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Comparative Study between the Two Titanic Films, 2002.
This paper looks at the two Titanic films (Titanic and A Night to Remember) and examines how the two differ.
2,200 words (approx. 8.8 pages), 2 sources, $ 68.95
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Abstract
The writer looks at various aspects in both films including the film techniques used to create actual film, and the representation of society, how the general public of the early twentieth centaury behaved and what their ethics were. It looks at key areas including: production techniques, narrative, marketing and target audience and includes a conclusion.
From the Paper
"Aims and Objectives We looked at the two film productions based on the sinking of the Titanic. The 1997 production directed by James Cameron "Titanic" and the late 50's production directed by Roy Baker "A night to remember". It was based on the No.1 bestseller "A night to remember" by Walter Lord, both book and film were based on factual evidence. They obtained information from ship plans, writing to survivors and many other valuable sources."
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"Clash of the Titans"--A Film Review, 2007.
A review of the film "The Clash of the Titans" and its mythological basis.
1,367 words (approx. 5.5 pages), 4 sources, MLA, $ 45.95
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Abstract
This paper describes and reviews the film "The Clash of the Titans," while also considering the mythological basis of the storyline. The paper examines the deeper mythological themes present in the movie, especially how human beings try to satisfy the willful nature of the gods. The review describes the intent of Greek mythology in the paper, also giving attention to its deeper psychological meaning. The review concludes that although the film "The Clash of the Titans" does add some changes for dramatic effect, it does not veer too far away from the themes found in the original Greek myth.
From the Paper
"The symbolic frame for the mythology considers that the people form cultures with their own rites and ceremonies, mythology, heroes and stories as unique as any other culture. The Greeks developed over time a massive and complex mythology that explained in animistic, anthropomorphic terms many of the natural phenomena seen in the world around them and at the same time propounded a direct relationship between themselves and the gods as part of that explanation. In mythology, the Oedipus myth suggests that the hero is challenged and reformed by his encounter with his anima in the form of Jocasta, but his daughter Antigone is herself faced with her animus in the form of her father and all that he represents. Even a superficial reading of the story and an examination of the mythology behind it points to the fact that Antigone's character has been formed from her relationship with her father. Her relationship with her mother is secondary and indeed only sketchily formed at all in the context of the myth. Jocasta plays a role that is vital more because she is the mother as well as the wife of Oedipus than because she is the mother of Antigone. Elements of this myth are apparent in the way Perseus seeks to reconnect with the mother and rebuild the family lost so long ago. The godly world inhabited by these characters is a world where human passions have been projected on the deities so that rather than act as deities might be expected to, keeping some distance from the passions of the world, they instead exhibit human passions heightened because they are part of the behavior of the gods."
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Film: "Remember the Titans", 2008.
This paper is a review of the film "Remember the Titans", which demonstrates the problems of establishing racial equality in a high school and a community.
1,805 words (approx. 7.2 pages), 0 sources, $ 58.95
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Abstract
This paper explains that, in the film "Remember the Titans", high school football players on a formerly all white team must deal with the de-segregation of a school in Virginia high school and the presence of an African-American coach. The author relates that the film does not center on the difficulty of the changes in the classroom but rather on the football field, where the sport rules the town. The paper points out that, despite the changes of the individuals on the team, the persistent racism in the town shows how difficult it is to change ideas so deeply rooted in the society. The author states that, although football is certainly not as hard as war, the movie draws an interesting analogy between the two. The paper concludes that the film seems a bit too Hollywood in how smoothly the players make the transition from blatant racists to friends.
From the Paper
"The communities were sharply divided over the decision to name Herman Boone the head football coach. He had previously coached at North Carolina but was passed over jobs he had deserved because he was black. The African-American community celebrated his arrival; marking the first time a member of their race had obtained such a prestigious position. Despite a heroes welcome, Coach Boone continues to insist he was just a football coach. In a town like Alexandria where football is more than just a game, his position represents a victory in the fight for equality."
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The Art Film and the Genre Film, 2004.
Art and genre criticism in four classic films.
3,048 words (approx. 12.2 pages), 48 sources, MLA, $ 89.95
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Abstract
An analysis of two genre films and two art films - Antonioni's "Blow Up," Kelly/Donen's "Singin' in the Rain", Truffaut's "The 400 Blows", and Sirk's "All That Heaven Allows". The validity of both genre and art film criticism are examined.
