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"Thelma and Louise" by Ridley Scott, 1994.
An examination of the film's female protagonists' behavior as deviant and the criminal response to a male-dominated society.
1,350 words (approx. 5.4 pages), 7 sources, $ 47.95
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From the Paper
"The recent film Thelma and Louise presents two women who turn to criminal activity as part of their way of dealing with the world of males, and their way of dealing with men can be labeled deviant. Indeed, the film presents the development of this deviant behavior as itself a response to the deviance of males in American society. As presented in the film, this instance of female criminality is a case of crossing over, specifically indicating that these women are using countermeasures to male deviance that will themselves be deviant. This instance of deviant behavior will be used as the subject for the application of the ideas of crossing over and criminal organization and honor to illustrate the nature of, development of, and consequences of this deviant behavior.
It is interesting that the film under discussion is itself..."
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Thelma & Louise and Scarecrow, 2007.
This paper discusses two different films 'Thelma & Louise' and 'Scarecrow'.
1,003 words (approx. 4.0 pages), 4 sources, MLA, $ 35.95
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Abstract
In this article the writer discusses the two films "Thelma & Louise" and "Scarecrow". The writer points out that these films involve entirely different characters, settings, and outcomes, but notes that they have several themes that connect them in meaningful ways. The writer looks at the similarities and connecting themes. The writer then discusses ways in which the films are dissimilar.
Outline:
Picaresque Theme
Search for a Dream
Episodic 'Road Movie' Theme
Dissimilar Aspects of the Movies
Conclusion
From the Paper
"In 'Thelma & Louise', the women start out searching for some enlightenment, seeking some fresh moments that will change their boring existences from stale to fresh, from dreary to exciting. When the only thing you have in life that is enjoyable is the company of another woman, going away with her for a spontaneous and impulsive journey is wonderful, even dream like (although that dream turns into a nightmare).
In Scarecrow, the two drifters have a dream of opening up a car wash that actually has real nylon brushes."
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"Thelma and Louise" and Marxism, 2004.
Analyzes the film "Thelma and Louise" from a Marxist perspective about class and the power men retain over women.
675 words (approx. 2.7 pages), 2 sources, MLA, $ 23.95
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Abstract
This paper discusses the film "Thelma and Louise" in terms of gender issues and the Marxist perspective on class issues. More specifically, the paper discusses the film's critique of the law and the power of men, as a class, to hold power over women.
From the Paper
"In the film "Thelma and Louise", Thelma remarks that "law is some tricky shit isn't it?" Thelma's remark comes at the end of a discussion between her and Louise about the advisability of telling the police that Louise has just killed a man who was raping Thelma. Louise decides against going to the police believing they could not get a fair hearing. Thus, the women set out on a journey that will make them outlaws and eventually cost them their lives. Gender issues therefore are..."
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Machiavelli, Hobbes and Ridley Scott's "Gladiator", 2002.
An analysis of the representation of power and its abuse according to Machiavelli and Hobbes as seen in the world of Ridley Scott's "Gladiator".
3,150 words (approx. 12.6 pages), 4 sources, $ 115.95
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Abstract
This paper will examine the political philosophies of Machiavelli and Hobbes in application to the question of the use and abuse of power in "Gladiator". It will be seen that Machiavelli and Hobbes would agree that the insane villain, Emperor Commodus, was actually an insightful political leader. While the movie collapses the distinction between the personal and the political - with the whining, incestuous Commodus contrasted unfavourably with the "family values" of Maximus - neither Machiavelli nor Hobbes considered personal morality of any significance in the arena of political life.
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"Gladiator" by Ridley Scott, 2007.
This paper discusses the epic film, "Gladiator" by Ridley Scott.
1,718 words (approx. 6.9 pages), 7 sources, MLA, $ 55.95
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Abstract
The paper looks at the main character of Maximus in the film "Gladiator". The paper examines the reception of Maximus in three different nations; Canada, Great Britain and Australia and discusses how the respective cultures of each land embraced or rejected him according to their tastes. The paper shows how trans-national responses to Hollywood productions are culturally-determined responses that offer a great insight into the political economy of nations.
From the Paper
"Ridley Scott's "Gladiator" was one film that endured anything but an uneventful production and filming process. For one thing, veteran actor Oliver Reed died before he completed all of his scenes; for another, the elaborate battle scenes which are one of the chief attractions of the film were frequently logistical and artistic "nightmares". Additionally, the live tigers used in the making of those unforgettable scenes occasionally got "too close for comfort" - at least for Scott. Finally, the film was expensive, with the eventual production cost running to US$103 million (Mantz, para.5). With regard to other features of the filming and creation of the motion picture, it must be noted that the overall cost of not only making the film but also promoting it eventually ran to US$145.7 million. A pricey thing, to be sure, but the movie grossed $187 million in U.S. theatres and a further $269 million overseas ("Gladiator," sec.2), thereby suggesting that the film's main character of Maximus enjoyed an international following."
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"I, Robot" ( Isaac Asimov ) & "Blade Runner" ( Ridley Scott ), 1999.
