Abstract This essay examines the relationship between the establishment of Americanfilms and American Ideas. It features the works of John Ford ("Birth of a Nation") and "The Iron Horse". In addition, the writer tackles the issue of the promotion of the American ideal in Europe and how this influenced immigration.
From the Paper "This new and exciting medium offered a new method of presenting ideas. While there were many movies concentrated around melodrama and the vaudeville tradition, the opportunity was there for film-makers to present their own vision of America. This relationship between film-makers and American history was compounded by the similarity of their development. As with America, film making began in the east. The major studios were to be found in New York with Chicago and its suburbs also being colonised by production companies. At first locating in the east had advantages. It was the centre of American civilisation and had access to labour and supplies and as such was perfect for studio based film making. However, at this time all but the most affluent studios were without adequate lighting systems and relied upon good light to film. This was a problem in the north and east due to seasonal changes in light conditions."
Abstract This paper examines cultural conflict through dramatic recreations or presentations of these conflicts in Americanfilm narrative. The paper holds that, in the popular media, violence has a semioticrole. To much of the world, the paper adds, filmviolence is a mark of American culture, and many social critics within the U.S. find the same to be true. The paper points out that many filmmakers state that they are not fostering violence but only exploring it, and with some films, the issue of using violence in popular culture is itself examined either directly as a subject or as an inherent element in the structure of the film. The paper concludes that violence is a particular sign in the film, a sign that may mean its direct cause, like anger and fear, or that may reflect something larger about society, such as alienation or lack of empathy.
From the Paper "Consider Tarantino's "Reservoir Dogs", a film that takes a satiric look at itself, at the genre of the caper film and the dynamics of betrayal and the criminal code seen in such films. The film is extremely violent, which for many viewers may mask the satiric thrust of the story and the way the interplay of characters involves a twisted sense of morality, the so-called "honor among thieves" that here is a palpable presence holding together a group of professional criminals who have nothing else to believe in except that they will be able to rely on each other. As the film unfolds, though, they can rely on nothing in a universe of random events over which they have no control."
Abstract This paper discusses the role of violence in film and video games and its effect on society. It uses Oliver Stone's film, "Natural Born Killers" as an example. The paper also explores the argument of novelist/lawyer John Grisham presented in "Unnatural Killers" that calls for litigation against Hollywood and other producers of violent materials.
From the Paper "When Oliver Stone's film "Natural Born Killers" was released into the theaters audiences were presented with an image of two young people whose adolescent lives were damaged by abuse and brutality and who ..."
Tags:violence, films, video games, Natural Born Killers, Hollywood
Abstract In this article, the writer notes that to some members of the modern audience, the film 'Pulp Fiction' represents the worst aspects of modern culture and that the critical acclaim it received for its unabashed embrace of violence has led to an increasing amount of violence in films, up to and including the modern horror porn. The writer points out that others argue that the violence in 'Pulp Fiction', while disturbingly real, absolutely excessive, and not representative of daily life, serves a very important purpose. The writer maintains that rather than detracting from the plot, the violence in 'Pulp Fiction' is an essential part of the plot; without which, the movie simply would not exist. The writer concludes that by humanizing the character Marcellus, Tarantino makes a cogent argument for the fact that, as a society, Americans have dehumanized and marginalized a huge segment of people, simply because of their criminal behavior, and that this dehumanization is morally wrong.
From the Paper "Like the other characters in the story, Butch's livelihood depends on violence. However, while Butch's life may have been violent, which is a prerequisite for a professional fighter, the film makes it clear that Butch has not previously been engaged in the type of criminal activity as the story's other leading characters. Therefore, when the audience is introduced to Butch, they see a washed-up has been who is willing to take a dive for money, but who is not entirely comfortable with having made that decision. What the audience does not know is that Butch has not actually decided to throw the fight, but is actually making his own plans to score big on the fight and escape with the money. Somehow knowing that Butch intends to cheat Marcellus, a crime boss, makes Butch seem virtuous in comparison. In addition, there is something underneath Butch's complacent and dopey exterior, and Tarantino uses violence to show the real Butch, who is actually a proud man with a lot of honor, even if his views of what is honorable do not coincide with society's views."
This paper discusses violence in films as looked at in the book "Racism and the Aesthetic of Hyper-Real Violence: Pulp Fiction and other Visual Tragedies ".
