Abstract This paper explains that Y. Nasrullah's films typically address some aspect of contemporary Egypt or the Middle East, including issues of leftism and Islamic militancy, and illustrate dimensions of political events and society, which are lesser known or not known to outsiders.
The author points out that "SummerThefts", set in the summer of 1961, is most worthwhile for its depiction of an Egypt left behind with the arrival of President Nasser's radical agrarian reform agenda that could affect harshly landowning Egyptians and the Westernized bourgeoisie. The paper relates that, above all, this film gives the viewer access to a most varied Egyptian population in keeping with other Middle Eastern powers of which little tends to be known.
From the Paper "Between June and September of 1961, Nasser nationalized the major heavy and medium industries, banks, insurance, shipping and public transport industries. Agrarian real estate, domestic trade and small industry were left in the hands of a bourgeoisie whose members would often opt to go elsewhere, much of their capital lost overnight to nationalization of commercial and industrial ventures and without confidence in the Egyptian economy to produce new opportunities or demand. The reader comes to see that families such as Nasrullah's in "Summer Thefts" were not just divided by politics."
Abstract This paper looks at and compares Shakespeare's play, A Midsummer Night's Dream, with Michael Hoffman's 1999 film adaptation. Looking at how specific differences such as language and scenes differ from interpretations, and how if there is any suggestive influence that enables us to better understand the original play.
Abstract This paper discusses identity theft in terms of its impact, its character and its prevention. In the paper, particular attention is given to the types of primary identity theft classifications, some online methodologies of identity theft and finally, some preventive measures. The paper discusses how identity theft is found to be a massive problem in terms of financial losses to both corporations and individuals and is expected to grow in severity over the next few years.
From the Paper "Identity theft occurs when an unauthorized person obtains another's name and a piece of critical identifying information about that person such as a credit card or bank account number, social security number or driver's license number. With these two pieces of information, someone can open credit card accounts in someone else's name and go on spending sprees for personal items or for things that can easily be sold. When bills are not paid, the delinquent account shows up on that person's credit report. The identity thief can change the mailing address on the victim's credit card account thus delaying the discovery of the theft. The imposter then runs up big bills on the victim's account, and since they are being sent to the new address, one would have no way of knowing any of this was going on."
Abstract This paper discusses the problems that federal, state and local authorities face when prosecuting cyber identity theft, noting that it is not a simple procedure. The paper explains that individuals that steal the identity of others online often use multiple servers and locations to make it almost impossible to trace the person who is responsible for the identity theft. The paper also explains that when identity theft occurs in a country where traditional Internet crime is not considered a prosecutable offense the country where the nation occurred has a difficult time in locating the criminal and extraditing the identity thief for the purposes of prosecution. Finally, the paper notes that many United States prosecutors are hesitant to prosecute these crimes because they generally involve low profile cases that take extensive amounts of time to investigate and prosecute.
Abstract This paper analyzes the damage done to retailers from employee theft. It also discusses a variety of measures aimed at minimizing or reducing such dishonesty among employees as well as vendors and customers.
From the Paper "Ironically the majority of such theft does not stem from customer soften referred to as shoplifters. In fact the biggest cause of loss among retailers with respect to theft is ..."
Abstract The paper discusses the growing issue of identity theft through a case study. Due to the subject's fear of telling his wife what had happened, especially so he should not lose faith with her, the paper looks at the consequences and implications of his actions.
From the Paper "On his twenty-seventh birthday, Matthew Beck discovered that someone had stolen his identity and charged over one-hundred thousand dollars on his credit cards. He didn't tell his wife for more than two weeks, not only because he had no idea how to break such awful news to her, but because she had read an article about identity theft right after they'd bought their new home and had asked him if he thought something like that could happen to them. His immortal words, "honey, you worry too much," had reassured her, for she trusted him implicitly. He had convinced her back in 1999 that they shouldn't buy any Enron stock, and ever since the infamous Texas corporation had imploded, costing stockholders hundreds of millions of dollars, she had always let him have complete control over the handling..."
Abstract This paper is about the author's recollection of a summer he had when he was ten years old. The paper recounts the author's experience with a bitter neighbor and teacher and how the experience of actually getting know this person was a pivotal growing point in his life.
