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Utopian Ideals and the Soviet Film Industry, 2002.
The effect of Stalin on the Soviet film industry and the pre-revolutionary history of the Russian cinema.
4,184 words (approx. 16.7 pages), 17 sources, MLA, $ 111.95
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Abstract
This essay explores what state the film industry was in before the Russuan Revolution. It looks at the ways in which the Bolsheviks planned on bringing Soviet Russia into the modern age and how this policy was conceived and brought about during and after the Revolution. It also explores the practical implications of these policies and how when Stalin came to power these policies changed. In this overview of the golden age of Soviet filmmaking, the writer focuses on specific policies and trends in filmmaking and production. The writer gives an understanding of the way the government controlled the means of production and distribution of film and how this affected the filmmakers in content and style. It provides an in depth look at the way the Soviet filmmakers had their films received domestically and what the peasantry actually thought and saw of the films that were made under these revolutionary policies. The writer refers to the Bolshevik policies as being utopian, or unrealistic. Despite their lofty ambitions or intentions they were unable to be fulfilled in practice.
From the Paper
"The first Russian feature film was Boris Godunov (Drankov, 1907) and in making it the filmmakers realised many of the potential problems of working with this new medium. In the early films the Russians had already initiated their own style, ?film story? . This was in opposition to the American and European styles which glorified drama over psychology. This marked difference in approach to film set out clearly that the Russians were able to move away from mimicry of overseas material early on in their filmmaking history. Traditional cinematic movement was replaced with ?the psychological pauses of the Moscow Art Theatre? . However, despite this experimentation, the film industry in Russia before the 1917 revolution was indeed very small. Distribution of these films facilitated only to main urban centres, with the focus of the industry being in Moscow . In these early times for the film industry the hands controlling the distribution of films in Russia were foreigners, namely the French. The French cornered the market around the world, and Russia was no exception and because of their size they were able to ?undersell domestic businessmen? . The French even initiated local productions to ensure that the viewing public would remain interested by seeing their own people and country on screen. Business was strong and very profitable for those who had a stake in the industry. By 1913 the Russian Empire had 1043 movie theatres much of these were concentrated in urban centres. The appetite for this new medium was very strong and its appeal was wide. Efforts were also made to take the films out into the country to the small villages, but these were always difficult undertakings. However there was money to be made, and many cashed in on the opportunities that cinema afforded."
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Utopian Ideals and the Classroom, 2002.
This paper discusses the importance of incorporating utopian ideals into the modern, American classroom.
1,245 words (approx. 5.0 pages), 6 sources, APA, $ 42.95
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Abstract
This paper discusses the importance of the setting the correct atmosphere in the classroom setting and discusses several important concepts that are crucial to designing a utopian education system. The considerations to be weighed include the discussion of modern issues such as child abuse that is caused by either the community or adminstrators, equality in education and the role and responsibilities of students, admininstrators and teachers, technologies and the classroom atmosphere and lastly, the practical application of teacher training. The paper exapands upon these considerations, paying special attention to the issues of child abuse and unequal education opportunities and the role that utopian ideals would play in the resolution of these issues.
From the Paper
"Further, a utopian model must address the fears of teachers working in American schools. Elizabeth Anderson and Murray Levine note that teachers are often greatly negatively affected by concerns over child abuse allegations, and that many feel a continual fear being accused of maltreatment themselves. This has often created a "chilling climate" where both educators and students are afraid of physical contact. Anderson & Levine suggest that both teachers and administrators must be very clear in creating policies and defining what behavior is unacceptable. By following these guidelines, teachers can help to create a warmer and more caring environment that is more in tune with a utopian ideal."
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Architecture and the Utopian Ideal, 2007.
A look at how different architects have attempted to build the ultimate community and housing for fellow human beings..
1,763 words (approx. 7.1 pages), 8 sources, MLA, $ 56.95
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Abstract
This paper discusses how architects and artists of every age have attempted to bring man back into communion with the spirit of nature and harmony with fellow human beings. It looks at how in reality, this ideal has been successful in only a few architects' works, though many have attempted or dreamed of its being put to practical use.