Abstract This paper looks at violence in films and discusses the three types of violence: ritualistic, symbolic and hyper-real violence. The author discusses why violence is used in films and whether it does its job effectively. Furthermore censorship and film-makers responsibility is examined and the writer concludes saying that a humanistic morality is just as important in the content of a film as it is in the content of a life.
From the Paper "Ritualistic violence is the unrelenting violence in given films. Natural Born Killers provides ample examples of this mindless violence, the most disturbing being when Woody Harrelson shoots the man on the bicycle. There is no purpose behind the violence, and many audiences that had already become desensitized to the violence in the film found this sequence to be funny.
Full Metal Jacket is a film that dwells in the world of symbolic violence. The violent episodes exist in the film so that an audience might journey inside a degenerative boot-camp and then later to the Vietnam War. When Pyle kills his Sergeant and then commits suicide, the audience understands why. They?ve been given a look into a different world and they see the repercussions of the Sergeant's mental and emotional violence."
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."
Abstract This paper discusses how American cinema from 1896 and thereafter really has its roots in Thomas Edison's early inventions relating to film projectors. The paper then takes a look at the development of early film and cinematography throughout the 1880s and 1890s, starting from the invention of the kinetophonograph. It also tracks the history of films beginning with the first motion picture called "Monkeyshines", filmed in 1891, through the building of the first film studio and movie theaters. In addition, the paper discusses how, by the 1920s, Americanfilm and cinematography seemed to mature as an industry and how the technology had advanced to such a degree that producers and directors could shift their attention from the technology to the actual making of a film and directing of the storylines.
From the Paper "The development of cinema into an art form in its early years is inextricably related to the development and advances associated with the film technology itself. Eventually the dominance of the East coast film companies which had advanced various film projection technologies in tandem with film production such as Edison's own Edison Company and the American Mutoscope Company among others, gave way to film production companies which began to concentrate solely on film production rather than on the technology development as well as film production. This shift in focus from the film projector itself to actual film production began in earnest in the US with the work of Edwin Porter who is known as the father of the story film (Bordwell 57)."
Abstract This paper discusses three factors contributing to the development of the Americanfilm industry since 1970 The factors mentioned are the blockbuster film, corporate mergers and the surge in demand for filmed entertainment.
From the Paper "The American film industry has undergone considerable change from the 70s to the present. During the 70s audiences were offered independent films that were successful at the box office and which reflected the changing political and cultural environment ..."
Tags:film industry, filmmaking, studios, motion picture industry, movies, films
Abstract This paper discusses the emergence of social drama's after WWII and examines Elia Kazan's "A Tree Grows in Brooklyn" and "On the Waterfront" as examples of this new trend. The paper discusses how these films addressed problems like poverty, organized crime and racism.
From the Paper "Films of Elia Kazan as Social Dramas
Although a few films at the turn of the 20th century addressed social issues, it wasn't until the 1950s that social dramas, or message films, became it's own genre outright. These films expressed power lessons about the human spirit, or focalized on social issues that directors and writers wanted to shine a light on, (Dirks, Drama Films). No director took this genre farther than Elia Kazan. While there are arguments about his movies, such as A Streetcar Named Desire being produced because it was based off of a play, and therefore "presold," it also brought attention to social issues that became America's focus after WWII, (Kawin: 2008, pg. 220). Message films developed as a popular genre due to his work on movies like A Tree Grows in Brooklyn and On the Waterfront. Through these films, with Kazan's excellent direction, audiences of film began to question society and seek social changes."
Tags:Americanfilm, Elia Kazan, On the Waterfront, A Tree Grows in Brooklyn
Abstract The paper portrays how the United States in the twentieth century was characterized by a degree of political and social upheaval, which effected an equivalent response of the mass media to such turmoil. The paper describes how over the period spanning 1930-1960, Americans reeled in response to World War II, flocking to the cinema against a backdrop of major political and economic change, which in turn colored the cultural trends of the period.
Abstract Semiotic analysis of two films adapted from novels. KISS OF THE SPIDER WOMAN and THE NAME OF THE ROSE. Differences between novels and cinematic adaptations. Styles and methods of visualizing the written word. Mixing of film genres. Symbols of different genres. Plot. Charaters. Relationships. Theme of desire for escape.
