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"Shadow of a Doubt", 2004.
An analysis of Alfred Hitchcock's work, "Shadow of a Doubt", using two scenes from the film.
734 words (approx. 2.9 pages), 1 source, MLA, $ 26.95
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Abstract
The author argues, through a close analysis of two scenes from the film, "Shadow of Doubt" by Alfred Hitchcock, that the work serves as an indictment of the middle class. The paper emphasizes the roles of money and family in the film and analyzes some of its technical aspects in order to support this argument.
From the Paper
"But arguably, it is not only Uncle Charlie, but Little Charlie as well who serve as critical counterpoints to a middle-class, suburban America. Little Charlie comments to her father: ?Money. How can you talk about money when I?m talking about souls?? In the opening sequence, Uncle Charlie?s money spills over from the nightstand on to the floor, indicating that he is either careless or doesn?t care about money. As we see later in the film, in scenes such as those in the Santa Rosa bank, Uncle Charlie is ?not interested in money,? primarily, we assume, because he has so much of it. Uncle Charlie?s disregard for money is in stark contrast to the middle-class concern with money, as embodied by the character of Joe Newton, the banker."
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Alfred Hitchcock's "Shadow of a Doubt", 2002.
Discussion of Alfred Hitchcock's attempt to force a perspective on viewers when he made "Shadow of a Doubt".
1,400 words (approx. 5.6 pages), 3 sources, $ 53.95
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Abstract
"Shadow of a Doubt" was a box office success and remains an outstanding example of Alfred Hitchcock's ability to craft a mystery film into a something which was more than mere cinema; it was also a serious psychological study. In order to achieve this, Hitchcock had to alter the way in which the viewer expected to see films.
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Alfred Hitchcock's "Shadow Of A Doubt", 1982.
This paper discusses Alfred Hitchcock's use of the theme of transference of guilt in several films especially the 1943 film "Shadow of a Doubt".
900 words (approx. 3.6 pages), 2 sources, $ 31.95
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From the Paper
"One of the themes found in the films of Alfred Hitchcock is that of the transference of guilt, a theme started in the British period and carried over into the cross-over period and beyond. This involved much more than simply the fact that the protagonist would be falsely accused of a crime he did not commit, though in the earlier films especially this would be closer to the way the issue was presented. Later, however, the protagonist would also be expiating some guilt of his own through this false accusation, and a key film in the development of this sense of guilt and transference is Shadow of a Doubt from 1943. William Rothman (1982) calls this Hitchcock's first American film to be the equal of his British work and says that it "gives form to all he learned in Hollywood as it declares continuity with the whole body of his ... "
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"Shadow of a Doubt", 2002.
Examines 'Film Noir' motifs in this film directed by Alfred Hitchcock.
900 words (approx. 3.6 pages), 3 sources, $ 35.95
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Abstract
Alfred Hitchcock is one of the few Hollywood directors to be considered an auteur. Over the course of decades he consistently produced his dark vision of reality from within the heart of the Hollywood dream factory. A singular example of this dark vision is his 1941 film Shadow of a Doubt. This paper will examine how, in this work, Hitchcock employs many of the stylistic elements of the genre that would later become known as film noir to reveal the darkness that is at the heart of the "American dream."
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"Shadow Of A Doubt" ( Alfred Hitchcock ), 1995.
Examines the theme of transference of guilt in this 1943 film.
1,350 words (approx. 5.4 pages), 3 sources, $ 47.95
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From the Paper
"One of the themes found in the films of Alfred Hitchcock is known as the transference of guilt, a theme Hitchcock first used when he was still working in England and that he continued with his American films. One way this was seen was that the hero or heroine would often be accused of a crime he or she did not commit, but there is more to it than that. For Hitchcock, the hero was always actually guilty of something, some sin in his life, which he would have to pay for by suffering through this period of false accusation. The idea of guilt and transference is clearly important in Shadow of a Doubt from 1943, and part of the fascination one has with this film is in seeing the ways in which this theme is presented. Young Charlie takes on the guilt of her uncle because she knows about it and says nothing, and she is nearly killed because of this. The suspense is created by the ..."
