| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "ROMAN POLANSKI CHINATOWN": |
|
|
Roman Polanski's "Chinatown", 2004.
An analysis of the motif in Roman Polanski's movie "Chinatown".
900 words (approx. 3.6 pages), 3 sources, MLA, $ 31.95
»
Click here to show/hide summary
Abstract
This paper analyzes Roman Polanski's film, "Chinatown" and its focus on the motif of the "big fish" , represented by the wealthy and corrupt, versus the futile efforts of the "little fish", represented by farmers, children and detectives.
From the Paper
"The modern film noir thriller "Chinatown" is similar to many film noir detective films in which the police are corrupt, bought off by the big fish in town. The big fish in town in Chinatown is Noah Cross, an evil wealthy individual who is trying to make a fortune by enriching land in the San Fernando Valley through a water diversion scheme. As Cross tells detective Jake Gittes, always one step behind him, "you may think you know what you're dealing with but believe me..."
| |
|
Roman Polanski?s ?Chinatown?, 2002.
This paper is an aesthetic analysis of the movie, ?Chinatown?.
2,025 words (approx. 8.1 pages), 0 sources, $ 64.95
»
Click here to show/hide summary
Abstract
This paper describes various scenes ,such as the exchange between Gittes and Cross, which takes over five minutes, much longer than today?s standard scene length, particularly for a scene with nothing but conversation; however, the conflict between Cross and Gittes and their constant give-and-take fills the scene with tension. The author describes another scene in which Polanski trains the camera on Gittes?s face as he looks down on Cross; Gittes appears hesitant, and the shot serves to highlight his injured nose. When Gittes takes his hat off and sits down, there is no doubt in the audience?s mind who is in control of the situation. The paper concludes that ?Chinatown? is a richly-layered movie in a classic 'film noir' tradition.
From the Paper
"The scene is short and moves quickly. Roman Polanski reveals volumes about Jake Gittes by juxtaposing the detective with the client. Curly, dressed in work clothes, is sweating in the intense heat. He is crying and in his distress, he bites into the Venetian blinds. Gittes, on the other hand, is dressed in a crisp white suit. Despite the apparent heat -- the fan is on -- Gittes looks cool and, in contrast to his client, unperturbed. The detective calms his distraught client down with a joke (?You can't eat the Venetian blinds. I just had 'em installed on Wednesday?). Then he reaches into the liquor cabinet, quickly shuffles through the whiskey bottles and pulls out a cheaper bottle of bourbon and pours his client a drink."
| |
|
"Chinatown" directed by Roman Polanski, 1999.
Analyzes his work as an example of film noir.
1,125 words (approx. 4.5 pages), 2 sources, $ 39.95
»
Click here to show/hide summary
From the Paper
" One of the most potent and influential film styles has been labeled the film noir by certain French critics who noticed a stylistic shift in American films in the 1940s. As Paul Schrader notes with reference to a statement by Raymond Durgnat, film noir is not a genre and is not defined in terms of conventions of setting and conflict. Instead, it is defined by the subtler qualities of tone and mood and is also defined by its time period:
In general, film noir refers to those Hollywood films of the forties and early fifties that portrayed the world of dark, slick city streets, crime and corruption (Schrader 170).
Of course, there is more to the mood of the film noir than the external evidence of wet city streets and crime, and film noir.."
| |
|
Roman Slavery and Roman Comedy, 2004.
An analysis of Roman literature's comedic view of enslavement.
822 words (approx. 3.3 pages), 2 sources, MLA, $ 29.95
»
Click here to show/hide summary
Abstract
This paper examines, through a literature review of such works as Plautus?s two comedies, ?The Pot of Gold? and ?Pseudolus?, how Roman drama is not a seamless construction of slave identity, or even a seamless construction of a world of upside-down power relations between master and servant. It shows how it is an uncertain negotiation of real life tensions where harsh realities and punishments of slaves existed simultaneously with portrayals of individuals in the Roman media of the day who were clearly human.