From the Paper "Intertextuality is defined as a by-produce of the semiotic approach to film, and it questions realism by emphasizing the coded and constructed nature of the film artifact. Art is thus seen as responding not to reality but to other discourses. Many films are overtly self-referential, associating their plots with the act of filmmaking itself. Often such associations have a wider significance and relate the work of art to the broader question of what constitutes art and how art is expressed. The film may also be associated with and in part explained by reference to other discourses, such as politics, law, social issues, and so on. Two such movies which reflect on art and politics and the juncture between the two are Kiss of the Spider Woman (Babenco, 1985) and The Name of the Rose (Annaud, 1986). Both films began as novels and so connect with other films..."
Abstract This paper reviews issues of gender, power and space in the film "American Beauty". The author argues that suburban environments have ideal gender roles. The paper relates that the characters in this movie are unhappy because they don't fit into these roles.
From the Paper ""American Beauty" is about the dysfunctional nature of suburban families. The story centers around two families. The first family is the Burnhom family. The protagonist of the film is Lester, a man going through a massive mid-life crisis. His wife Caroline is a cold, materialistic perfectionist who if obsessed with projecting the image of the perfect family. Their only daughter Jane is a fairly typical teenager. The second family is the Fitts family. Colonel Fitts is a Marine that attempts to hide the fact that he is a homosexual through homophobic statements, fascist leanings and violence. "
Abstract In this article, the writer maintains that the British film industry often frames itself in respect to its counterpart, the Americanfilm industry. The writer notes that movies made in the United States typically gross larger sums than British films, a point that has long motivated the British film industry to identify American movie-making as a more profitable model. The writer argues, however, that the emulation of Americanfilms by British studios has typically fallen short of projections: the British film-going audience, which hungrily devours American blockbusters, is surprisingly hesitant to engage in films that are made in Britain and utilize American-style plots, cinematography, acting, and special effects.
Outline:
Introduction
British Film Media
Issues of Consideration in British Film British Film and AmericanFilm Summary
From the Paper "When this process occurs, the value of a film made by a British film studio is challenged. The outcome is problematic, as the film itself may contribute to the British film industry as a composition with significant artistic merit, but the lack of financial incentives indicates that there is a strong potential for the film to get "lost" in the cinematic archives. Films that have permanency within an audience are not necessarily those with the greatest intrinsic merit but are instead those that have had backing through a strong studio and have created a market identity through advertising, widespread distribution, and so on. A film that communicates a strong message or has profound artistic composition will not necessarily become a permanent achievement in the film industry, and for most investors and studios an obscure picture might as well have never been made."
Abstract This essay describes the role that television plays in American Society. The essay follows television from its advent and measures the expectation of TV as a beneficial resource against the reality of what television has actually become. The paper speaks of parent responsibility in child viewing and briefly touches on censorship.
From the Paper "There have been many inventions, which have fundamentally changed the intellectual and cultural worldview of society. Television is one such invention. It is an instrument of capitalism, entertainment, and education. It infiltrates human society by reaching a large, diverse audience, and it breads down cultural barriers such as race, gender, and sexual orientation. Television educates and expands intellectual horizons while simultaneously acting as an outlet for mindless entertainment and an escape into ethereality. Television incites emotion, inspires controversy, and desensitizes the population to the harsh realities of modern life. There is no denying the enormous impact television has had on the world population since its introduction in the mid twentieth century. Television has left its imprint on the face of world culture, and responsibility demands that we survey, with a discerning eye, the long-term benefits and consequences of this mortal institution."
Abstract This paper discusses various Americanfilms and the American cinema in general, highlighting the features of two films, ? The Killing? and "Touch of Evil". It looks at how the two films belong to the 1940s and 1950s, an era in which American cinematography was beginning to gain a new momentum and was thus highlighting a new beginning in cinemas and films. It shows how both films are American classics and highlight the problems of society and the corruption found during those days.
From the Paper ""The Killing" depicts a society, which is greedy for money and will do anything and everything in their power to get hold of easy money by wrong means, even if it calls for the shedding of innocent blood. The movie has symbolized the various aspects of the society while showing the greed for money exists in every class of the society from the rich to the poor. "The Killing" is not exactly a murder plot, but instead is the "kill for money", it has also narrated the horse racing culture, which was found during the 40s and 50s; and how ordinary people bet large amounts of money during these races. These people can go to extreme measures for attaining the money they wish to win."
