| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "SPIKE LEE CINEMATIC STYLE": |
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Spike Lee's Cinematic Style, 2002.
Explores Spike Lee's directorial style by comparing two of his films.
1,900 words (approx. 7.6 pages), 2 sources, $ 71.95
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Abstract
The films by director Spike Lee are not trivial, mindless films that require suspension of disbelief. His films provide the viewer with an insightful social commentary on contemporary race relations. This paper is an analysis of Spike Lee's directorial style. Lee's directorial style, stylistic tendencies, stories, and work as a whole are explored in this paper by comparing his films "Do the Right Thing" and "Malcolm X".
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Film: Spike Lee's "Malcolm X", 2007.
This paper analyzes the significance of the interracial sexual relationship between black Malcolm and white Sophie, in Spike Lee's 1992 film "Malcolm X".
765 words (approx. 3.1 pages), 2 sources, MLA, $ 27.95
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Abstract
This paper explains that the interracial sexual relationship between black Malcolm and white Sophie, in Spike Lee's 1992 film "Malcolm X is striking in the context of the civil rights movement, which only recently had begun to make such liaisons relatively safe and acceptable, and the narrative of the film, in which it develops into a criminal partnership. The author points out that Spike Lee positions this relationship as a direct result of Malcolm's ambition and power and Sophie's desire to realize her sexual fantasies. The paper relates Malcolm's ability to roam sexually in the upper class testifies to his personal strength and ability to succeed, an important theme in the film. The author concludes that Malcolm's relationship with Sophie serves as a symbol of the liberation of the civil rights movement.
From the Paper
"With the emergence of the Civil Rights movement, black/white relationships lost at least some of their taboo, and increasingly became public. Both blacks and whites expressed profound distrust of mysogenation. As Michele Wallace, a black woman growing up the time, bluntly put it: "Only the rejects crawl for white pussy." In "Malcolm X", Laura's jealousy and disapproval at Malcolm's relationship with Sophia exemplifies this attitude. Interestingly, both in the historical record and paralleled in the film, the sexuality of black women seems less important than that of black men during this time period."
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Spike Lee, 2005.
A look at how Spike Lee uses New York as a theme in his movies.
900 words (approx. 3.6 pages), 5 sources, MLA, $ 31.95
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Abstract
This paper examines how director Spike Lee uses the city of New York as a theme in his movies as well as
a foundation for the visual structure of his movies. The paper examines Lees' films, "25th Hour" and "Do the Right Thing", and suggest that the New York serves as a "background character."
From the Paper
"In his films, "25th Hour" and "Do the Right Thing", Spike Lee uses New York both as a theme and a foundation for the visual structure of the film. In both cases, Lee relies on the cosmopolitan mosaic of New York to dramatize a series of inter-connected characters much the way he seems to view New York as a place of interconnected characters. In the film, "25th Hour", Spike Lee uses New York as both background and character. Perhaps one could argue the city serves..."
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"Do The Right Thing" by Spike Lee, 1992.
A synopsis of plot and an analysis of the depiction of racism and critical reaction.
1,125 words (approx. 4.5 pages), 3 sources, $ 39.95
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From the Paper
""Violence as a way of achieving racial justice is both impractical and immoral." Martin Luther King
"I don't even call it violence when it is self defense; I call it intelligence." Maclcom X
The above quotes are the ending to the movie Do The Right Thing. Directed by Spike Lee, the movie looks at one hot summer day in the black ghetto of Brooklyn. Made on a limited budget for $6 million, it quickly grossed over $25 million within three months of opening. It became one of the most talked about film of the decade, went on to achieve critical acclaim and created incredible conflict.
The controversial aspects of this movie centered around..."
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"Do The Right Thing" by Spike Lee, 1992.
A sociopolitical analysis of the film on racism in New York.
1,125 words (approx. 4.5 pages), 0 sources, $ 39.95
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From the Paper
""Do The Right Thing"
When Spike Lee released his film "Do the Right Thing" in the summer of 1989, he concluded it with two quotes: one from Dr. Martin Luther King, Jr. and the other from Malcolm X. The two different opinions on the "right thing" in terms of violent or non-violent action showed that Lee himself was torn between what the correct response was.