From the Paper "Back in the distant days when summer was the most important time of the year, there seemed to be something very special about the way that time stood still and how every day, whether a Monday, a Wednesday or a Saturday, held new adventures lurking just around the corner. Summer was also the only time that one could escape from the nagging of teachers, the burden of constant homework and the dreary anticipation of having to get up before dawn in order to catch the bus to get to school on time."
Abstract The author of this paper uses four films and quotes to illustrate the influence that the Godfather Saga had on the film "Goodfellas". It summarizes each of the Godfather movies including character analysis and connects them to the characters in Goodfellas.
From the paper:
"Gangster films have been popular for many years. Everybody loves a film that depicts the days of mobsters and the many deals and connections that were portrayed within those films. Perhaps there is a small piece of each of us secretly wishing we could throw away the straight-laced life and become a part of the gangster scene back when it had respect. Whatever the reason America loves the films they are a sure moneymaker at the box office. The Godfather Trilogy began in 1972 and had three films to its saga. Each one was popular and picked up where the other left us hanging to continue the story. We expected each Godfather film to resemble the previous work of art. What we didn?t expect was the impact and influence these three films would have on a more recent project called Goodfellas. While Goodfellas is its own movie in its own right the movies is filled with the obvious influence of the Godfather Saga. "
Abstract Among the various styles of producing films, the noir style is one that has come to be recognized for its uniqueness in characterization, camera work and striking dialogue. Film Noir of the 1940s and 50s was well known for feminine characters that were the protagonists, the femme fatale. This was most common with the French and later accepted in the United States. This paper begins by introducing film noir, its definition, how it started and also the history of this genre in the United States of America. It looks at films such as the "Maltese Falcon" (1941) and "A Touch of Evil" (1958). In the second section, the paper explores how women are represented in film noir (heroine and femme fatal) by discussing the aforementioned films and analyzing them. The paper examines different authors, such as Ann Mary Doane whose research is based on feminism and psychoanalysis and Ewing Dale ("Style and Content in Film Noir"), to discuss their ideas. The paper also compares two film noirs - the "Maltese Falcon" (1941) and "Basic Instinct" (a contemporary noir), to see how women express themselves, looking to see whether they express themselves through their sexual diversity. In the third and last section, the paper examines how women are represented in contemporary noir by analyzing and discussing one contemporary noir - "Mulholland Drive" (2001). The paper analyzes sequences to demonstrate the movie's connection with film noir and examines the role of women in the film. The paper includes illustrations from movies.
From the Paper "Mulholland Drive reinforces the dominance of the femme fatale in contemporary film noir. In present times the role of the woman in society is observed to have a variation, and this is because of the fact that there is a change in the way that she can express herself. It also highlights the way that she can dominate men without them even knowing it. It is perhaps only when they reach their ultimate doom that they realize that women have exploited them. This kind of character portrayal is one that has increased over the years since the beginning of the film noirs. From then it has developed itself in American filmmaking, which has reflected the strengths and weaknesses both in American society."
This paper examines the horror film genre, also known as realist horror, while focusing on two specific films, "The Blair Witch Project" and "Henry, Portrait of a Serial Killer."
Abstract This paper analyzes the realist horror genre in film. The realist horror genre was spearheaded by Alfred Hitchcock in his 1960 film "Psycho." Horror films proliferated throughout the 1970s, 1980s and 1990s in Hollywood. Most of these films used comedy to portray killings, veering away from realism. The writer of this paper contends that the realist aspect of actual human killers is enough to leave lingering fears long after the viewing has ended. This paper focuses on this particular style of filmmaking, in which the approach is to focus on the killer rather than victim, resulting in terrifying the viewing audience. This well-researched paper notes the similarities and differences in "The Blair Witch Project" and "Henry, Portrait of a Serial Killer." This paper describes how both films leave the viewer with a lingering thought and fear of the real world. Specifically, fear of the horrific possibilities. "Henry, Portrait of a Serial Killer" is based on real-life serial killer Henry Lee Lucas. The movie follows the daily life of Henry, beginning with aftermath shots of freshly murdered victims juxtaposed with images of Henry. This illustrates to the audience that Henry is indeed a bona-fide serial killer. "The Blair Witch Project" is a far cry from the typical slasher film. It uses an entirely different approach to realist horror. The film is shown as a documentary and the actors are not actors at all, but real victims captured on video.
