| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "WOODY ALLEN FILMS": |
|
|
Woody Allen Films, 2004.
This paper discusses the concept of family in three Woody Allen films:
?Hannah and Her Sisters?, ?Radio Days", and ?Mighty Aphrodite?.
1,445 words (approx. 5.8 pages), 1 source, MLA, $ 47.95
»
Click here to show/hide summary
Abstract
This paper explains that his humor and his trenchant insight into the very machinations that make us human enables Allen to portray vivid characters that, in merely a few brief scenes, spring to life. The author points out that, because of this deft and subtle manipulation of his characters, Woody Allen is able to get down all of the elements of family life so powerfully and correctly with an almost shocking reality. The paper relates that, in ?Mighty Aphrodite?, Allen?s family is a constructed one rather than a ?real? one, where the fabrication of a family through adoption plays with the idea of the movie itself as a fabrication, emphasized by including a Greek chorus.
From the Paper
"Woody Allen?s movie "Radio Days", made roughly a year before "Hannah and Her Sisters", is a much lighter film that is essentially free of the gravitas and existential concerns that plague the characters of many of his other movies. As such it is a sort of light comedy, a nostalgia pieces that harkens back to the early days of radio and attempts to convey some of the excitement and amusement that came with radio as a popular medium. Indeed, it also speaks to an interesting, intriguing, and short-lived era, in which people listened to radio as a group, but television had yet to appear as the dominant form. The characters in "Radio Days" are all moved by an essential passion or concern, in this case, the radio.
| |
|
Woody Allen, 2005.
This paper discusses the works of Woody Allen, film and stage actor, director, writer, producer and celebrity.
2,065 words (approx. 8.3 pages), 4 sources, MLA, $ 65.95
»
Click here to show/hide summary
Abstract
This paper explains that people think of Woody Allen's roles in his movies as a true extension of himself---a 5'6", 120 pound New York City "nebbish", a Jewish term that is softer than "loser" but refers to someone insignificant. It describes Woody Allen as a cult before his time. The author groups Allen's films into categories such as "City Stories" like "Manhattan" and "Annie Hall", the "Reaching for Effect" films (usually financial disappointments) like "Shadows and Fog" and "A Midsummer Night's Sex Comedy", the "Satires" like "Bananas"and "What's Up, Tiger Lily", the highly persona films like "Manhattan Murder Mystery" and "Stardust Ballroom" and the truly weird unclassifiable movies like "Purple Rose of Cairo" and especially "Zelig". The paper relates that, throughout his films, Allen's leitmotif are insecurity in the midst of plenty, unhappiness within joy, indecisiveness in a time of clear direction and estrangement without really undoing the knot that bind lovers, husbands and wives, or good friends together.
From the Paper
"The more introspective Allen becomes, whether in the few interviews he gives (often to foreign film buffs, rather than American sycophants), the more one sees that he is serious about comedy, and comedic about serious subjects. It seems easy for someone as both clever and creative (again, the two do not always mesh) to laugh at anything funny. But, Allen is one of those who differentiates between something comedic and something comic: the first is like falling on a banana peel, while the truly comic is seeing someone about to step on that peel. So, Allen is not a slapstick-oriented writer or director."
| |
|
Woody Allen?s ?Crimes and Misdemeanors?, 2004.
This paper discusses, in detail, the story of Woody Allen?s film, ?Crimes and Misdemeanors?, a modern-day tragedy about morality, love, God, and self.
2,055 words (approx. 8.2 pages), 1 source, MLA, $ 64.95
»
Click here to show/hide summary
Abstract
This paper explains Judah?s struggles to maintain his divided self without the benefit of either morality or God. The author points out that he creates a public self, in which he is loved, honored, and admired, and attempts to construct an inner life in which he is accountable to no one; but, in his quest to avoid accountability and morality, Judah destroys whatever goodness there is left in him. The paper concludes that, more than a simple tale of infidelity, this film asks complicated questions about the nature of love, our self-perception, how we are perceived by others, and finally, our moral responsibilities to each other and ourselves.