Compares robots in Asimov's novel & replicants in Scott's film.
1,125 words (approx. 4.5 pages), 2 sources, $ 39.95
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Abstract
Compares robots in Asimov's novel & replicants in Scott's film. Discusses the paradox that , even as human beings in the real world seek to develop machines that can think, it is also apparent that these same human beings fear such machines.
From the Paper
" Artificial intelligence is a dream of mankind, but it is also an elusive one. Science has created machines that can emulate certain human thought processes at high speed, but these machines cannot really be said to think. In fiction, however, the problems involved can be solved, and robots have been presented in fiction which are very human in the way they think. However, even as human beings in the real world seek to develop machines that can think, it is also apparent that these same human beings fear such machines. In fiction, this is often addressed by the development of rules for the conduct of robots and androids, and yet often these rules can be bent quite far by the intelligent machines at which the rules are directed. Isaac Asimov created perhaps the most famous set of such rules in his Three Laws of robotics, logical rules that the author uses to.."
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"In A Lonely Place" by Nicholas Ray and "Blade Runner" by Ridley Scott, 1994.
A comparison of the 1950 and 1982 films as examples of film noir genre. Includes sociohistorical contexts, direction, the psychology of characters and iconography.
1,350 words (approx. 5.4 pages), 3 sources, $ 47.95
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From the Paper
"One of the most potent film genres in terms of subsequent influence was the so-called film noir, so-called because no one making a film noir at the time of its creation and ascendance ever used the term or even assumed that they were working in a genre or style that might deserve a name of its own. the term was applied long after by French critics who noticed a stylistic shift in American films in the 1940s, and as Thomas Schatz notes, this style dominated films in the late 1940s and early 1950s to such a degree that it came to identify both the narrative-cinematic style of those films and also the historical period during which they were produced (Schatz 112).
The style would have an influence long after that historical period ended. Indeed, it continues to have an influence today..."
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"Blade Runner" ( Ridley Scott ) &" Double Indemnity", 1997.
Compares film noir style, characters, plot & setting of 1982 & 1944 works.
1,125 words (approx. 4.5 pages), 3 sources, $ 39.95
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From the Paper
"Blade Runner (1982) and Double Indemnity (1944) might at first glance seem to have little in common, the first being a science fiction film about a man who hunts down and kills androids and the other a film about an insurance investigator and a woman who team up to kill her husband for his insurance. Both films derive their power, their style, and their "look" from the same source, the film noir style of the 1940s that developed spontaneously in response to the paranoia and uncertainties of World War II. In the 1940s, the style was used primarily for urban crime dramas, and the style is marked by sharp angles in both the setting and the use of the camera, night scenes, darkness, wet city streets, and sudden violence. The plots center on moral dilemmas, a sense of paranoia that often proves to be justified, the woman as lure for the male, and the male as.."
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"Alien" ( Ridley Scott ), 1999.
Analyzes the extraterrestrial creatures in 1979 film, comparing them to insects.
1,350 words (approx. 5.4 pages), 5 sources, $ 47.95
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From the Paper
"This paper is a discussion of the ways in which the extraterrestrial creatures in Ridley Scott's 1979 science fiction classic Alien are similar to and different from insects. Designed by H. R. Giger to be fearsome and horrific monsters, the creatures combine the characteristics of many different Earth-bound organisms, with fictional elements added to make them harder to kill and more terrifying to movie audiences. Examining the insect-like elements of these creatures provides a fascinating means of understanding what defines insects and separates them from other types of creatures, however similar. The monsters of Alien are a distinct breed, yet their morphology is insect-like in a number of very interesting ways.
Scott's film, using a screenplay written by Dan O'Bannon, introduces an alien life form that has now survived through four.."
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Blade Runner ( Ridley Scott ), 1997.
Analyzes 1982 film as an example of science fiction told in film noir style.
1,350 words (approx. 5.4 pages), 2 sources, $ 47.95
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From the Paper
"The film Blade Runner (1982) makes deliberate use of the 1940s film style known as film noir, a name given to the approach by French film critics who saw in American movies an emerging social, psychological, and stylistic point of view after World War II. The use of the style in Blade Runner brings two different generic sensibilities into conflict: the science fiction film which looks to the future, and the film noir which finds meaning in the dark and decaying urban world of the 1940s. Director Ridley Scott deliberately plays the two styles against one another, with the high-tech world of the future shown not as a brave new world of progress and light but as an extension of the urban decay of today, a theme highlighted by the stylistic link to films of the past."
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Louise in "Story of an Hour", 2003.
Louise Mallard's transformation in character in Kate Chopin's "Story of an Hour".
1,026 words (approx. 4.1 pages), 1 source, MLA, $ 36.95
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Abstract
This paper examines how Kate Chopin uses different types of imagery to convey the main character, Louise Mallard's, dramatic transformation in personality, which is caused by the untimely death of her husband.
