| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "WAR FILMS": |
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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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War Films, 2002.
Compares "Platoon" and "They Were Expendable" to shows the cntent and genre of war films.
1,900 words (approx. 7.6 pages), 5 sources, $ 71.95
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Abstract
This paper explores the connection between the genre of films - the "war" genre is examined - and the evolution of the content of these films over time. Two movies, "They Were Expendable" and "Platoon" are examined in order to prove this thesis.
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War Films, 1991.
This paper discusses various depictions of 20th century wars in films: ?All Quiet on the Western Front?, ?The Grand Illusion? and ?Gallipoli?.
1,800 words (approx. 7.2 pages), 6 sources, $ 63.95
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From the Paper
"War has been a subject for literary interpretation since the beginning of literature itself. A key issue is the way war heroes are to be remembered, whether they are to be celebrated and the effect such celebration may have. The celebration often has as its intent the generation of patriotic fervor for subsequent wars, but it could also be a remembrance of the dead as part of a vow to prevent war in the future. There are thus war texts and anti-war texts found throughout history, and in this century the major wars of the world have generated both types of literature.
World War I was such a war. The era of World War I is detailed by Paul Fussell, who notes that this was a very literary war because of the number of writers who fought in it and then recalled their experiences later in their writings. He also finds ... "
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Anti-Vietnam War Films, 1990.
This paper discusses the Vietnam War and the anti-war film: Successful & unsuccessful efforts to portray war as mistake in "The Deerhunter", "Go Tell the Spartans", "Apocalypse Now" and "Full Metal Jacket".
2,250 words (approx. 9.0 pages), 10 sources, $ 79.95
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From the Paper
"This paper will be concerned with the Vietnam War and the anti-war film. Most critics have agreed that true antiwar films are virtually impossible to achieve. Many films which have been defined as anti-war films actually end up justifying or even glorifying the idea of warfare. In the early 1960s, ... claimed that the first criteria of an anti-war film is that it "not do positive harm by predisposing its audience toward war". ... most so-called anti-war films fail in meeting this criteria because they tend to glorify violence rather than condemn it. ... points out that "the images of senseless violence, horror, and waste that are usually employed in the commercially successful 'anti-war' films without doubt have a pornographic effect and remain in the soul as excitants and further incitements" . Such anti-war films do not ... "
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Cold War Era Films, 2002.
A review of some films from the Cold War era.
3,328 words (approx. 13.3 pages), 4 sources, MLA, $ 95.95
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Abstract
This paper reviews a number of films from the Cold War era. Some of them, especially the early films, speak out against its ideals, while others support these ideals. The films reviewed are: "Dr. Strangelove"; "Fail-Safe"; "Atomic Cafe"; "North by Northwest" and "The Manchurian Candidate". Films of the Cold War era are thus depicted from a wide variety of viewpoints, both contemporary and historical. Through viewing these films, the audience can perhaps become more clearly informed about the ideals and the mentality of the time.
From the Paper
"Part of Dr. Strangelove?s theme is the evils of technology. This is the culprit causing the disastrous accident. It is interesting that a disclaimer had to accompany the film?s release shortly after the assassination of President Kennedy. It is as if the dark predictions made in the film were a suddenly too close reality. The disclaimer was to the effect that the United States Air Force would never let an accident like the one in the film occur, together with the usual disclaimer that none of the persons represents anyone living or dead."
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The War Film Genre, 2002.
An examination of the war film genre, which is the most prevalent and often used genre in most films produced in the 21st century.
1,888 words (approx. 7.6 pages), 6 sources, MLA, $ 60.95
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Abstract
This paper provides an in-depth analysis of the war film genre, its history and examples of some of the films that have been identified as a war film genre. The writer provides a list of common characteristics of the genre and examines several historical as well as modern war movies -19th century ?Tearing Down the Spanish Flag"; ?The Birth of a Nation? (D. W. Griffith); ?Full Metal Jacket"(Stanley Kubrick) and ?Life is Beautiful? (Roberto Benigni).
From the Paper
"The war film genre is also referred to as the anti-war film genre, since some of the war films do not only discuss war sentiments, but anti-war sentiments as well. War as a film genre ?often acknowledge the horror and heartbreak of war, letting the actual combat fighting (against nations or humankind) provide the primary plot or background for the action of the film.? Furthermore, war films can also be ?paired? with other film genres, wherein the topic of war can be interspersed with comedy, drama, or romance as a co- or sub-genre of the film. Tim Dirks, in his article about the war film genre, enumerates several characteristics and themes that can often be found in war film genres:"
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War Films, 2003.
Discusses the aim of heightening audience emotions.