From the Paper
"Judah?s last words to the imaginary Ben are telling: ?I will not be destroyed by this neurotic woman.? With this declaration, he picks up the telephone and orders Jack into action, believing that Delores? death will save him. The ironic tragedy is that, by calling Jack, whatever good there was left inside of Judah has already been destroyed. His willingness to kill Delores indicated that the destruction of his character has been long in the making, and nothing his lover might say to his wife or anyone else could worsen that. In a sense, without morality Judah has nothing, and the fact that he can?t see this is the true tragedy of his life."
| |
|
Woody Allen, 2002.
This paper discusses Woody Allen's cinematic expression of his feelings about being Jewish in five of his films.
1,355 words (approx. 5.4 pages), 5 sources, MLA, $ 45.95
»
Click here to show/hide summary
Abstract
This paper discusses and analyzes Woody Allen's feelings of being Jewish in his films: "Hannah and her Sister," "Manhattan,"
"Deconstructing Harry," "Annie Hall" and "Crimes and Misdemeanors." The author believes that Allen's films all contain allusions to his Jewishness, it is a part of who he is, and it comes out in his writing, in his acting and in his directing. The paper states that each film looks at religion and faith in a different light, and yet each film has commonalities.
From the Paper
""Crimes and Misdemeanors" may be Allen's most religiously based film even though all of his films are inherently Jewish. They simply cannot help themselves. In "Crimes," Judah (Allen) is renouncing his Jewish heritage, but he finds he simply cannot get away from it. Judah lives a prestigious but empty life in his huge mansion he shares with only his wife. He kills his mistress because he really cannot figure out any other way to be rid of her and is then riddled with typical Jewish guilt about his actions."
| |
|
Woody Allen, 1990.
This paper compares Woody Allen's characters in "Annie Hall" and "Bananas": Neuroses, relationships, sex and increasing sophistication and complexity of films.
2,925 words (approx. 11.7 pages), 6 sources, $ 103.95
»
Click here to show/hide summary
From the Paper
"Woody Allen has been called the greatest comedic filmmaker of the 1970s and 1980s. The most original and brilliant screen conic since Charlie Chaplin, Allen has achieved success and notoriety in a relatively short period of time. Film critics and film buffs have tracked his growth as a writer, actor, and director and have seen him become more proficient and clever with the medium while constantly changing and surprising them with a variety of stories. The purpose of this research will be to compare two of his 1970 films, Bananas, 1971, and the Academy Award-winner Annie Hall, 1977. The comparison will center on the main characters, their neuroses, relationships and sexual attitudes and actions. In undertaking this analysis, however, a look at Woody Allen himself, his background and point of view, are necessary for understanding his films. In addition, ..."
| |
|
Satire in Woody Allen's Works, 2005.
Examines the element of satire and comedy in several of Woody Allen's works.
675 words (approx. 2.7 pages), 3 sources, MLA, $ 23.95
»
Click here to show/hide summary
Abstract
This paper looks at several of Woody Allen's most successful films and explains that the primary reason for their success was Allen's skillful use of satire and comedy. The films under discussion include "What's New Pussycat?," "Take the Money and Run," "Annie Hall," "Bullets Over Broadway" and "Everyone Says I Love You."
| |
|
Woody Allen?s "Annie Hall", 2002.
This paper discusses Woody Allen?s depiction of the Jewish American psyche in his film, "Annie Hall".
1,155 words (approx. 4.6 pages), 1 source, $ 39.95
»
Click here to show/hide summary
Abstract
This paper discusses Woody Allen's ambivalence toward his Jewish identity and toward love as portrayed in "Annie Hall". The author points out that, to Allen, Judaism is more a secular ethnic identity than religious. The paper explores Allen and his characters as neurotic protagonists that employ humor as both a defense mechanism and a communication device.