From the Paper
"By its failure to accommodate the excess generated by its subject matter, All That Heaven Allows is not only critiquing the genre of melodrama, it also exposes the contradictions and conflicts present in American bourgeois society (Bourget, 1995, 45). However the subversive excess and contradictions present in the film prevent it from being ?just another melodrama?. Sirk worked within yet against the constraints of the Hollywood studio system to subvert the genre, and although the film is superficially a generic 1950s Hollywood melodrama, Sirk?s characteristic stylistic technique marks him as an auteur, a position usually associated with the art rather than the genre film."
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Seventies Films Versus Today's Films, 2001.
A comparison between films from different periods in time, and the differences in their entertainment methods.
2,625 words (approx. 10.5 pages), 8 sources, $ 79.95
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Abstract
A comparison of three honored films from the seventies, "Easy Rider", "Five Easy Pieces", and "The Godfather" and two films from the the year 2000, "The Gladiator" and "Erin Brokovich". The paper considers how they differ in the realm of providing distracting entertainment versus probing consideration of timely issues, concluding that seventies films left a more lasting vision.
From the Paper
"What do we want from our movies? Do we seek simple escape or deeper understanding of our lives? Can a movie be both probing and entertaining? Are entertainment, eye candy and special effects enough, or do we seek something deeper? Do we want to look inside ourselves and ask questions, or to merely stay on the surface, distract ourselves, and deny that there is anything more to be considered? These questions arise when comparing three movies from the 1970s with two films nominated for Academy Awards in the 2000. The films considered are: from the seventies, Easy Rider, Five Easy Pieces, and The Godfather, and from 2000, Gladiator and, Erin Brokovich. Pauline Kael, the well-know New Yorker film critic, commenting on how she got hooked on films, agrees another critic, Paul Coates, that in its ideal form, ?Cinema is the dream of an afterlife from which to comprehend this one? (Kael 63). In light of this quote, the films from the seventies embody elements which through the focused vision of the director offer mythic qualities that provide not only entertainment but an opportunity for viewers to examine their lives. That in accomplishing this, they provide images that remain in the mind?s eye could be considered the tradition of the seventies. In contrast, recent films Gladiator and Erin Brokovich are entertaining distractions, providing no lasting vision."
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Film Studies: Analyzing Three Films within the Context of South East and Asian Historical Perspectives, 2005.
The Chinese Communist Party soon came to power after years of exile and puppet rule that Pu Yi had experienced in the ever changing political and gove...
1,350 words (approx. 5.4 pages), 6 sources, $ 53.95
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Abstract
The Chinese Communist Party soon came to power after years of exile and puppet rule that Pu Yi had experienced in the ever changing political and governmental landscapes of China. In 1950 Pu Yi was forced to leave his Soviet township and soon became a prisoner of the new Communist Party politics.
From the Paper
ABSTRACT TOO SHORT
Film Studies: Analyzing Three Films within the Context of South East and Asian Historical Perspectives Essay 1: Understanding the Premise of Vietnamese Communism within the Film: Full Metal Jacket The film Full Metal Jacket (1987), directed by Stanley Kubrick, offers an American point of view of a Vietnamese conflict that depended heavily on the communist (NLF) National Liberation Front. The communist resistance to American pressure to abdicate to the puppet regimes of older leaders, such as Ngo Dinh Diem, resulted in the NLF being called the "Viet Cong" or a "Democratic Dictatorship" within military and governmental propaganda. The reason for this is reflected in the film, as the Tet Offensive becomes the symbolic part of the movie where the Americans begin to lose the war, marking the American military's last real ground-based initiative to take the country. In this manner, a historical perspective of the NLF can be analyzed, but
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War Films as Military Propaganda, 2006.
This paper discusses both positive and negative depictions of the US military in films and looks at how the military has made use of some of these films as a propaganda tool.
1,350 words (approx. 5.4 pages), 4 sources, $ 53.95
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Abstract
This paper discusses the military's use of film as a propaganda tool. The films that examined in the paper are "Battlefield" and "The Manchurian Candidate". Other topics discussed include the Cold War and the use of ideology.
From the Paper
"Depictions of the US Military in film have varied considerably over the years. Some films portray the US Military as a negative force that is being used to repress the average citizen. Others portray the US Military in a very positive light by suggesting that they are the average citizen's last defense against hostile nations. Although both depictions can be found in films from any year there are definitely patterns in the proportions of the depictions. In certain time periods the negative depictions of the US Military will outnumber the positive ones. In other time periods the positive depictions..."
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Documentary Films, 2004.
Discusses documentary films by analyzing the film "Capturing the Friedmans".
1,800 words (approx. 7.2 pages), 5 sources, APA, $ 63.95
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Abstract
This paper use the documentary film, "Capturing the Friedmans", to define and examine the documentary film genre. The paper analyzes "Capturing the Friedmans", and discusses what the family's home movies reveal about contemporary American family life and the dynamics of the family relationships.
