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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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Violence Against Women, 2008.
An analysis of the perceptions relating to violence against women, as portrayed in the film, "Sling Blade," directed by Billy Bob Thornton.
1,565 words (approx. 6.3 pages), 8 sources, APA, $ 51.95
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Abstract
This paper discusses the perceptions and cultural context in which violence against women can occur. It analyzes the 1996 film, "Sling Blade," directed by Billy Bob Thornton and describes how the perceptions relating to violence against women are portrayed in the film. The paper discusses the plot and the characters and their roles in this issue.
From the Paper
"Schwartz and DeKeseredy (94) concluded that violence in general and violence against women are regarded as the norm and as perfectly acceptable. Other institutions not only accept the idea of violence but also promote aggression and competition for young males, but not for females who are seen as being in submissive roles. This cultural context that supports violence against women is precisely what caused Karl's confusion. As well, while the violence is often acceptable, interference to end it can result in serious problems for the person who intervenes. Karl's story is one of moral development and of success in making distinctions and knowing when to take appropriate action against violence. Given the complex cultural context that supports violence, Karl's achievement is truly momentous."
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"Fight Club", 2008.
An analysis of the filming techniques used to portray a culture of violence within the film "Fight Club," directed by David Fincher.
1,419 words (approx. 5.7 pages), 3 sources, MLA, $ 47.95
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Abstract
This paper analyzes the film techniques that express America's culture of violence in the 1999 film, "Fight Club," directed by David Fincher. It analyzes the film technique concepts of close framing, rapid editing and the free-ranging camera. The paper examines a series of scenes from the film and shows a sense of aggressive filming technique that portrays a culture of violence within the film.
From the Paper
"In conclusion, the techniques of close framing, rapid editing, and ranging cameras, are the basis of David Bordwell's filming styles that define a modern "culture of violence" in American film. In this manner, the film Fight Club, directed by David Fincher, helps to convey these exact techniques, which help to bring forth an intensified continuity that includes rapid editing and other quick-fire filming techniques to imply the various facets of conflict and violence. Through the various scenes of Jack's intensifying insanity, one can realize the depth and scope of the portrayal of insanity through the use of the camera. In this manner, the shooting techniques of modern film create the intensified continuity for a culture of violence in the film Fight Club."
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Hollywood's View of Germany, 2007.
This paper analyzes how Hollywood movies depicted Germany during World Wars I and II.
1,175 words (approx. 4.7 pages), 11 sources, MLA, $ 40.95
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Abstract
This paper explains that Hollywood's interpretation of Germany's participation in World Wars I and II fluctuated between politics and concern for profits but did not engage in propaganda as commonly charged. The author points out that independent movie producers, surged into the international market during World War I, which provided them with one of its greatest sources of plots and profits, such as D.W. Griffith's "Hearts of the World" (1918). The paper relates that the majority of the films were anti-war and action/war adventures made after the war, such as "The Four Horseman of the Apocalypse" (1924). The author relates that Hollywood films of the 1960s and 1970s revisited the anti-German theme and highlighted American heroism, such as "The Dirty Dozen" (1967); however, the the most outstanding film was Stanley Kramer's black and white "Judgment at Nuremberg" (1961). The paper cites many films and includes many quotations.
From the Paper
"There was one firm that did: Warner Bros. They shut down their German operations in 1933, three years before Hitler limited the release of American films. By 1939, the European market was closed off. In 1940 Will Hays, the dour President of the Motion Picture Production and Distribution Association (MPPDA), lifted the ban on anti-Nazi films that he had imposed after "Confessions of a Nazi Spy", and the cameras began to roll against Nazi Germany and for the defense of the United States. "Sergeant York" (1941) actually harked back to Tennessee farmer Alvin York's heroics in World War I."
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Film: "Malice" (1993), 2007.
This paper is a psychoanalytic analysis of the film "Malice" (1993), directed by Harold Becker.
1,200 words (approx. 4.8 pages), 2 sources, MLA, $ 41.95
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Abstract
This paper explains that, in the 1993 film "Malice", although everything appears to be normal, the audience soon finds that not far beneath the superficially polite exterior of all the main characters there exists an unconscious and barely controlled subsurface of jealousy, anxiety, sexual insecurity and narcissistic greed, all common plot elements of the generic suspense thriller. The author points out that the thriller genre deals quite blatantly, with what Freud referred to as the resurgence of the repressed id, over and against the demands of society in the form of the externally imposed superego. The paper relates that, when the ego of repressed characters such as Andy, becomes threatened by loss of control, especially in the sexual sphere, it utilizes what Freud called defense mechanisms in an increasingly desperate effort to protect itself from the ever-increasing demands of the id.