The purpose of this paper is to come to grips with a number of divergent opinions on racial equality and how people can (or can't) live together in peace. The THESIS here is that, while "Do the Right Thing" is a motion picture that does show behavior without apparently drawing any moral value judgments, at the core of Lee's film are several questionable attitudes.
One could ask the question: who, if anyone, does the right..."
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"Do The Right Thing" by Spike Lee, 1996.
Analyzes racial themes & messages of 1989 film in context of Bell Hooks' sociopsychological theory of "the Other."
1,350 words (approx. 5.4 pages), 2 sources, $ 47.95
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From the Paper
"Race and the divide between the races is either the subject or the subtext in many films. The theory of the creation of "the Other" as delineated by Bell Hooks applies to these works and helps illuminate how they handle the issue of race. Hooks's analysis will serve as the critical perspective to be applied to a film overtly about racial tensions and how they develop, Spike Lee's Do the Right Thing.
Hooks notes how race is used not merely to discriminate against one group or another but to make that group discriminate against itself:
Though systems of domination, imperialism, colonialism, racism, actively coerce black folks to internalize negative perceptions of blackness, to be self-hating, and many of us succumb, blacks who imitate whites..."
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Cinematic Impulses of 'Boyz N the Hood', 2008.
This paper provides a film review of the movie 'Boyz N the Hood' and looks at its cinematic impulses.
1,340 words (approx. 5.4 pages), 1 source, MLA, $ 45.95
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Abstract
In this article, the writer notes that in 1991, at the age of twenty-three, John Singleton made his major directorial debut with the critically acclaimed and theatrically popular film 'Boyz N the Hood'. In many ways, this film was the first of its kind, with Singleton not just bringing his career to a promising start but launching the aspirations and future projects of many young, African-American directors. The writer maintains that the unique, gritty style of storytelling that would become a hallmark of Singleton's later work was refreshingly raw in his debut, serving to reflect the lifestyle about which the film elaborated while creating a meaningful cinematic experience that was steeped in realism and unflinching candor. The writer provides a review of the film and notes that within the confines of a modest budget, Singleton creates a convincing mirror of the world that his characters occupy, ultimately causing their circumstances to resonate with the audience.
From the Paper
"Singleton's reconstruction of a South Central Los Angeles neighborhood is accomplished with devices which are often not even the direct focus of the film. In the midst of scenes where family members talk quietly in a house, or when the young men congregate on the stoop to drink or even as the protagonist loses his virginity to his girlfriend, the sounds of the neighborhood are constant. The distant sound of police sirens pulling cars to the side of the road is one that is present throughout the film. Likewise, the constant thrum of helicopter propellers can be heard overhead, preventing both the characters and the audience from ever being fully transported away from the police manhunts and street violence around them. Other sounds of the ghetto, like screeching tires, rattling gunfire, breaking glass, barking dogs, children playing in the streets and blasting car radios are the soundtrack to the film. The director trains his emphasis on the characters as they attempt to live with these dark presences in their lives. The approach of keeping these sounds on the periphery while developing the experiences of the characters has the effect of building a steady tension throughout the film. Though the characters attempt to keep these sounds on the periphery, the off-screen sounds eventually are the harbinger of face-to-face encounters. By the film's end, the distant police sirens and gunfire become more important as on-screen elements, with major scenes and characters being impacted by the confrontations."
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A Question of Auteurism: Cinematic Productions and Critical Responses, 2002.
A discussion of the auterism of three films, Kenneth Branagh's "Henry V", Federico Fellini's "La Strada" and Fritz Lang's "Metropolis".
1,025 words (approx. 4.1 pages), 12 sources, $ 39.95
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Abstract
This paper will examine the critical responses to three films, which derive from both immediate and reflective criticism. The films to be discussed are Kenneth Branagh's "Henry V", Federico Fellini's "La Strada" and Fritz Lang's "Metropolis". It will be argued that central to the criticism of the three directors and their films are the sense in which each is regarded as an "auteur". All three cinematic texts produce meaning through the tension between the director's personality and the material with which he is working. It is this pervasive domination by the director of the cinematic text through manipulation of the 'mise en scene' that defines these works as that of "auteurs".
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The Cinematic Style of Steven Spielberg, 2007.
This paper discusses Steven Spielberg's particular style as a film director.