From the Paper
"According to Bill Nichols, every film is essentially a documentary, but true documentaries, as opposed to wish-fulfillment fictions, represent a unique genre of film that engages with the world as it exists in reality. Nichols says that the documentary engages with the world by representing it in one of three ways. First, documentaries offer a likeness or depiction of the world that bears a recognizable familiarity. Secondly, these films stand for or represent the interests of others. Third, some documentaries may represent the world..."
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Horror Films, 2002.
An overview of different views on horror films, with a discussion of the most popular horror films.
2,804 words (approx. 11.2 pages), 4 sources, MLA, $ 83.95
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Abstract
This paper provides an insight into horror films, from the classics such as "Psycho" to the psychological thrill of "The Silence of the Lambs". It examines the history of the horror film from the first film directed by Georges Melies in 1896 and its development through the period of silent and black-and-white movies to the technological effects of the 21st century. It also attempts to analyze their attraction for people and how the fear and loathing, as well as the almost guilty enjoyment experienced in a movie theater filled with gore lovers, are human psychological needs.
Outline
The Classics
The Psychological Need
The History of the Horror Film
Conclusion
From the Paper
"?Psycho? is seen by many horror fans as the ultimate horror film. Hitchcock plays with the idea of identity and involvement. The viewer is expected to feel drawn into the world of Norman Bates. The suggestion is also that the viewer?s identity is not as important as his or her emotional involvement in the plot. The film universalizes the idea of monstrosity in each individual. It mirrors the audience?s wickedness and guilt back at the audience by means of the ordinary and unassuming Norman. The implication is that everybody has a dark side. The monster therefore appears to have moved closer and closer with the development of the horror film. And now it is inside. Or now its existence is recognized. The monster is no longer something that looks hideous. Instead he or she is as human-looking as everyone else."
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Docudrama Films, 2006.
A comparison between the films 'Fahrenheit 911' and 'Bowling for Columbine' versus films 'FahrenHype 9/11' and 'Celsius 41.11 - The Temperature at Which the Brain Begins to Die'.
4,669 words (approx. 18.7 pages), 12 sources, MLA, $ 120.95
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Abstract
This paper takes a look at, and compares, the docudrama films 'Fahrenheit 911' and 'Bowling for Columbine' versus the docudrama films 'FahrenHype 9/11' and 'Celsius 41.11 - The Temperature at Which the Brain Begins to Die'. The paper takes a look at how these films influence the reputation of docudrama as a film genre.
From the Paper
"Within Fahrenheit 911 Michael Moore uses footage that is simultaneously disturbing and humorous, in which President George W. Bush is shown, immediately after hearing the news of the September 11 terrorist attacks on the World Trade Center and the Pentagon, continuing to read the children's book My Pet Goat to a group of Florida elementary school children, while also looking blankly off into the distance trying to figure out what to do next. The sequence of events leading up to that series of shots, in which Bush reads "My Pet Goat" and looks perplexed, for at least five full minutes, is obviously intended by Moore to illustrate that, even though Bush comes from a powerful, privileged family, he is still unfit, on his own, to be President. "
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Youth Films, 2002.
A review of the films "Slacker"," Boyz N The Hood" and "Clueless" as examples of the genre of youth films.
1,400 words (approx. 5.6 pages), 2 sources, $ 53.95
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Abstract
This essay is a discussion of three films: Slacker, Boyz N The Hood and Clueless as a genre of youth films. It considers their similarities and differences, how the form of each film influences its meaning, and what these films attempt to say about social relations (e.g. class, race, gender) in the U.S. in the 1990s.
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Cold War Films, 2002.
An analysis of Cold War films: Comparing and contrasting qualities found within three films.
1,150 words (approx. 4.6 pages), 3 sources, $ 44.95
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Abstract
This paper examines the Cold War film genre in respect to the films "Dr. Strangelove", "The Mouse That Roared", and "The Manchurian Candidate". These films all share similarities but it is "Dr. Strangelove" that can be considered the quintessential Cold War film.
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Tragedy and Love in Romance Films, 2001.
This paper looks closely at two films: David Lean's "Brief Encounter" and Jack Clayton's "The Pumpkin Eater". The paper analyzes the two films from technical and aesthetic viewpoints, with particular reference to female protagonists.
3,058 words (approx. 12.2 pages), 11 sources, APA, $ 89.95
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Abstract
The writer compares and analyses "Brief Encounter" and "The Pumpkin Eater" with reference to the cinema of the time, including an in-depth investigation into the film-noir style 'romance' films of the British cinema of the 1940s. The paper looks to answer the question of whether or not these romance films were actually romantic.
