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Western Films, 2002.
The purpose of this paper is to introduce and discuss the two Western films, "Shane," made in 1953 and directed by George Stevens, and "Unforgiven," made in 1992 and directed by Clint Eastwood.
1,295 words (approx. 5.2 pages), 4 sources, MLA, $ 43.95
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Abstract
This paper analyzes the two films and discusses their significance in the genre of Western films. Today, the classic Western is a film out of style, but these two films live on as classics, generally because they deviate from the traditional Western model. They portray the characters three dimensionally, and the violence as real and devastating. The underlying theme and message is that violence is unnecessary and useless, and it can ruin the lives of those who use it.
From the Paper
""Shane" does not rely on elaborate sets and costuming to get its message across to viewers. One reviewer called the sets "spartan" and the language of the film "laconic." The characters of this film make it the classic it has become. From the opening scene, when Shane rides down into a valley with a massive chain of mountains behind him, the viewer understands his character is larger than life, and it is right that he came down from the "mountaintops" to save the struggling family in the valley."
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Revisionist Western Films, 2002.
This paper reviews the treatment of the American Indian, or Native American, in revisionist Western films: Kevin Costner's ?Dances with Wolves? (1990) and Michael Apted?s ?Thunderheart? (1992).
1,090 words (approx. 4.4 pages), 4 sources, MLA, $ 38.95
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Abstract
This paper discusses revisionist Westerns Kevin Costner's ?Dances with Wolves? (1990), a film sensitivity to cultural differences and to the importance of Native American culture and Thunderheart (Michael Apted, 1992), which enters a more modern Indian community. The author points out that Costner still made major errors in depicting the history and culture of the Lakota Sioux tribe portrayed in the film. The paper continues that ?Thunderheart? tried hard to elevate the Native American but a stereotype emerged in this film that the Native American is in some way a mystic more in touch with supernatural and spiritual forces than the non-Native population would be.
From the Paper
"The film did more than revive old stereotypes in new forms, though, and it fails in terms of its accuracy on a number of counts. One problem faced was to recreate the language of the Lakota dialect spoken by the Sioux tribes in the 1860s. The film producers hired Doris Leader Charge, a 60-year-old teacher at South Dakota's Sinte Gleska College and one of only a few thousand Sioux still fluent in Lakota. Leader Charge translated the script and served as a dialogue coach during production. She also played a small part in the film. However, as Seals points out, the men in the film generally speak Lakota in the feminine form, a result of having the script translated by a woman who did not make allowances for the differences. Seals states that a number of Indian leaders were angry about this error and found it maddening in a film that claimed to be authentic. Seals does note, though, that the film managed authenticity in other ways, such as the way the ruling elders' council was handled. The film was correct in its use of the Pipe, which is the sacred Canupa of White Buffalo Calf Maiden, who founded the buffalo culture nineteen generations ago. The Pipe Keeper and others asked that the film not depict the smoking of the pipe, but it does so just the same."
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Western Film Genre, 2008.
An analysis of Andre Bazin's "The Western: Or the American Film Par Excellence" in which he analyzes the western filmmaking genre.
777 words (approx. 3.1 pages), 1 source, MLA, $ 27.95
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Abstract
This paper discusses the evolution and success of the western genre of filmmaking. It discusses Andre Bazin's "The Western: Or the American Film Par Excellence" in which he analyzes this genre. It describes Bazin's arguments, as well as his comparison of the western to the courtly romances of the medieval era in their focus on the chaste woman and his comparison of them to the Russian revolutionary genre.
From the Paper
"To Bazin, the only other modern epic cinema was the Russian revolutionary genre, which had some parallels to the western: both showed a new society undergoing its tumultuous birth pangs, imposing a new order and morality upon a vast canvas of human activity during a fleeting historical moment. Bazin concludes that, like the mythologized history of the Russian revolution, the story of the American west would have been relegated to much lesser international prominence were it not for the power of the moving image to universalize human experience."
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Chinese versus Western Film, 2008.
This paper discusses Chinese and Western cinema in the context of globalization.