780 words (approx. 3.1 pages), 0 sources, $ 27.95
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Abstract
In this paper, the author compares Steven Spielberg's films "Saving Private Ryan" and "Munich." The basis for the comparison is Spielberg's personal cinematic style as a director. Spielberg is able to integrate the visual setting in both films as realistic, but not necessarily for sheer visual impact. Instead, he lets the scene tell the story. Additionally, the conclusions of both films allowed the viewer to resolve the themes of the movies themselves, another trademark of Spielberg.
From the Paper
" It was easier to immediately reject Saving Private Ryan because of its category than it was to reject Munich. At least Munich was interesting. Upon hearing the titles of both films, Munich (at least in this reviewer's case) was far more intriguing than Private Ryan. This critic's automatic rejection scenario was immediately initiated upon hearing of Private Ryan, while being intrigued by hearing of Munich."
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Cinematic Elements in "Full Metal Jacket", 2001.
Examines various aspects of Kubrick's film including color scheme, scene construction and cinematography.
1,125 words (approx. 4.5 pages), 0 sources, $ 39.95
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From the Paper
"The overall color scheme of "Full Metal Jacket" involves a shift toward the green in art direction and toward the blue in terms of lighting. The green is seen in the tinge of the walls of the barracks, in the uniforms, and in the choices made throughout the movie for the surroundings (the green of the foliage at Paris Island, what is left of the green in the war zone of Vietnam, the sickly cast to the war scenes, the green of military bases everywhere, and so on).
The blue shift in the light and the prevalence of green places a distance between viewer and action. These are cold colors, and the blue adds a sense of documentary to scenes like the opening where the soldiers are getting their haircuts. Blue is emphasized in the night scenes, with a blue filter adding an ominous and mysterious tinge to the action. Blue makes the inter..."
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Cinematic Success of "A Clockwork Orange", 2001.
A comparison of Anthony Burgess's novel, "A Clockwork Orange" with Stanley Kubrick's motion picture representation.
2,165 words (approx. 8.7 pages), 2 sources, $ 67.95
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Abstract
A look at the novel by Anthony Burgess and the film representation by Stanley Kubrick. The author discusses Burgess?s moral message, unique use of language, and plot structure in comparison to Kubrick?s use of cinematography, visual symbolism, and plot alteration. The author argues that Kubrick?s film is successful in representing Burgess?s narrative.
From the Paper
"Kubrick?s adaptation of Burgess? novel would obviously be viewed as incomplete to someone who read the novel prior to watching the movie. However, Kubrick?s film comes complete with all the elements needed to create a full literary tale, making it successfully stand on its own as an individual work of art. The fact that Kubrick paid attention to much of the detail, such as symmetry, shapes, and other symbolism, further validates the film in being considered by serious critics as a thought-provoking piece of work, and a reliable account of Burgess? intentions concerning free will."
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Cinematic Role in September 11th 2001, 2002.
A comparison between the media's delivery of news and film making.
1,135 words (approx. 4.5 pages), 3 sources, $ 39.95
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Abstract
This paper looks at the role that the media plays in portraying and delivering news with special reference to the September 11th attacks on the World Trade Towers. The author argues that the way the media depicts news creates a situation in which reality becomes indistinguishable from film making. The media's use of techniques such as slow motion, repetition, development of characters and formation of anticipation in the audience in delivering news, is so similar to the way films are made, that to discern between boundaries of the media and real life becomes impossible.
From the Paper
"The Spectacle of horror, which took place on September 11th 2001, has left daunting unforgettable memories in the minds of all on lookers. The events of that day influenced so many individuals because of the vast reach of the media in our day-to-day lives. What happened on September 11th 2001 leaves many believing that real life has become indistinguishable from the movies. The increase in media control has taken off with in the cultural industry over the last 30 years. Televisions became mainstreamed into the family home in the 1970?s with the invention of colour TV. These days more then 11 million Canadians have cable television. The mega trend of corporate capitalism in the post-industrial world has 7.5 million households online. Hollywood and American cinema account for the 2nd largest product surplus in North America. Ironically before the September 11th 2001 tragedies top grossing industry was the Airline Industry. Both the film and airline industries have seen drastic declines in profits since September 11th 2001."
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?Do the Right Thing?, 2002.