From the Paper
"Mies Van der Rohe, born in 1886 in Germany, said he was "convinced that architecture is the most significant expression of a civilization." He went through the horrors of World War I, and, along with other artists and architects held onto the concept of a Utopian society, when they founded the Bauhouse in 1919 in Dresden. Mies wrote for avant garde journals, pushing the idea of a society without pain for all and designs dedicated to form and function, which would be beautiful in their usefulness. Along with other architects, he helped design a housing colony in Stuttgard and the German Pavilion for the Barcelona World's Fair. The pavilion was the model of the structure of Utopia, with reflecting pools, chrome-plated columns and clean lines. It made space feel as it were floating, with only a base and a roof supported by a few columns. "
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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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Film Montage, 2005.
A look at how the technique of montage draws the spectator into a film as a creative agent with a focus on montage sequences from various Soviet films.
2,049 words (approx. 8.2 pages), 6 sources, MLA, $ 64.95
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Abstract
This paper explores the notion of montage within the film industry and the reasons it is used, be it political or artistic. It also looks into the role of the spectator in relation to montage by looking at the works of Russian film makers Sergei Mikhailovich Eisenstein, Dziga Vertov and Esfir Shub.
From the Paper
"Eisenstein's next work 'The Battleship Potemkin' (1925) uses similar ideology to Strike; the slaughter of the innocent and the need for uprising against the Cossacks. Here he seemed to refine his use of symbolic montage to get the spectators participation in Battleship Potemkin even stronger; the civilians are seen as more desperate individually and the slaughter is unashamedly cruel. Again all characters are based on the typage use of character actors, so the unity of the victims and spectator is still held up. This also applies to the fact that each actor is not in the scene for long, so there is no main protagonist, the protagonist is the united people as a whole, inviting the spectator to side with them. "
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Leadership Ideals in "Henry V" and "The Prince", 2001.
A comparison of leadership ideals in Shakespeare's "Henry V" and Machiavelli's "The Prince".
4,210 words (approx. 16.8 pages), 14 sources, $ 112.95
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Abstract
This paper looks at the similarities between Shakespeare?s "Henry V" and Machiavelli?s "The Prince", and the concept of the perfect king. The two plays are discussed, and the concept that either Shakespeare is drawing his inspiration for his dramatization from Machiavelli or that both Machiavelli and Shakespeare have similar ideas of what the ideal ruler would be.
From the Paper
"In Henry V, Shakespeare presents Henry as the ultimate ideal of kingship. The only question is where does this idea of a perfect king come from, and after reading Machiavelli's Prince and Henry V one begins to note similarities. Not the least of which is the passage quoted above, a true Machiavellian manoeuvre. In this passage, the governor of Harfleur, the French city under siege by Henry's troops, has refused entrance to the army of Henry. As Machiavelli says, "it is wiser to have a reputation for meanness which brings reproach without hatred, than to be compelled through seeking a reputation for liberality". Therefore, Henry, following this advice of Machiavelli, does exactly that, and frightens the innocent people of Harfleur into opening their city gates through the sheer grotesqueness of his command. We frequently see these similarities between the actions of Henry, at least through Shakespeare's portrayal, and the recommended actions of a good prince, as documented in Machiavelli's The Prince. Therefore, one might draw the conclusion that either Shakespeare is drawing his inspiration for his dramatisation from Machiavelli or that both Machiavelli and Shakespeare have similar ideas of what the ideal ruler would be."
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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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Confucian Ideals and Everyday Life, 2002.
Examines how ideas from the Confucian religion come up against problems when trying to be applied to everyday life events in Imperial China.
1,900 words (approx. 7.6 pages), 11 sources, $ 71.95
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Abstract
Confucianism, the dominant worldview in Imperial China, placed tremendous value on social order and hierarchical relationships. It envisaged an order society with the Emperor at the top and his authority expressed through a Confucian bureaucracy administering Confucian laws. The realities of daily life contradicted this model. Periodic rebellions, banditry, human avarice and a host of other factors undermined the Confucian ideals. This paper examines a variety of primary sources to identify countercurrents to the dominant Confucian ideology in Imperial China.