2,800 words (approx. 11.2 pages), 7 sources, MLA, $ 83.95
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Abstract
In this comparative analysis, the writer presents a discussion on Chinese and Western film. The writer evaluates one aspect of the impact of globalization on popular culture, as demonstrable through the medium of popular cinema. In addition to exploring the thesis position that globalization has produced a ready co-opting of themes, ideas, images and devices from one culture to another, this discussion considers some of the effects of this pattern. Among them, the writer maintains that there is cause to suggest that domestic culture identity in many ways suffers from the implications of globalization, particularly as it trends toward catering to hegemonic principles and interests. The writer explores the impact of this pattern as it relates to such factors as copyrighting, capitalism and the triangulating relationship between these factors and the economic and cultural dominance of the west in global cinema.
Outline:
Introduction
A Brief History
Methodology
Findings
Analysis
Conclusion
From the Paper
"For both the United States and China, domestic film production would become important for those with hegemonic influence. History demonstrates that in its first decades of popular proliferation, cinema was dominated in both nations by a studio system in which large corporate structures executed an uncontested control over content and aesthetic, allowing for the pairing of hegemonic propaganda and popular cinema. In juxtaposition, however, two distinct political histories in the United States and China would produce sharp departures as the latter entered into the Communist Era. Though it can still be said that propaganda and hegemonic interest would be determinant factors in the success and distribution range of many American films of the middle 20th century, an actively repressive regime would enter into force with the Communist takeover of 1949, creating a sharp distinction in the consequences of producing subversive cinematic content between the nations considered."
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Mythical Opposition in Western Film, 2007.
An analysis of John Belton's theories of the western movie genre, focusing on mythical opposition of nature and characters in the movie "Shane".
1,615 words (approx. 6.5 pages), 2 sources, MLA, $ 52.95
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Abstract
This paper analyzes the western movie genre. The paper specifically examines John Belton's theories in relation to how nature and the main character are engaged in mythological opposition using the 1953 movie "Shane." The paper describes the movie and discusses how the various scenes add to the theme of mythical opposition.
From the Paper
"Every good western movie has a final showdown. The final showdown symbolizes the final battle between the two opposing forces of the movie. In this case the Ryker gang symbolizes chaos and stands in the way of the march of civilization. The Ryker gang is as untamed as the forces of nature. In the final showdown of Shane the Ryker gang and the homesteaders Knight in shining armor come face to face. The scene takes place in a saloon and Shane is at first outnumbered. He stands very little chance of success, yet it feels compelled to continue because he feels that he must win this one for the homesteaders. The Ryker gang cannot prevail and continue with their reign of terror. Shame faces an enemy of mythological proportions and yet somehow manages to overcome them in the final scene."
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"Noir Westerns", 2006.
This paper compares the western and the film noir genres.
1,800 words (approx. 7.2 pages), 8 sources, $ 71.95
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Abstract
The paper discusses how the noir style of film and the western genre film share some similarities which unify the films in these categories more than they divide them. The paper describes how the styles of cinematography would seem to suggest that there could be no overlap in these genres; the settings of the western and the film noir are not simply disparate, they are opposite. The paper explains that they are, however, used to a similar effect in that they manipulate the sense of security experienced by the viewer.
From the Paper
"It could be argued that stylistically there are not too many genres more diametrically opposed than those of the western and the film noir. The first genre takes place in a rural setting, the second in an urban one. The western genre takes place in an arid climate, while the film noir is characterized by rain and wetness. Both genres, however, have "man's men" as heroes and, generally, strong women as heroines. The style of storytelling is often the same, with characters often reaching conclusions that are not ultimately satisfying. It is true, in fact, that film scholars have already linked the two genres together in naming the western films that were made in the 1940s "Cold War Westerns" or "noir Westerns" (Tyler 178)."
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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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Rock Films, 1982.
This paper discusses the presentation of rock and roll on film, from the 1956 dramatic film "Don't Knock the Rock" through later documentaries like "Woodstock", "D.O.A." and "The Decline of Western Civilization".
675 words (approx. 2.7 pages), 1 source, $ 23.95
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From the Paper
"The sexual component of rock and roll has been a strong element in films about and featuring rock and roll from the beginning. In the 1950s, when rock music was new, the films featuring rock often were based around parental fears of the rampant sexuality supposed to go with the music. In films like Don't Knock the Rock (1956), the plot revolved around convincing parents that kids listening to rock and roll were not inevitably preparing for an orgy. Ironically, the sexual component of rock became stronger and more overt as initial parental fears were sublimated if not eliminated, and rock on film would become sold for its sexual content rather than in spite of it.