A review of Spike Lee's 1989 film ?Do the Right Thing?.
891 words (approx. 3.6 pages), 0 sources, $ 31.95
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Abstract
This paper discusses how Spike Lee demonstrates his filmmaking prowess in his 1989 film "Do the Right Thing". It examines how, as with most of Lee?s work, race relations are central to the story and how with "Do the Right Thing", Lee presents a bleak view of the nature and future of cross-cultural relationships in urban America. It looks at how the protagonists Mookie and Sal, despite their differences, reveal a remarkably similar worldview as the film progresses,especially in their inability to resolve the racial tension that emerges in the film. Mookie and Sal develop a decent professional relationship, yet both retain lingering feelings of resentment toward the ?other.? It shows how Spike Lee does a remarkable job portraying mutual feelings of ?otherness? in "Do the Right Thing" and how the writer/director/actor shows that racism exists on both sides of the fence.
From the Paper
"One of the main themes and motifs in Spike Lee?s Do the Right Thing is impasse. Sal?s Wall of Fame symbolizes this cross-cultural impasse, just as the Kashmiri boarder represents it on the subcontinent. In Do the Right Thing, both the African-Americans and the Italian-Americans have a valid point: both want to retain their ethnic and cultural identities without succumbing to oppression and pressure. The patrons of Sal?s are mostly black; therefore, Buggin? Out feels miffed that Sal would only showcase Italian-Americans on his wall. Yet Sal does not include photos of Asian-Americans either, even though there are Asians in their community. Sal?s choice to display Italians on his wall might be borne of a lingering superiority complex, but Buggin? Out chooses to view the act as a sign of hatred and intolerance rather than mere ethnic pride. The conflict between India and Pakistan exhibits similar sentiments. Kashmir, like Sal?s pizzeria, becomes the battleground of racial tension. Both Indians and Pakistanis view the property as theirs. Similarly, both the blacks and the Italians view the area as theirs. The characters in Lee?s film would do well to practice Manchanda?s idea of reconsidering maps and geographic boundaries."
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"Malcolm X"?.
This paper discusses Spike Lee's film, "Malcolm X ," an adaptation of "The Autobiography of Malcolm X".
920 words (approx. 3.7 pages), 3 sources, APA, $ 32.95
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Abstract
This paper explains that Spike Lee's film, "Malcolm X," depicts the way Malcolm X, in prison, forged his identity based on social and religious values, not the values of the dominant white culture, but rather values in opposition to the white Anglo-Saxon Protestant culture, which, for centuries, had oppressed persons of African descent. The author points out that Malcolm X was a sincere adherent to Islam, which was not the religion of his African ancestors, but the religion of modern Africa. The paper relates that Spike Lee demonstrates how, when Malcolm X embraced Sunni Islam and incorporated its teachings into his approach toward black liberation, his militant views became more tempered; this shift from pure militancy toward cooperation directly led to his assassination.
From the Paper
"As Lee's movie shows, Malcolm's family history and early experiences affected his radical political views. He joined the Nation of Islam while in prison, as he felt a sense of camaraderie and solidarity that he never would have found in the outside world. Lee depicts how Malcolm X was deeply and personally affected by his exposure to the Muslim religion. In fact, one of the most remarkable things about the life of Malcolm X was his ability to grow with his religious beliefs, rather than having his religious beliefs dictate strictly what his actions were. As the film points out, Malcolm X did the necessary pilgrimage to Mecca shortly before he was assassinated."
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?Do the Right Thing?, 2002.
A review of Spike Lee's movie, ?Do the Right Thing?.
804 words (approx. 3.2 pages), 4 sources, MLA, $ 28.95
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Abstract
An examination of Spike Lee?s most reactionary big-screen film, ?Do the Right Thing.? It specifically focuses on how Lee addresses the sensitive issue of race and racism.
From the Paper
"In the film race is symbolically recognized with neglectful feature, initially in a variety of sports sweaters. Mookie wears both Michael Jordan?s Chicago Bulls jersey, as well as later Jackie Robinson?s jacket for the Dodgers. A local brownstone paying-guest, white, sports Larry Bird?s number Thirty-Three. Later, in an effectual succession the camera pots across a variety of books; each puts on show a headline in reference to the rising hotness in a diverse language (Joe, 1989)."
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