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Trudeau: Ideals and Realities., 2002.
A bio of former Canadian Prime Minister Pierre Elliot Trudeau
3,150 words (approx. 12.6 pages), 8 sources, $ 115.95
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Abstract
This paper examines former Prime Minister Pierre Elliot Trudeau. It compares his ideals, with his actual accomplishments as Prime Minister. The focus is on the dual issues of bilingualism and, federalism versus separatism.
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Romantic Ideals in 19th Century European Politics, 2001.
A review of Stendhal's "The Red and the Black" .
959 words (approx. 3.8 pages), 1 source, MLA, $ 34.95
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Abstract
This paper focuses primarily on Stendhal's famous novel, "The Red and the Black" and the ways in which it reflects the manifestation of romantic ideals in nineteenth century European Politics. It closely studies the character of Julien Sorel and takes a look at the motivations behind his behavior. It also touches on Napoleon Bonaparte's rise from obscurity and the growing interest of 19th century Europeans to escape class caste systems.
From the Paper
"In The Red and Black, Julien Sorel is clearly a Romantic character. He is motivated by a Romantic drive to escape his past and to reestablish himself in a heroic light. Julien has big dreams, and he possesses a strong sense of the type of life he would like to lead--a life much unlike the one he finds himself living in Verrieres. It is natural that Juilen idolizes and aligns himself with the recently exiled Napoleon Bonoparte. Napoleon Bonoparte was a great champion of the middle class, and he rose from obscurity to become one of the most infamous military leaders in all history. Napoleon set a precedent, because the majority of military leaders preceding him had been of noble birth. Julien wishes to follow Napoleon?s example and rise through the social ranks in much the same way."
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"Ideals and Self Interest in American Foreign Relations", 2006.
An analysis of this book by Robert E. Osgood.
1,015 words (approx. 4.1 pages), 3 sources, MLA, $ 35.95
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Abstract
This paper discusses Osgood's book which covers the period of United States history from 1895 to the end of the undeclared war in Korea. It points out that the historical period covered in this work of Osgood in reality dates even further back in history to about 1822. It deals with alliances and their ideals in both times of war and peace explaining the subtle differences in context each state presents in foreign relations.
From the Paper
"Although Osgood holds Degrees from several highly regarded universities and colleges his primary educational background is from The Johns Hopkins University. A prolific writer on the subject of the United States' involvement in foreign relations his strongest area of study in the early years when this work was produced is in Wilsonian Theories of Foreign Alliances. To this end "Ideals and Self Interest in American Foreign Relations," one of his first book length publications covers the period of United States history from 1895 to the end of the undeclared war in Korea. Technically, the United States and the United Nations Alliance are still at war with the People's Democratic Republic of North Korea as hostilities ended in 1953 with the signing of a "Cease Fire," arrangement rather than any sort of "Peace Treaty," or agreement."
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Different Heroic Ideals, 2006.
A comparison of the characters of King Gilgamesh and Odysseus in "Gilgamesh" and Homer's "The Odyssey".
1,700 words (approx. 6.8 pages), 4 sources, MLA, $ 55.95
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Abstract
This paper analyzes the heroes of King Gilgamesh from an unknown author's poem "Gilgamesh" and Odysseus from Homer's epic poem "The Odyssey". The paper examines how both of the men are heroes, but with very different ideals. Given these differences, the paper attempts to compare the characters as men, leaders and wanderers, rather than as heroes. The paper first discusses how both men take epic, life-changing journeys; but while the journey itself is similar for both men, the purposes they serve are very different. Next, the paper studies similarities between the two, such as the authors' early description of the character as heroic, their strength of character to reject women who are not right for them, their industriousness and their morality. The paper concludes with another discussion of the differences between the two characters, focusing on their maturation, in particular the fact that Odysseus is a father.