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Expressionism in Hitchcock's Films, 2002.
Uses Alfred Hitchcock's film, "Shadow of a Doubt" to show his use of German Expressionism to explore the darker side of the human mind.
775 words (approx. 3.1 pages), 3 sources, $ 30.95
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Abstract
Hitchcock employs many of the thematic and cinematic elements of earlier film genres; in particular that of German Expressionism. This essay will argue that Hitchcock uses the Expressionist device of the doppelganger or double to delve into the darker areas of the human mind. The brilliance of Hitchcock's employment of this in "Shadow of a Doubt", it will be argued, lies in Hitchcock's realization that the monstrous is intimately linked and may in fact be produced by, normality.
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The Shadow Government, 2004.
An analysis of the feasibility of a shadow government for the American nation.
1,331 words (approx. 5.3 pages), 12 sources, MLA, $ 44.95
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Abstract
This paper defines the meaning of democracy and explains the formation of a shadow government. The paper questions the feasibility of an American shadow government. The power held by a shadow government is examined. The paper also highlights the expected roles a government should play and the services it should provide for its constituents.
Outline
Introduction
Defining the Shadow Government
The Shadow Government's Invisible Hand
The Power of a Shadow Government
Conclusions of a Shadow Government
Defining the Roles of a Government
Protection
Providing Infrastructures
Homage to United Flight 93
Conclusion
From the Paper
"In the event of chaos, the shadow government will have tremendous power in comparison with the President of the United States and the Congress combined. They can "postpone laws, transfer populations, detain citizens without a warrant and hold them without trial" (Martin). They also have the authority to take control of properties, any form of supplies, transportation systems, and have the power to suspend the Constitution (The Shadow Government). Amazingly, "it was not even created under Constitutional law by the Congress. It was a product of a Presidential Executive Order" (Martin). "
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Cartesian Doubt, 2003.
An analysis of the historical background to Cartesian doubt and an examination of the argument's flaws.
2,311 words (approx. 9.2 pages), 6 sources, MLA, $ 71.95
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Abstract
This paper examines the argument and describes the historical background to Cartesian doubt. It describes Descartes proposal of a method of doubt that, logically carried through, led to absolute certainty in empirical knowledge. It then describes the influence that his claims had on the educated community. The paper goes on to explain how Cartesian doubt was a flawed argument from the beginning and how its faults began to appear.
From the Paper
"In the year 1637, through his publication of Le Discours de la Methode (Discourse on Method), Descartes was supposed to have refuted at last the age-old problem of empirical scepticism. At the time of its publication the argument was a resounding success, and seemed to have removed the key obstacle that lay in the way of the progress of science. Fortified by a philosophy of empirical certitude, the enthusiasm for experimentation and science gained a staggering boost, and a direct consequence was the Age of Enlightenment. Only after the demise of the Enlightenment did the flaws in Descartes' argument begin to appear prominent. But by this time the determinist agenda had succeeded and the scientific method had established itself as the backbone to European civilisation."
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"The Man Who Killed a Shadow", 2002.
A review of the short story "The Man Who Killed a Shadow" by Richard Wright.
947 words (approx. 3.8 pages), 1 source, MLA, $ 33.95
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Abstract
This paper examines how the main character in the short story "The Man Who Killed a Shadow" by Richard Wright is a black man named Saul, a man who has never learned to relate to others in the normal manner but who sees them as shadows. It shows how this began in his childhood and has continued into adulthood and the only way he can see people any other way comes when he drinks alcohol. It analyzes how the story presents this vision as an inversion, for to the rest of the world--at least the white world that holds power--Saul himself stands as no more than a shadow.