675 words (approx. 2.7 pages), 0 sources, $ 23.95
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Abstract
Examines classic American World War II films designed to promote patriotism and depict war as heroic and the new order of war movies of the late 20th century that showed the blood and emotional scarring of battles.
From the Paper
"Throughout film history, war films have stirred emotions of viewers as they portray the horror of war. Even "flag-waving" war films that basically avoid the reality and horrors of combat and death are designed to heighten emotions. The 1941 Sergeant York..."
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World War II through Film, 2004.
An analysis of the different representations of World War II by film through the review of two propaganda movies made during the war and two movies made after.
2,236 words (approx. 8.9 pages), 8 sources, MLA, $ 69.95
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Abstract
This paper examines how World War II was seen through war films of two very different sorts: those made during the war, primarily as propaganda and those made after the war. It looks at how those made in the 1940s might be assumed to carry on the tradition of portraying fighting men in a very positive light. Those made after the war, however, were more concerned with analyzing the events of the war and the characters of those who contributed to the events. It discusses how the makers of those films were interested in presenting both sides of the story as evenhandedly as possible. The two propaganda films reviewed are "Guadalcanal Diary" and "Thirty Seconds over Tokyo". The two films under consideration made after the war are "Tora! Tora! Tora!" and "Pearl Harbor".
From the Paper
"The films made during the war had a different job to do. They had to present a tough but winning concept for the folks back home, who would be, of course, mainly women and men too young or too old to fight. Propaganda demanded that the young men be emboldened by what they saw, even if it was death and misery, because they would soon be called on to partake of plenty of opportunities for those in a universal draft. The old men had to be brought to tears of admiration for the young men fighting; they had to be reminded of their own presumed World War I experiences which may well have been, by all accounts, even worse, especially if they endured the mustard gassings of that war."
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The Vietnam War in Film, 2002.
A review of the films "Full Metal Jacket" by Stanley Kubrick and "Platoon" by Oliver Stone on the war in Vietnam.
1,900 words (approx. 7.6 pages), 4 sources, $ 71.95
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Abstract
This paper analyzes two films about the war in Vietnam, "Full Metal Jacket" by Stanley Kubrick and "Platoon" by Oliver Stone, showing how each bends the conventions for the war film to depict the insanity and horror of this particular war and of war in general.
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World War II Film Propaganda, 2005.
An analysis of forms of film propaganda used during the Second World War.
1,350 words (approx. 5.4 pages), 10 sources, $ 53.95
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Abstract
This paper examines why the United States Nazi Germany and the Soviet Union all used film propaganda during World War II. Films with patriotic themes were considered a valuable tool in the war effort. They served to rally and unite the home front against the aggressors by demonizing the foe and sanctifying the war as a righteous struggle of good against evil. The paper shows that regardless of whether these propaganda films were German, Russian, or American, they all relied upon psychological and emotional manipulation and could have a powerful impact upon their targeted audiences.
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Vietnam War in Literature and Film, 2003.
Discusses issues explored by authors and filmmakers.
1,575 words (approx. 6.3 pages), 7 sources, $ 55.95
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Abstract
Discusses the loss of humanity in "The Madagascar Plum" by Vietnamese writer, Nguyen Thi Minh Ngoc; Bao Ninh's "The Sorrow of War"; Bobbie Ann Mason's "In Country"; and Richard Currey's "Fatal Light", among other works.
From the Paper
"Former First Lady, Barbara Bush, once stated, "War is not nice." While a bit understated, the truth behind that quote is that war is not meant to be fun. War is never an easy decision (in the West) and is met often with rhetoric and manufacture as a ..."
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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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Political Documentary Films, 2002.
Examines four documentary films (televison and movies) related to war, politics and the media.
2,250 words (approx. 9.0 pages), 9 sources, $ 79.95
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Abstract
Examines four documentary television films related to war, politics and the media. The the 1988 "Coverup: Behind the Iran-Contra Affair, the 1992 "Panama Deception," the 1991 "Desert Storm: The War Begins," and the 1993 "Manufacturing Consent: Noam Chomsky and the Media." Central concerns of the films. Role of news gathering organizations.
From the Paper
"Political documentary films have addressed a wide range of topics and have frequently seemed to produce action where the impact of the written word was far more limited. Indeed, filmed (or videotaped) news reports have even been credited with turning the American people against the war in Vietnam. But the responses of the military, the government, and the mainstream media to this presumed potential have concentrated on reducing the perceived threat of reporting by a number of means. Once it is clear, or seems to be clear, that a medium is capable of exposing activities to the public the leaders of the American executive and military often seem to think the logical response is simply to hide it better rather than, as it once seemed, to correct the problems.
The 1971 CBs television documentary, The Selling of the ..."
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