper explains that the Roman aesthetic approach, known as continuous narrative, makes use of a number of images of the same figure within a work, linking different aspects of a story together and evoking meaning while setting events distant in time in the same frame. The author points out that these works are reproduced in a variety of media, including on vases and cups, on huge towers, on walls as friezes or frescoes and on panels to be placed on the wall. The paper relates that an examination of some of the panels found at Pompeii shows some of the ways in which images were linked together to form a narrative, although this narrative would often be less then crystal clear because of the possibility of different interpretations.
Table of Contents:
Introduction
Continuous Narrative Art
Continuous Narrative at Pompeii
Conclusion
From the Paper
"Under and slightly to the right of the tree and column, Polyphemus sits on top of an outcropping formed by a steep pile of rocks, on which four white, wooly sheep graze. In the right foreground, at the base of the outcropping, a tall column carries a small statue. The statue is depicted in three-quarters view to the left, facing towards Polyphemus. Although the figure appears to wear a cloak and some sort of headdress, the statue's large, erect phallus allows for a secure identification of the figure as Priapus."
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Early Adulthood Development, 2002.
This paper discusses the different kinds of development that early adults undergo in their lives while they are at the early adulthood stage.
837 words (approx. 3.3 pages), 4 sources, MLA, $ 29.95
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Abstract
In human development, the early adulthood stage is the sixth stage of the period of development of humans. This paper looks at a few theorists and their concepts of the type of development that occurs in this stage of life. The writer concludes that in this stage, an individual learns to recognize alternative moral courses and learns to develop a personal moral code.
From the Paper
"Under the early adulthood stage, cognitive development of early adults has already reached its formal operational stage, according to Jean Piaget?s Theory of Cognitive Development. Under the formal operational stage, the operational thoughts of humans are more ?abstract, idealistic, and logical,? and adults are no longer confined to concrete thoughts, which are the operational thoughts common among children (Santrock 2000 335). Aside from thinking abstractly, early adulthood stage brings about among humans the ability to solve problems and test solutions, which are the characteristics of hypothetical-deductive reasoning. Piaget formally defines hypothetical-deductive reasoning as ?the ability to develop hypotheses, or best hunches, about ways to solve problems? (Santrock 2000 335). Piaget notes that the operational thoughts of adults in this stage is no different from adolescents? operational thoughts, but adults in the early adulthood stage have more methods and ways in approaching and solving the problems presented to them or they encounter."
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The Early Development of Opera, 2005.
This paper discusses the early progenitors opera that began at the end of the 16th century and into the early part of 17th century.
900 words (approx. 3.6 pages), 2 sources, $ 35.95
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Abstract
This paper explains that the return to Greek drama within the musical trends of the end of the 16th century and into the early part of 17th century resulted in a multifaceted musical and theatrical combination, which is now called opera. The author analyzes composers, such as Caccini, Peri and Monteverdi, to reveal how this musical idiom developed from the medieval music tradition and Greek Classical revival of the Baroque period. The paper relates that, in the late 16th century, various forms of music were beginning to combine theatrical productions, arias and extended recitative verses, which would invariably be termed opera.
From the Paper
"This music study will present the early progenitors opera that began at the end of the 16th century and into the early part of 17th century. By understanding the return to Greek drama within musical trends of these time periods, a multifaceted musical and theatrical combination resulted in what is now called Opera. By analyzing composers such as Caccini, Peri and Monteverdi, one can realize how this musical idiom developed from the medieval music tradition and Greek Classical revival of the Baroque period. In the late 16th century various forms of music were beginning to blend theatrical productions and arias, as well as extended recitative verses that would invariably be termed opera through these initial combinations."
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