Ehrenstein and Reed note how rock and roll fit with the rebellious spirit of teenagers in the 1950s, specifically ... "
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Native American films, 2006.
A review of Native American film history and its influence on the American film industry.
1,350 words (approx. 5.4 pages), 5 sources, $ 53.95
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Abstract
This film study brings forth a brief history of Native American filmmaking in the last one hundred years. According to the paper, the early teens of the 20th century brought forth James Young Deer, but after World War I, white Americans in power soon sought to diminish the role of Native Americans in leadership positions, such as director. The slow and often racist agenda for native Americans took a secondary role to western that exploited Indians as obstacles for Manifest Destiny.
From the Paper
"This film study will analyze the Native American film history and how it had influenced the major film industry of America. For the past one hundred years, Native Americans have played a part in helping to shape the creation of screenplays, directorial approaches, and other elements in the American filmmaking process. By learning of the various directors and actors in this genre, one can realize the major impact Native Americans had on Hollywood. In essence, this study will bring forth an analysis of the history of Native American filmmaking, and its influences on American filmmaking within the past one hundred years. The first half of the 20th century was a difficult tie for Native Americans, as they were mostly left out of filmmaking within the major industry markets."
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Imposing Western Human Rights on Non-Western Cultures, 2002.
Addresses the question which asks if the imposition of Western human rights values on non-Western traditions constitute a form of imperialism?
4,650 words (approx. 18.6 pages), 14 sources, $ 169.95
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Abstract
The objective of this paper is to further explore the concept of human rights. A particular focus will be placed on the question of whether or not the imposition of western human rights values on non-western traditions constitutes a form of imperialism. At the root of the issue, it seems is the issue of what should weigh more, human rights or state sovereignty. In the end, of course, there is no definitive answer to this question. What it can, and will, do, however, is look at the dynamics of human rights in the international arena and comment on whether western rhetoric on human rights is in the sphere of imperialism, or neo-imperialism.
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Global Marketing Plan for Cross-cultural Films, 2008.
A marketing plan proposed by CPAI Group, a company that produces movies and markets them internationally.
3,360 words (approx. 13.4 pages), 3 sources, MLA, $ 95.95
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Abstract
This paper is a marketing plan that describes the objectives, target customers, and marketing strategy of CPAI Group, a company located on the West Coast of the United States, which focuses on making movies that are both educational and entertaining, with a wholesome, cross-cultural appeal. The paper adds that CPAI Group has been putting out movies that are rich in plot and character, but without much of the gratuitous violence and sex that has come to characterize movies made in America and other Western nations. The company also sees a certain sense of global convergence in consumption. The paper proposes that movies can be packaged in such a way that will appeal to people from vastly different backgrounds, including people from developing countries and cultures other than that of the United States. The main target country examined is Malaysia. Finally, the paper outlines the company's proposed marketing strategy, including issues such as pricing, seeking investors, promotion, and distribution.
Outline:
Company Character
Environmental Analysis
Marketing Strategy
From the Paper
"CPAI is an ambitious company but it does not have the deep pockets of such Hollywood staples as MGM or Columbia Pictures. This explains why the company relies to some extent on simple settings. The company is getting more and more backers from companies and individuals who recognize the value in what the company is achieving. Thus, even though at the moment the company operates with a budget that is continually under strain, this is likely to change in the near future, thus allowing the company to express itself even more and to tackle a wider range of subjects and also to deal with storylines that are truly global in nature."
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"High Noon", 2002.
An analysis of some of the themes in the Western film "High Noon".
1,150 words (approx. 4.6 pages), 3 sources, $ 44.95
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Abstract
This five-page undergraduate paper examines the 1952 Western film "High Noon" and discusses how the theme emphasized the roles of courage, women, integrity, community, individualism, landscape, and the lawlessness of the frontier.
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"My Darling Clementine", 2002.
An analysis of director John Ford's 1946 Western film centering on the lighting.