From the Paper
"Clearly, slavery in the ancient Roman world was socially stigmatized. However, what is so fascinating about the Roman?s version of this ?peculiar institution,? as slavery was often called in the American South, was that slaves did not occupy a stigmatized racial class, as they did in the American South. That is to say that in the racist, antebellum South, a free black man was still stigmatized by his race. However, in Rome, an individual who was a slave might be highly regarded as well as treated like chattel, if he or she possessed special educational or artistic skills. Slaves were often captured prisoners of war, and valued for their social contributions as well as socially despised."
| |
|
"Chinatown" and "On the Waterfront", 2006.
A comparison between Roman Polanski's film 'Chinatown' and Elia Kazan's film 'On the Waterfront' focusing on the role of the male protagonist in each.
960 words (approx. 3.8 pages), 5 sources, MLA, $ 34.95
»
Click here to show/hide summary
Abstract
This paper reviews and compares the male protagonists of Roman Polanski's 'Chinatown' (1974) and Elia Kazan's 'On the Waterfront' (1954). The paper discusses their evolved understandings of themselves in relation to their community.
From the Paper
"While Roman Polanski's main character J.J. Gittes, as a detached, objective, and dispassionate private detective becomes involved, against his better judgment, with some members of the surrounding community as he works his case in Chinatown, Terry Malloy, on the other hand, in Elia Kazan's film On the Waterfront (1954), is, as a poor waterfront lackey on the docks of New York, integrally connected with, and related, in terms of both blood shared hardship, to members of his waterfront community right from the start. Further, Malloy himself, unlike the main character J.J. Gittes in Roman Polanski's Chinatown (1974) is someone directly oppressed by the corrupt municipal power structure that controls his working life. used, In that sense, then, Malloy's own hardship and suffering is his community's hardship and suffering as well. J.J. Gittes, on the other hand, is (although Gittes does, little by little, become emotionally involved with other characters due to the many injustices and victimization he sees) more detached."
| |
|
?Chinatown?, 2002.
A discussion of the philosophy of Roman Polanski's 1974 film ?Chinatown?.
1,708 words (approx. 6.8 pages), 0 sources, $ 55.95
»
Click here to show/hide summary
Abstract
This paper examines ?Chinatown?, a film that combines elements of environmentalism into the story that it tells. It looks at how the films beginning may be classified as a classic film noir, but as the film progresses the film speaks to humanity?s responsibility to the environment, as well as different moral and ethical philosophies and how they relate to the environmental movement. It discusses such themes as personal ethics and environmental justice as well as the two moral theories at play in the story, that of Mil?s and Bentham?s Utilitarianism and that of Immanuel Kant?s Categorical Imperative.
From the Paper
"There are several features about Utilitarianism that are important, for the sake of the movie, and otherwise. One of these is that actions, in and of themselves, have no moral value. The problem is then, that the actions of Noah Cross and his cohort are not in and of themselves moral or immoral. At the same time, the actions of Gittes are, in and of themselves, neither immoral or moral either. In each case, what is important is the end-result. According to Utilitarian principles, the only aspect of the state of the world that has any moral significance is the happiness or misery of people. All people are, ethically speaking, always equal, in other words, one person?s happiness is worth as much an y one else?s happiness."
| |
|
Impact of Gothic Tribal Warfare on Late Roman Empire, 2001.
Foundations of Roman imperial security. Rome's Balkans' frontier. Origins of Goth migration. Roman-Gothic relations. Decline in effectiveness of Roman Army & victories of Goths.