From the Paper
"First, both men complete difficult journeys throughout their stories. Odysseus takes twenty years to make it home to his wife and family, while Gilgamesh goes on a quest to seek life forever after he loses his friend Enkidu. Their journeys are similar, but they serve very different purposes. Odysseus' journey's ultimate purpose is to return home and reunite with his family, who he loves above all else. His reason for his journey is heroic but also filled with passion and deep love. Gilgamesh's journey is based on his own needs and wants, rather than those of family or loved ones. Grieving after the death of his best friend, he begins a search for everlasting life. In the end, he finds himself instead, and finds happiness in understanding himself, but his journey is far more selfish than Odysseus' journey, and has very different goals. This helps point out a major difference in the two heroic characters - their motivation. Odysseus is heroic in his journey - he saves his men, kills and defeats monsters and evil gods and goddesses, and always has his eye on his family and returning home. He is strong, but he is also motivated, and this adds to his heroism and his high ideals. Gilgamesh is motivated by his own desires, and so his heroism is self-motivated, rather than motivated by others. He is selfish and willful, and sometimes seems like a child when compared to Odysseus."
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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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Affirmative Action: Ideals, Ironies, Complexities, Politics, Rhetoric and Values, 2002.
This paper concentrates on the background of legislative efforts to equalize opportunity for American blacks and discusses the efforts made to realize non-discriminatory values, specifically the public policy of 'Affirmative Action'.
6,270 words (approx. 25.1 pages), 22 sources, MLA, $ 146.95
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Abstract
The following essay examines the affirmative action legislation that was created with the intention of offering the values of equal opportunity, racial equality and individual liberty as public policy. The writer examines how the rhetoric and political jargon involved in the implementation often overshadowed or confused the values that originally were intended in the legislation. It is of this writer's opinion that the Declaration of Independence established the idealistic intent of the United States of America to be a place for democratic equality and today Americans are still dealing with the complexities of turning the ideal into the real.
From the Paper
"Polarization over public policy attempting to legislate values is common. Affirmative action is an especially emotional, value oriented legislative issue. The complexities and ironies involved were present in the roots of American democracy and reverberate into modern times. Rhetoric resonates when affirmative action is the topic under discussion. Words like discrimination, reverse discrimination, preferential treatment, justice, equality, politics of inclusion, quotas, color-blindness fly fast and furiously. The main values under consideration in public policy concerning affirmative action are equal opportunity and civil rights. At it's inception affirmative action legislation was aimed at racial equality centered on the black/white dichotomy. As it evolved affirmative action came to include concern for the civil rights of other American ethnic minorities as well as the equality of civil rights between the sexes. In order to somewhat limit the vastness of the subject, this paper will concentrate on the extensive background of legislative efforts to equalize opportunity for American blacks and the public policy that emerged as efforts to realize non-discriminatory values evolved into what became known as affirmative action."
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"Vanity Fair": An Insight into the Ideals of Romanticism, 2002.
This essay focuses primarily on the style of William Makepeace Thackeray's writing in the satiric novel, "Vanity Fair".
880 words (approx. 3.5 pages), 0 sources, $ 31.95
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"Vanity Fair" is a satire of the romantic novel typical of the Victorian period. This essay illustrates how the author, William Makepeace Thackeray uses an unconventional and realistic style of writing supported by a strong use of irony as his weapon, to create a "novel without a hero"
From the Paper
"Equally entertaining and enlightening, William Makepeace Thackeray?s "Vanity Fair" is an eye opening satire of not only the idealistic outlook of popular culture but also of the romantic novel which set the tone for literature in the 1800s. Teeming with tedious tirades and seemingly dull details, this piece of classic literature fails to maintain the attention of the superficial reader who does not recognize Thackeray?s use of detail to develop the characters and the theme. Straying from the common format of the romantic novel typical of the period, "Vanity Fair" lacks a hero and exposes the shallow attitude of the average person. Thackeray?s unconventional and realistic style is supported by a strong use of irony, completing the novel."
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