From the Paper
"Saul lives a relatively simple life, his job never that demanding, his time taken up with fear and drinking to assuage the fear. The portrait painted of the life of a black man in a white world becomes devastating as the story progresses. This builds until it leads to Saul's job as an exterminator, by definition a job associated with death and the elimination of what people often fear. Even that job he loses because of his drinking. His next job entails cleaning different businesses, a demeaning job for a man who has been demeaned many times in his life. When he starts to clean the library, he meets the "strange little shadow woman . . . who stared at him all the time in a most peculiar way" (93). He thinks she may be afraid of him, but clearly he fears her. She begins to challenge his work, as if he had not cleaned under her desk when he clearly had. She says she finds dust there when no dust could survive Saul's cleaning."
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'The Shadow Catcher', 2006.
This paper discusses the book 'The Shadow Catcher' by Andrzej Szczypiorski.
750 words (approx. 3.0 pages), 1 source, APA, $ 26.95
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Abstract
In this article the writer looks at Andrzej Szczypiorski's book "The Shadow Catcher". The writer discusses that this book provides a very revealing and unusually frank insight to history, sexuality and Polish-Jewish relations. The writer describes that "The Shadow Catcher" takes the reader to the cloudless summer of 1939, when Krzys, a sensitive boy of 15, sets off to the countryside for a holiday. The writer maintains that the conversation, the symbols, the imagery and the context of the novel are very clear that this is the story of a young man who is slowly, but surely, growing up. The writer concludes that the provocative musing, whether in the child's mind, dialogue, or situation, provides plenty of evidence that the kid, though still a teenager is fast maturing because of his experiences.
From the Paper
"The darkness is a symbol of his aloofness; the freaked out teenagers often try to be aloof and dream of things, cut off from the reality of the world. They build a cocoon of their own as a defense mechanism.
His physical description is also indicative of his being just on the threshold of maturity. He is described as having a rather high forehead topped by a thick, dark shock of hair. "When he was younger he had liked to tangle his ink-stained fingers in it", shows that he is growing up, but the memory of "tangling ink-stained fingers" is too recent to be ignored.
The treatment by parents is always indicative of maturity. Where the parents are too solicitous, and too protective, the children, even if they desire to be, are not independent and naturally do not fully mature. The protagonist's mother almost smothers him with protective attitude."
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"In The Shadow of FDR": A Book Review, 1996.
Critical review of William E. Leuchtenburg's famous book, "In The Shadow of FDR."
1,433 words (approx. 5.7 pages), 1 source, $ 47.95
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Abstract
In his book, "In The Shadow of FDR," William E. Leuchtenburg follows the presidencies of all of the men who followed Franklin D. Roosevelt and compares their presidential styles to his. He argues that all of these men lived in the shadow of FDR, striving for but never quite achieving what he did in his presidency. This book review critically examines Leuchtenburg's arguments.
From the Paper
"The one American President who has most affected his successors and changed the shape of politics is Franklin Delano Roosevelt. This view is espoused by William E. Leuchtenburg in his book, In The Shadow of FDR. Leuchtenburg?s book covers the presidencies of all the men who have followed Roosevelt (up to the time the book was written, in 1989), from Truman to Reagan, and, while noting the changing times, examines how Roosevelt has influenced them all, regarding their policies and personalities. As the scope of this book is so vast, this paper will deal with a few of these Presidents and the most important ways they were affected by Roosevelt."
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Oranges and Shadows, 2002.
A compare and contrast analysis of ?The Land of Sad Oranges? by Ghassan Kanafani and "In Praise of Shadows" by Tanizaki Jun?ichiro.
773 words (approx. 3.1 pages), 2 sources, MLA, $ 27.95
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Abstract
This paper reviews two short works, ?The Land of Sad Oranges? by Ghassan Kanafani and "In Praise of Shadows" by Tanizaki Jun?ichiro and discusses how even the simplest, shortest of things can convey the most impact and emotion. It examines how these two works have their differences but are remarkably similar in tone and style. ?The Land of Sad Oranges? is a work of fiction and "In Praise of Shadows" is a work of non-fiction, a series of essays exploring the subtleties of Japanese design. It shows how even though both works are quite different in their format and method of delivery, they are similar in that the way that they focus on minute details and use language to plays upon the reader?s different senses to bring him or her more fully into the work and thereby truly experience the message the respective authors are attempting to convey.