900 words (approx. 3.6 pages), 3 sources, $ 31.95
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Abstract
Analysis of director John Ford's 1946 Western film centering on the lighting. How lighting conveys the theme and mood of the movie. Source of light; dramatic effect. Gives detailed examples of varioius lighting techniques used from several key scenes. How Ford and cinematographer Joseph MacDonald employed lighting and other elements to create a film that falls between the myth and reality.
From the Paper
"In John Ford's Western My Darling Clementine (1946), the lighting adds to the gritty and harsh nature of the landscape, the town, and the characters. Cinematographer Joseph MacDonald relies heavily on source lighting for dramatic effect. Much of the film is shot with low-key lighting without the use of much fill light for the same purpose. There are also strong signs of the direction of the light, suggesting where the source lies. Day-for-night photography is used for many of the exterior night scenes, giving added dramatic effect and making the night sky appear at times to be on fire.
The film is structured on contrasts, and the low-key lighting similarly creates visual contrasts: The film's theme is the coming of civilization to the West. The western town of Tombstone becomes in Ford's..."
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Zinnemann's "High Noon", 2002.
This paper look at the film genre of the Western and more specifically at the film "High Noon", directed by Fred Zinnemann.
964 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
The writer asserts that the strength of the film "High Noon" is the way in which it takes the simple and makes it complex. The themes in the film seem obvious - good vs. evil, strength of the individual to overcome all odds - but Zinnemann subtly adds elements of gray to give the film more depth. The paper shows how this added depth allows the film to explore fundamental truths.
From the Paper
"The American identity is represented in High Noon through the similar themes that make the Western genre: empowerment of the individual, nature vs. development, freedom. One of the key ideas that makes us American is the idea of being able to start over or anew; that we can always go back, move forward, or just go somewhere else - physically or psychologically to make life better or start fresh. It?s a theme that runs through American literature as well as American film. Jay Gatsby is an example of psychologically being able to start over in one of the greatest works of Am. Lit. Or, as Belton states, Fenimore Cooper shows this through his Natty Bumppo character and Bumppo?s choice to leave his civilized world in order to embrace the natural world and culture of his Native American friend Chingachgook in his Leather Stalkings tales series."
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Akira Kurosawa's "Seven Samurai", 2002.
A look at how Western film making styles impact traditional Japanese film making.
1,670 words (approx. 6.7 pages), 2 sources, $ 54.95
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Abstract
An examination of Western impact on Japanese film making. The author focuses specifically on Akira Kurosawa?s film "Seven Samurai". The author describes the film makers use of native cinematic styles and techniques and how these go about breaking away from Japanese traditional style and adding more flavor and richer meaning to the film.
From the Paper
"Referring to his film Seven Samurai director Akira Kurosawa once remarked, ?Japanese films tend to be rather bland in flavor, like green tea over rice. I think we ought to have richer foods and richer films. So I thought I would make this kind of film entertaining enough to eat? (Criterion Collection, 2). This statement was a thinly veiled criticism of Kurosawa?s contemporary and rival, Yasujiro Ozu (who actually made a film entitled The Flavor of Green Tea over Rice). Ozu adhered dutifully to the traditional Japanese cinematic style, an art heavily influenced by native culture and customs. His films (including the 1953 masterpiece, Tokyo Story) can be characterized by long takes with little or no lateral camera movement (both of which demonstrate the influence of the traditional Japanese ?Kabuki Play?). Ozu also uses many extreme low angle shots that often hug the bottom surface of any set. By showing the audience this point of view Ozu reflects the Japanese custom of remaining seated on the floor of a room. While this style is certainly effective and distinct, it is as Kurosawa describes, ?rather bland in flavor.? In an era when post-war occupation was rapidly opening Japan to western industry and influence, Kurosawa made a bold decision to break from tradition and borrow some key points from Hollywood including slow motion, multiple cameras and camera angles and continuity editing. By embracing these conventions of Western cinema and combining these techniques with the traditions of his native industry, Kurosawa was able to create a unique and powerful portrait of Japan in the waning days of the samurai. Furthermore, the director employs this hybrid style effectively in order to develop his characters, build tension in the audience and drive the plot of his film forward. "
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