From the Paper
"Alvy?s humor both exacerbates and assuages his sense of misplacement. Alvy?s brand of humor is distinctly Jewish: Full of cultural references and self-deprecation. It also hints at the discomfort of being Jewish that is rarely expressed explicitly in Allen movies. Alvy tells Rob, ?The failure of the country to get behind New York City is anti-Semitism. I?m not discussing politics or economics this is foreskin.? Humor here serves as a buffer against anti-Semitism and parallels Alvy?s ambivalence towards his ethnic minority. His sarcasm embodies the tension and duality of being pulled in two directions."
| |
|
Woody Allen's Short Stories, 2003.
A literary criticism of Woody Allen's short stories from his book, "Side Effects".
2,236 words (approx. 8.9 pages), 9 sources, MLA, $ 69.95
»
Click here to show/hide summary
Abstract
This paper provides an analysis and critique of four short stories in Woody Allen's book, "Side Effects": ?The Lunatic?s Tale?, ?The Shallowest Man?, ?Retribution?, and ?The Whore of Mensa?. This paper also looks at the relationship between Allen's writing and his own life history.
From the Paper
"Woody Allen does in fact relate his personal life to his writing. Most of his sexist and humorous language and his supernatural ideas are relatively consistent throughout his stories. Just how many people do you know would drug two women to give them brain transplants to get the perfect woman? How many would marry their ex-girlfriend?s mother? How many would take part in a service in which girls sell intelligent conversations? Not anyone I know. Woody Allen?s writing is like no other. Even though he frets over critics overanalyzing his stories, how could you not when his messages are so significant to understanding him."
| |
|
Woody Allen's "Match Point", 2006.
A critique of Woody Allen's film "Match Point".
797 words (approx. 3.2 pages), 1 source, APA, $ 28.95
»
Click here to show/hide summary
Abstract
This paper presents a positive critique of Woody Allen's movie, "Match Point", explaining that the film is not only a critique of class inequality and materialism but also an examination of a whole range of human emotions and actions.
From the Paper
"Emotions are the subject of Woody Allen's masterpiece. Hence, in the bed of human emotions lies Chris's moral conflict. Chris must fight against his lust because he loves his wife. Chole provides financial security for Chris. However, Chris genuinely desires Nola. Thus, on a rainy afternoon at the Hewett's country estate, Chris succumbs to his primal sexual desire. This tragic indiscretion enters Chris and Nola into a torrid affair that will have tragic consequences for the both of them."
| |
|
Woody Allen, 1992.
Examines his films and writing, arguing that Allen is no longer big box office and has lost his mass audience appeal because his work is too serious, compared to his earlier works.
1,575 words (approx. 6.3 pages), 7 sources, $ 55.95
»
Click here to show/hide summary
From the Paper
"A Comparison of the Writings and Films of Woody Allen
In the writings of Woody Allen, as originally published in The New Yorker, and rebound in book form, one finds an explanation for Woody Allen's current precarious status. In The Complete Book of Film Awards by Richard Sean Lyon, the author notes that "While Woody Allen was piling up awards in the 1980s, he was also breaking another new, and much more ominous record--that of the director with the most box-office flops in the 1980s (ten failures out of eleven films).".
In reading Woody Allen's collections of stories, Getting Even and Without Feathers, one is immediately struck by the fact that Allen mocks all forms of artistic pretentiousness and hypocritical human behavior. As Pauline Kael, noted film critic ..."
| |
|
Woody Allen, 1993.
Examines his filmmaking style (personal vision) and major themes (personal voice) in "Annie Hall", "Manhattan", "Crimes and Misdemeanors" and "Hannah and Her Sisters".
1,575 words (approx. 6.3 pages), 3 sources, $ 55.95
»
Click here to show/hide summary
From the Paper
"This study will focus on the filmmaking style (personal vision) and major themes and messages (personal voice) of Woody Allen as expressed in several of his films.
As a filmmaker who relies primarily on his own cinematic personality, Allen has created a style, a vision, which reflects that personality. It is, as Foster Hirsch points out, the style of the nightclub comic, a persona which served Allen well in his earlier pre-filmic career and has served him well in the film world. It is a style which brings along with it the voice of the nightclub comic as well, despite the fact that Allen deals with more profound topics than many other comics and comic filmmakers.