From the Paper
"Kate Chopin's rather unusual tale, "The Story of an Hour," focuses on a woman named Louise Mallard who has been mistakenly informed of her husband's death. Her sister Josephine and her husband's friend Richards are careful in breaking the news to her, because they fear that her frail heart will be unable to withstand the blow. Interestingly enough, however, Mrs. Mallard is not completely devastated at this news - on the contrary, she feels as if she has been set free. Over the course of the story, Mrs. Mallard grows more and more exuberant at the prospect of life without her husband. We gain more insight into Mrs. Mallard's optimistic condition through Chopin's descriptions of not only her own body and soul, but the world around her. Mrs. Mallard's dramatic change in character, caused by the untimely death of her controlling husband, is revealed through subtle, yet skillful imagery - not only of her settings, but of her slowly strengthening emotional and physical being."
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Louise Erdrich's Poetry, 2005.
An analysis of literary techniques in Louise Erdrich's works.
1,587 words (approx. 6.3 pages), 0 sources, $ 51.95
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Abstract
This paper explains that Louise Erdrich is a great example of a Native American author who writes about themes and issues that are very close to her heart and uses many subtle techniques such as symbolism and the functions of non-protagonist characters to enhance her literature and to further convey points that she wants to make to her readers. Her poetry is examined in this paper, to point out these literary techniques.
From the Paper
""Dear John Wayne" is an absolutely fascinating poem in which Erdrich uses symbolism and imagery masterfully to enhance the story. Early in the poem, Erdrich utilizes her skill with imagery give the reader an image of Native American men lying on the hood of a car at a drive-in movie theater and watching a giant image of John Wayne, the great cowboy, as he dominates a group of Indians. This is an obvious, yet clever display of symbolism, with John Wayne symbolizing the white American culture. John Wayne's image on the screen is described as being gigantic, and this certainly has relevance other than simply his physical appearance.'"
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Feminist and Anti-Feminist Films, 2005.
An analysis of the themes of male protection against male violence in the films, "Something Wild" and "Thelma and Louise".
742 words (approx. 3.0 pages), 5 sources, MLA, $ 26.95
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Abstract
This paper examines how good outlaws who are on the run from the law are a typical theme of American cinema and how both "Something Wild," directed by Jonathan Demme, and "Thelma and Louise," directed by Ridley Scott, are of the 'road movie' genre, which features the American myth of the open road and free and easy access to changing one's life through motion.
From the Paper
"Thus, both films deal with a problem-if feminism is about women's rights, what of women's rights if the law, for both men and women, is so often wrong. One reason both films provide different answers is that Something Wild involves a male and a female, while Thelma and Louise involves two females. Something Wild suggests that the female is only capable of full motion and movement on the open road in the presence of a male, while the plot of Thelma and Louise suggests that the road provides a potential means of escape for both men and women, and that the presence of men such as the cowboy/drifter of Brad Pitt can sunder female closeness."
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Louise Erdrich's Poem "Windigo", 2001.
An analysis of how modern writers adapt mythic themes in their poetry, with the specific example of Erdich's poem "Windigo."
1,055 words (approx. 4.2 pages), 1 source, $ 37.95
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Abstract
This paper analyzes Louise Erdrich's poem "Windigo". The paper considers the traditional legend of the Windigo and Erdrich's sensualization of the topic of monsters.
From the Paper
"The windigo is a Native American nightmare, invented by the Cree and Ojibwa peoples of Northern America (Great Lakes Regions) and Canada. The area in which these peoples lived is subarctic, five million square miles of forest and tundra inhabited by fewer than 60,000 people. It is a lonely region with long, dark, cold winters. In times past, the tribes Native to this region spent their winters secluded in their homes, carefully dividing up food supplies, and, in traditional Native American style, telling tales to pass the time. A popular and terrifying one of these stories featured the windigo, a creature that lives alone in the forest. Described as being from ten to thirty feet tall, it has a frozen, grotesque mouth with jagged, icy teeth. Its footprints in the snow are bloody, and its rasping breath can be heard for miles. Its modus operendi? It eats people, but that is not even the worst of it."
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Louise Erdrich's "The Beet Queen", 2005.
Character and plot analysis of this story about familial ties and identity.
1,350 words (approx. 5.4 pages), 2 sources, APA, $ 45.95
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Abstract
This paper analyzes the characters and the theme in Louise Erdrich's novel, "The Beet Queen," and explains that it is about individual struggle, communal struggle, identity, and family relationships.
From the Paper
"Mary Adare begins the narrative of Louise Erdrich's 1986 novel The Beet Queen, saying she was "girl in the stiff coat," in 1932. (Erdrich, 1986, p.1) Deprived of her brother Karl, who she cared for she feels weak-for from the beginning she has experienced a sense of disconnection from other members of her immediate family, even her own brother and mother. Her brother is spindly and apt to faint during moments of great distress while his sister is strong as she begs mealy apples when her family is hungry. Early on in the narrative, Karl is lost to Mary when he hears a dog bark, and turns tail, leaving Mary to the mercy of apparent strangers in the form of her aunt and uncle. (Erdrich, 1986, pp.8; 1)"
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