From the Paper "The presentation style changes only during the murder scenes. The pictures are graphic and almost too gory to be real. One woman is seen with a bottle shoved into her throat and the electronics salesman's head goes through a television picture tube - just before the television is plugged in - electrocuting him. Background electric guitar is also present mostly during the build up to a murder. It is not overdone and avoids appearing out of place. Rather, it helps the viewer realize something important in happening. Overall the film does achieve a realism most slasher films cannot approach. This purposeful use of a home-movie style subtly reminds the viewer that the onscreen events are based in truth. Blair Witch takes the realist style one step further by using the camera as a prop in the film. The viewer is constantly reminded that an off-screen character is behind the lens."
Abstract This paper studies the concept of suturing which is defined in many different ways such as sewing something back together, gesture or pseudo-identification, the individual watching a film as a stand-in for the camera and more. It looks at the filmmaker Ranier Werner Fassbinder's work 'Despair' as an example of a film that attempts to undercut notions of the gazer of the film becoming sutured into the web of the film and of becoming socially subjected to the predetermined constructions of reality within the film's text. Finally, it concludes that the destabilizing of a master narrative with the particularity of autobiography is better than the complicated suturing.
From the Paper "On a very literal level, to suture something is to sew something back together, usually imperfectly, usually with a substance that is alien to the body that is being altered?such as the doctor's suturing thread that stitches together an open wound. On a semiotic level, according to Jacques-Alain Miller, Miller's definition of suture (in a nutshell) is that the suturing process in culture is the process through which a subject is joined into the signifying chain of culture, allowing a signifier to stand-in for the subject's absence in discourse. (Suture as a Laconian Concept) "
Abstract This paper presents a summary of "Chapter 3 of Film History: Theory and Practice" by Robert Allen and Douglas Gomeny that focuses on the need for an active process of reading and studying film history. It looks at film as a narrative and the personal agenda of the film historian. It looks at the economic and cultural assumptions of the film historian.
Abstract This paper analyzes the 1933 film, "King Kong" and discusses several important elements of the film. More specifically, the paper analyzes the main characters in the film, the film's plot, the acting, mise-en-scene, the film's use of special effects, the use of sound, the cinemaphotogray and the main themes in the film. The paper also discusses the film's powerful emotional impact and the sexual interplay in the play.
Abstract This essay examines the question of the presentation of film and looks at the topic of truth within the documentary film. The writer considers the words of Errol Morris, the director of 'The Thin Blue Line', who believes that documentaries can be as personal as fiction film making. The writer discusses that Morris challenges the concept that objective truth may be captured through film.
From the Paper "Errol Morris, director of 'The Thin Blue Line', has criticized the cinema verite style of documentary, arguing that: "There is no reason why documentaries can't be as personal as fiction filmmaking and bear the imprint of those who made them. Truth isn't guaranteed by style or expression. It isn't guaranteed by anything". In making this argument, Morris is not only challenging the idea that objective truth can be captured through film, but that the generic line between fictional film and documentary film can often be extraordinarily blurred."
Abstract This paper considers aspects of film business economics. The writer notes differences between studio films and independent films in terms of grosses and the relationship between opening weekend grosses and total grosses for a number of films. In this article, the writer uses Miramax as an example of an independent company showing a different pattern, as it opens films more slowly and makes money more slowly as well.
From the Paper "The economics of the film business change over time, and much of what applied in the studio era is no longer applicable, and even what worked for the major companies in the 1970s is not applicable today. The business has become consolidated at the top, with the major studios dominating, while also opening the way for smaller companies at various times. The fact that film exhibition is now targeted more at multiplexes than at large stand-alone theaters has contributed to this change, given that exhibitors have more screens to fill. While they often do this by putting the same film on two or three screens at a time, they also rely on a larger number of films to keep patrons coming back week after week if not more often."