3,150 words (approx. 12.6 pages), 11 sources, $ 111.95
»
Click here to show/hide summary
From the Paper
"This research paper examines the relations between the late Roman Empire and the Gothic tribes which pressed upon Rome's frontiers in the southeast Balkans in the late 4th century A.D. The focal point is the period covered by Ammianus Marcellinus in his The Late Roman Empire (A.D. 354-378) which culminated in a devastating defeat by the Goths of the Romans outside Adrianople in Thrace in 378. The vulnerability of the empire to barbarian pressures in this area was revealed by the Gothic wars of the mid-3rd century. Despite the efforts of its reforming Illyrian emperors of the late 3rd and early 4th centuries, which temporarily restored an uneasy peace on its Balkan frontiers, Rome found itself militarily overextended and internally weakened by a series of developments which rendered it incapable..."
| |
|
The Evolution of the Roman Theater, 2005.
The history and development of the architecture of the Roman theater building. An in-depth look at how the ancient Romans borrowed heavily from the Greek example, but improved upon it to create a building that was uniquely Roman.
2,698 words (approx. 10.8 pages), 7 sources, MLA, $ 80.95
»
Click here to show/hide summary
Abstract
The paper discusses in great detail the evolution of the Roman theater, beginning from the Greek wooden origins to the stone monuments that became iconic with Roman architecture during the Republic and the Empire. A brief history of theater is discussed in the beginning of the paper, with special attention given to the religious implications of how theaters were originally set up. The importance of the orchestra and "skene" are given historical background, dating back to early Dionysian worship. The layout of the early Greek theaters are discussed, with a complete layout included that describes the circular performance area, the seating arrangements, background adjustments and a rudimentary stage. The rest of the paper deals with how the Romans, eager to take the art of theater from being a religious practice to more of an entertainment value for the masses, incorporated their own unique designs to the Greek theater layout to create a more efficient and clearly Roman design. Heavy attention is give to Vitruvius and his work " De Architectura" which provides a step-by-step process in which Roman theaters were built. Improvements are discussed from eliminating the completely circular stage to a half-circle, as well as creating an official stage that persists in modern theatrical performances. The paper takes each part of the theater and discusses the area extensively in terms of what the Romans did to improve upon or change from the early Greek models.
From the Paper
"Ancient Rome's concept of art and architecture was heavily influenced by the cultures that the Romans had conquered, but were in no way identical copies of the art that existed in those subjugated areas. The Romans excelled at taking artistic ideas from other civilizations and molding them into a form that could undoubtedly be identified as uniquely Roman. This technique can easily be seen in practice when one examines the Roman theater building. Roman theaters can be found throughout the area that used to be the Roman Empire, with remnants of theaters all over Europe and the Mediterranean. These theaters have details and building techniques that are exclusive to Roman designs, but when they are viewed in comparison with ancient Greek theaters, one can clearly see where the Romans received their inspiration."
| |
|
Ancient Roman Literature, 2008.
A discussion of the worth of Roman literature and a comparison of the meter and themes of Roman literature to Greek literature.
851 words (approx. 3.4 pages), 3 sources, MLA, $ 30.95
»
Click here to show/hide summary
Abstract
This paper discusses the value of the works of the great Roman poets and prose authors. The paper specifically discusses how Roman literature and poetry is criticized because it lacks originality, being greatly indebted to the Greek texts. It describes the meter and themes of Roman literature and discusses how these, and even the mere details, are most of the times only imitations of the Greek writings.
From the Paper
"Thus, Roman art can be characterized by the lack of spontaneity and speculative power. The Romans were a logical and practical people, usually engaged in political affairs or warfare. The greatest conquerors of the antiquity, the Romans were also the greatest civilizing power. Their systematic and disciplined spirit laid the foundations of the Western civilization. As it is obvious from the lyric, dramatic and epical works of the Roman writers, they Roman people was certainly not inclined to philosophy as the Greeks had been. Indeed, the only writer who can be said to have contributed meaningfully to the realm of antique philosophy is the multidimensional Cicero, who is the only Roman methodological philosopher: "Philosophy was not a natural growth at Rome: indeed, it was regarded by the average Roman with definite mistrust, and we hear that philosophers were banished from the city in 161 B. C....The Roman, essentially a man of action engaged in the practical business of war or politics, was not given to pausing on his way to reflect deeply on the nature of the world or the ultimate meaning of human life."(Bailey, 183) The Romans were thus less preoccupied with the ultimate meaning of the universe and of life, as the Greeks were, but rather with the world of action and human behavior. Usually associated with imitation rather than creation, Roman art had nevertheless its own force precisely through its absolute conformity to classicism."
| |
|
"A Scandalous History of the Roman Emperors", 2002.