As Hirsch writes, "In Annie Hall, Woody plays a stand-up comic, claiming on film the same kind of control over and intimacy with his audience that he enjoyed during his cabaret ..."
| |
|
"Annie Hall", 2006.
Examines the relationship between two characters in Woody Allen's film, "Annie Hall".
2,478 words (approx. 9.9 pages), 1 source, MLA, $ 75.95
»
Click here to show/hide summary
Abstract
"Annie Hall", by Woody Allen, is a film that deals with relationships, the quest for meaning in life and the nature of romantic love. The paper examines the film which revolves around the relationship between Alvy Singer, a pessimistic comedian who thinks that life is meaningless, and Annie Hall.
Paper Outline:
Introduction
A Relationship is Like a Shark
A Deeper Analysis
Conclusion
Bibliography
From the Paper
"Just as history entails a working out of events through narrative, so also all narrative establishes an anticipation of retrospection. The natural desire of narrative for an ending is evident about two-thirds of the way into Alvy Singer's opening monologue, "Annie and I broke up and I still can't get my mind around that." Alvy gives us the ending of the story before he really gets started into the process of telling it. The anticipation of retrospection becomes clear in the attempt through repetition to understand the significance of this failed love relationship. The eruption of this thought about Annie from the midst of so much seemingly irrelevant material dramatizes the existence of latent desires and replicates in the text the tension of the unconscious in Alvy."
| |
|
"Woody Guthrie: A Life", 2004.
Examines this biography of American folk singer, Woody Guthrie, written by Joe Klein.
1,364 words (approx. 5.5 pages), 5 sources, MLA, $ 45.95
»
Click here to show/hide summary
Abstract
This paper introduces the book, "Woody Guthrie: A Life," by Joe Klein. Specifically, it discusses how Woody Guthrie's life and music reflect the turmoil of America from the Depression era through the Cold War. Woody Guthrie's music spoke to the people of America. He experienced the Dust Bowl in Oklahoma first-hand and wrote about it in his songs. He wore his political heart on his sleeve and set the stage for hundreds of folk artists to follow. The paper shows how Woody Guthrie was a folk singer who knew his audience first-hand, and, therefore, his music reflected the problems of the people who listened to him sing.
From the Paper
"While Woody stopped singing, his influence on music did not end. Members of the Almanac Singers went on to form the 50s folk group The Weavers, one of the most famous folk and political music groups of the 50s and 60s. Their method of protest through song caught on with an entire generation of young people who were appalled at the war in Vietnam and the way the "establishment" was treating the planet. Woody and his music told a story about troubled times, and the people he influenced continued the tradition of noting history through song."
| |
|
Woody Guthrie, 1991.
This paper discusses the music and words of American folk singer and songwriter in the context of the oral and folk traditions, Woody Guthrie.
2,700 words (approx. 10.8 pages), 17 sources, $ 95.95
»
Click here to show/hide summary
From the Paper
"This paper will discuss the folk music of Woody Guthrie as it pertains to the oral tradition. The lyrics of folk songs serve as a form of oral literature which is passed down from one generation of singers to the next. As such, folk music is strongly rooted in tradition. At the same time, however, the purpose of folk music is to adapt itself to the ongoing changes which take place in the development of human consciousness. Therefore, the oral tradition of folk music represents a fusing of tradition with change. The songs of Woody Guthrie stand as excellent examples of this process. Guthrie was born in 1912 in the town of Okemah, Oklahoma. His early life was marked by a series of personal tragedies which drove him to live a life on the road. While working as a migrant farm laborer, Guthrie began writing and singing songs relating to the problems of the people ... "
| |
|
Cinematography in "Hollywood Ending", 2002.
Examines Wedigo von Schultzendorff's cinematography techniques in Woody Allen's' movie, "Hollywood Ending".
650 words (approx. 2.6 pages), 1 source, $ 26.95
»
Click here to show/hide summary
Abstract
This paper will analyze the cinematography of Wedigo Von Schultzendorff in Woody Allen's movie "Hollywood Endin"g. By showing his usage of coloring, scene shooting and location, we can understand how Schultzendorff portrays a romantic comedy under Allen's direction.
|
|
|