From the Paper
"Such careful attention to these tiny details is what gives these pieces such meaning and weight. What would ordinarily be a small, rather ordinary piece about a family (perhaps more than one) forced to leave their homeland and become refugees is instead an empathetic, evocative piece that draws the reader into the experience. Kanafani accomplishes this by his clever use of language. He deliberately plays upon the reader?s senses to make the experience seem more immediate. "
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Descartes: Three Doubts, 2005.
An analysis of skepticism in Rene Descartes's philosophy.
832 words (approx. 3.3 pages), 1 source, MLA, $ 29.95
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Abstract
The paper discusses Rene Descartes's three skeptical doubts and the importance of skepticism in his philosophy. The paper explains that the exercise of skepticism is the backbone of Descartes's philosophical approach and is the defining element of his meditations, insofar as they revolve around the identification and examination of three doubts: the doubt in his own existence, the reality of God, and the existence of the outside world. The importance and implications of these doubts are discussed in the paper in the hope of illustrating that, if we want to arrive at certain knowledge and objective truth, we should begin, as Descartes did, by doubting.
From the Paper
"Descartes' third doubt is a natural extension of the first two and particularly interesting insofar as its conclusion is predetermined by the ones arrived at earlier. Quite simply stated, we know that we exist because we are thinking beings and ultimately, conclude that God exists because we have exercised our thinking abilities. However, the outside world is primarily communicated to us as an entity through multiple perceptions and perceptions, in themselves, cannot be accepted as certitudes insofar as they may be misled by the Evil Demon. Nevertheless, the proof for the existence of the external may ultimately emerge from our knowledge of it. Knowledge, insofar as it had earlier been defined by Descartes as indubitable and a product of good God, cannot, therefore be deceiving. Hence, the outside world exists."
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Jung and the Shadow, 2006.
A look at the concept of the shadow in Jungian psychology.
3,432 words (approx. 13.7 pages), 19 sources, MLA, $ 97.95
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Abstract
This paper examines how the idea of the shadow in Jungian terminology--those aspects of our selves that we fail to see, hidden aspects that are both positive and negative and aspects of ourselves that are not shown to the world via the persona--is certainly one of the most well-known among the concepts created by Carl Gustav Jung. It attempts to understand the nature of the shadow-what it is, where it comes from and how it is composed in order to understand its basic aspects and the means by which it is such a powerful force in the psyche.
From the Paper
"While still working with Freud, Jung developed another idea that links back to the concept of the shadow, that of imago. This term is based on Jung's idea that "children's images of their parents do not simply reflect their actual parents" (Humbert, 1983/1996, 4). The designation of imago reflects "the schema that is most properly the child's and that is least reflective of the child's actual parents" (p. 4). During this time period he also wrote extensively on complexes. Jung's word association tests during his nine years at the Burholzli starting in 1900 led him to formulate his ideas surrounding complexes. "
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Descartes? Method of Doubt, 2005.
A look at philosopher Renee Descartes' method of doubt and its role in the "Meditations".
1,717 words (approx. 6.9 pages), 3 sources, MLA, $ 55.95
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Abstract
This paper explains how Descartes uses the presence of doubt to prove the existence of knowledge and then uses this method of doubt throughout the "Meditations" to bring his readers to various philosophical conclusions.
From the Paper
""I think, therefore I am" (Descartes). That may be the most famous statement in all of philosophy. Beautiful in its simplicity, it is the most concise way of understanding Descartes' method of doubt. According to Descartes, whatever could be doubted was to be rejected (Burnham and Fieser). Therefore, the only things that could be trusted were those things that were clear beyond any doubt. The foundation of Descartes' philosophy was to trust only those things that could be so proven. Then, by removing all things that he could doubt, Descartes was left with the simple fact that he had doubt. That doubt, in and of itself, was sufficient to prove Descartes' existence, giving rise to the beautiful conclusion: "I think, therefore I am" "
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