A review of Anthony Blond's book, "A Scandalous History of the Roman Emperors", characterizing the Roman era.
1,988 words (approx. 8.0 pages), 1 source, MLA, $ 63.95
»
Click here to show/hide summary
Abstract
This paper examines the book, "A Scandalous History of the Roman Emperors" by Anthony Blond, who seems to have written a history of Rome for the current tabloid age. The paper illustrates the book as both a history of the Emperors and a characterization of the age. The paper describes the picture created by the author of the Roman era, and the stories he tells of the emperors, from Julius Caesar to Nero. This is followed by a discussion of Rome as a city and an empire. The paper claims that although the author of the book states that there is nothing original in his book, the paper shows that the approach he takes to the material is original.
From the Paper
"One monument that Blond gives special attention, as did the Romans, is the Colosseum, notable for the money, effort, materials, and time spent on construction. This space was central in Rome, providing an arena for the Games and so far watching the slaughter of men and beasts. The base of its pillars consist of blocks of seventy cubic feet of stone, each weighing five tons. Some 50,000 wagonloads of tavertine were brought to the site."
| |
|
Non-Roman Christians: Texts, 2004.
Examines how Roman Christian authors viewed non-Roman Christians through their writings.
1,081 words (approx. 4.3 pages), 3 sources, APA, $ 37.95
»
Click here to show/hide summary
Abstract
The view of non-Roman Christians as constructed by Roman Christians is examined in this paper through three texts. The first two are texts by anonymous authors, both translated by Kenneth B. Wolf and dated 750 and 850, respectively. These two texts represent two widely diverse views of the Muslim faith and the Arab people. The third text concerns the view of the Greek Orthodoxy and is translated by Ernest F. Henderson.
From the Paper
"The initial Roman intention was to achieve peace by means of a marriage between Otto II and a Greek princess. Despite the fact that Liutprand arrives in peace as an emissary to conduct negotiations, by his account, his reception is nothing short of hostile and even barbaric: Liutprand and his companions were held prisoner without food or drink, and in terrible conditions (Henderson, 1910, p. 442). Things never improve throughout the narrative, and the Greeks; most especially the orthodoxy, are shown to be stingy and hypocritical: ?In all Greece - I speak truly and do not lie - I found no hospitable bishops. They are at the same time poor and rich; rich in gold, with which they play from full coffers; poor in servants and implements.? (Henderson, 1910, p. 475)."
| |
|
The End of the Western Roman Empire, 2002.
An overview of the downfall of the Western Roman Empire through a review of Edward Gibbon's "The History of the Decline and Fall of the Roman Empire".
2,400 words (approx. 9.6 pages), 10 sources, $ 89.95
»
Click here to show/hide summary
Abstract
This paper is written about the end of the Western Roman Empire. The classic work in the field is provided by Edward Gibbon in "The History of the Decline and Fall of the Roman Empire". Gibbon's essential argument was one that attributed the "fall" (the use of this term today being itself a source of controversy) to "Christianity, which he claimed had undermined the ancient warrior traditions of the Romans and, through the influence of monasticism and asceticism, turned them away from earthly things".
| |
|
Roman Republic Power, 2002.
An examination of the lack of central power in the Roman Republic.
1,616 words (approx. 6.5 pages), 6 sources, MLA, $ 52.95
»
Click here to show/hide summary
Abstract
In this paper, the writer argues that if Rome had not transferred power to one man it would have fallen far sooner then it did. The writer discusses the lack of centralized power in the rapidly expanding Roman Republic. It examines the reasons for the fall of the Roman Republic and why it was necessary for the Roman Republic to become the Roman Empire.