From the Paper
"The elements that characterise romance films are that they ?centre on passion, emotion and the romantic and affectionate involvement of the main characters and the journey that their love takes through courtship or marriage.? They often explore the themes of ?love at first sight, unrequited love, obsessive love, sentimental love, spiritual love, forbidden love, sexual and passionate love, sacrificed love, explosive and destructive love and tragic love? They usually follow the trials and tribulations of the couple as they make their way through an episode in their lives. Typically romances have a ?happily ever after? ending that leaves the audience feeling fulfilled, however there are some films that it is very difficult to classify as ?typical? romances even though they are undeniably romances. There are a huge stock of romantic films that are instantly forgettable but what makes a romantic film enduring is that romance is not its primary concern ? it has more substance a simple exploration of a straightforward relationship. Brief Encounter is one such film, generally regarded as one of the greatest love stories ever to be produced by the British cinema. It is however not a typical romance and has definite tones of film noir and so does not adhere to the conventions of romantic films. Film noir is usually takes as its subject crime or mystery but there are some that deal mainly with romance such as The Postman Always Rings Twice and Double Indemnity, both adaptations of James M. Cain novels that are ?seething with lustful self destructive romantic relationships between a femme fatale and an entrapped male partner? . Another example from the British cinema of a romance disguised as something else is The Pumpkin Eater. This film purports to explore the psychological and emotional state of a woman, and is an examination of these elements of her character. Her psychological and emotional state is however intrinsically linked to her relationship with her husband Jake. Both films deal with the romantic lives of the main characters, but are both undeniably tragic and somewhat disconcerting tales of love and marriage from a female, middle class perspective."
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The Films of Phil Karlson, 2005.
This paper discusses the career and films of crime thriller producer and director Phil Karlson including a scene analysis from three films: "99 River Street", "The Big Heat" and "Scandal Sheet".
800 words (approx. 3.2 pages), 7 sources, MLA, $ 28.95
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Abstract
This paper explains that, although he never gained the same acclaim as other directors, Phil Karlson became famous in the 1950s with his productions of realistic "down and dirty" yet melodramatic crime movies, creating some of the best crime thrillers of the decade. The author points out that Karlson's films are hard-hitting and unpretentiously innovative, building on typical noir elements but venturing beyond standard "crime gone wrong" themes to explore the overlaps between reality and spectacle. The paper relates that, during the 1960s, Karlson directed the 'Untouchables' two-part pilot television series that was released later as the film "The Scarface Mob".
Table of Contents
Objective
Introduction
What the Reviewers Have to Say
Three Scenes from Karlson's Films
"99 River Street"
"The Big Heat"
"Scandal Sheet" (1952)
From the Paper
"In the 1953 film 'The Big Heat', Debby Marsh is played by Gloria Grahame winner of Best Supporting Actress Academy Award the previous year for her role in "The Bad and the Beautiful" (1952). Debby plays the part of a kept-woman and is a cold creature and the paramour of Vince Stone played by Lee Marvin. Vince is Lagan's chief henchman in this film. In one scene, Debby is thrilled to be an interruption of the boys at a poker game when she answers the phone and hands it to Vince who rudely tells her to leave the room...Debby pauses
in front of a mirror preening at her reflection giving an insight into her vain character and is only the first of many preening scenes on her part in the movie."
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Textual Analysis of 3min Clip of TITANIC (1997), 2002.
This is an essay based on a 3 min clip from the film, starting from where Rose tells the discovery crew about Titanic and ending with jack+fabrizio gambling. It looks closely at features such as editing,mise-en-scene and representation.
2,320 words (approx. 9.3 pages), 6 sources, MLA, $ 71.95
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Abstract
This essay is very focused on the technical features of the clip and the representation of characters. It contains a lot of technical terms for aspects such as editing, lighting, camera angles etc. It contains some background information in the introducation, about awards won and records set by the film. It also contains some very relevant quotes to back up the points made. The main objective is to show how the technical features help with the narrative.
From the Paper
"The Oscar-winning film Titanic (James Cameron 1997, U.S.A) proved to be one of the most profitable films ever made. In this essay I am going to analyse at a three-minute sequence from the film, where I will be specifically looking at features such as mise-en-scene, editing, framing, sound and lighting. I will then be discussing how these aspects help to reinforce the broader areas such as narrative, genre, representation and style. I am going to particularly focus on the representation of class as I feel that the class system is vividly portrayed in the film."
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