From the Paper
"The ancient Roman Republic, which was established with the expulsion of the last Etruscan king in 509 BCE and ended around 31 BCE with the start of the Roman Empire, was generally very successful, but especially toward its fall was plagued by internal and external conflict which would lead to the necessity of an Empire. When looking at an achievement of the Roman Republic such as its expansion of great amounts of territory, one can see that one main element the Roman Republic lacked was centralized power. This lack of a central power would eventually lead to great unhappiness among the masses and to the downfall of the Republic and the creation of the Roman Empire."
| |
|
Tacitus: An Interpretation of Roman History, 2003.
An examination of the writings of Roman historian, Tacitus, focusing on his work, "The Annals of Imperial Rome".
2,935 words (approx. 11.7 pages), 1 source, MLA, $ 86.95
»
Click here to show/hide summary
Abstract
This paper examines the validity of the work of Tacitus in "The Annals of Imperial Rome" and his bias on the government of the Roman Empire. It explains that, as a former official within the imperial regime, Tacitus had a bird's-eye view of the goings-on within the Roman Empire, beginning with the reign of Augustus Caesar; his experience within the Empire, however, influenced his opinions on the history of Rome. Tacitus had a tendency to change the speeches of Roman leaders to enhance his arguments about the effectiveness of leadership within the Roman Empire. This leads to many questions about the nature of his interpretation of Roman history.
From the Paper
"Modern historians constantly grapple with the dilemma of accuracy and objectivity, or the lack of it, in the antiquated documents that their predecessors painstakingly devised for future examination. While many written documents of antiquity do not survive to reveal their obligatory tales, those that do are often miserably translated or fail to elaborate upon the subjects with which modern historians are concerned. However, these invaluable primary sources are, in some cases, the only evidence available of the events occurring during periods that have been obscured by contemporary affairs. The era of the notorious Roman Empire has fallen prey to this occurrence; the remaining documents of this period are few, and some are simply portions of the original works. Tacitus? work, The Annals of Imperial Rome, is especially intriguing since it is one of a few surviving reports chronicling a group of individuals who rule during the early empire. Herein lies the unavoidable question: because his work is one of a scarce group, against what scale may its exactness be measured?"
| |
|
Development of the Roman Alphabet, 2006.
This in-depth paper delves into the historic origins of the Roman alphabet which is also known as Western or Latin alphabet.
2,842 words (approx. 11.4 pages), 5 sources, MLA, $ 84.95
»
Click here to show/hide summary
Abstract
The writer of this paper details the characteristics of the Roman alphabet which is comprised of 26 letters, ranging from A-Z. This paper discusses how this particular form of communication came into being by tracing its roots back to the Roman empire. The writer contends and explains the manner in which the Roman alphabet came to represent the development of phonetic alphabets in early society in which the Greeks and Romans were considered equal cultures. This paper discusses the ongoing disagreements of various historians in regards to the actual birth of the Roman alphabet which has been adopted by many societies and countries around the world. This paper examines the phonetic aspects of this alphabet and how it's used in numerous world languages. This paper also analyzes the manner in which the alphabet relates to general speech and communication and its relevance in a literate society.
Table of Contents:
Introduction
Characteristics and History
Speech, Writing and the Roman Alphabet
Conclusion
Bibliography
From the Paper
"The Roman alphabet is not recognizably hieroglyphic like some examples of hieroglyphic alphabets like ancient Egyptian, in which you can really see the pictogram and say that it is supposed to look like a hawk, or a person, or a temple. Looking at the letter A for example you couldn't really say that it is supposed to look like anything because it just looks like a symbol. Also the Roman alphabet is not syllabic. Some alphabets, such as Korean, have character symbol that means a whole syllabic word or can be combined with radicals to form other wirds. But the Roman alphabet is arranged in a different manner in terms of suggested sounds instead of syllables. There are many perspectives on how the alphabet has helped us."
|
|
|