From the Paper
'The two main male characters do not escape censure in the film, however. About midway in the film, Dr. Hill is described by another character as possessing a "God complex," which is not a psychoanalytic term in itself but which, in this context, implies someone possessed with an exceedingly strong form of narcissism, an individual trapped to some extent in an infantile phase of development and thus subject of his own libidinal impulses. In the film, this complex is narratively depicted as being not only self-destructive, but destructive of the other characters around Dr. Hill."
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"Time After Time", 2008.
An analysis of the film "Time After Time," directed by Nicholas Meyer, through a Marxist interpretation.
1,471 words (approx. 5.9 pages), 4 sources, MLA, $ 48.95
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Abstract
This paper explores the ways in which the popular 1979 science fiction film "Time After Time," directed by Nicholas Meyer, can be interpreted from a Marxist perspective. It discusses the definition and parameters of classic Marxism as outlined in "A Handbook to Literature and Film Studies: Critical Approaches" by William Harmon and Hugh Holman. It then relates these definitions to the film.
From the Paper
"In conclusion, the filmmakers of Time After Time have, consciously or not, presented a science fiction fable with certain Marxist ideology in the way their work addresses such issues as history, technology, and gender, and how these human elements change or fail to change over time. The greatest irony may be that though the historical H.G. Wells was indeed a lifelong socialist utopian, he was also for the most part anti-Marxist in his thought, and generally elitist in his view of human governance. If anything, the view of the film, which after all accurately depicts the events that took place during the 20th century and life as it is lived in the modern day, stands as a critique of Marxist (and socialist) expectations for a world state and utopian revolution."
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Film: "Purgatory" (1999), 2008.
This paper explores the concept of a clockwork orange in the film "Purgatory" (1999).
880 words (approx. 3.5 pages), 2 sources, MLA, $ 31.95
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Abstract
This paper explains that the movie "Purgatory" proves that it is better to possess free will, even if it is the will to sin, rather than to be made into a clockwork orange as a paradigm of virtue. The author relates that Blackjack Britton gang fleeing a posse rides into Refuge, a town of second chances where the people make every effort to be virtuous. The paper points out that Refuge is a clockwork orange in reverse because moral choice has been taken away. The paper concludes that Alex's brainwashed paradigm of virtue and the Refuge paradigm were broken apart by the free will choice to do something for oneself.
From the Paper
"It is only when Sonny, who is in love with Rose and sacrifices himself for her, makes them realize their identities, that they in turn realize they do have a choice and take action. Sonny is surprised to find Hickok with his gun belt on coming out to stand with him in the classic gunfight scene: "What the hell," he says." "That's exactly what it is," Forest replies, "Hope you're ready to meet it." Alex's self-realization, even in the midst of his performance after the Ludovico Technique, is the same slow sign that there is still a spark of free will there."
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Mythic Critical Analysis of "Time After Time", 2008.
This paper presents a mythic critical analysis of the film "Time After Time" (1979), directed by Nicholas Meyer and written by Karl Alexander and Steve Hayes.
1,059 words (approx. 4.2 pages), 4 sources, MLA, $ 37.95
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Abstract
The paper explores some of the ways in which the popular science fiction movie "Time After Time" (1979) expresses and unfolds its narrative in mythic terms. The paper defines the expressions "mythic criticism" and "the archetype" and shows how the film reveals more of a mythic substratum than its makers may even have intended. The paper concludes that the filmmakers of "Time After Time" have followed the lead of much science fiction by their innovative utilization of fact, fiction and fantasy to create a new myth for the scientific age.
From the Paper
"According to A Handbook to Literature, the critical perspective known as mythic criticism is defined as that "which explores the nature and significance of the archetypes and archetypal patterns in the work" (Harmon and Holman 136). In this context, myth can be defined as that which portrays "a projection of social patterns upward onto a superhuman level that sanctions and stabilizes the secular ideology" (338). The same definition goes on to explain that myths, among their other functions, "attempt to explain creation, divinity, and religion; to probe the meaning of existence and death; to account for natural phenomena; and to chronicle the adventures of cultural heroes" (338). In reference to the archetype, the same handbook defines this term as a "primordial image" which draws upon the "prelogical mentality" (subconscious) of the reader / viewer and is frequently encountered in myth and folklore (41)."
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"Postcards from the Edge", 2008.
This paper compares and contrasts the novel and movie "Postcards from the Edge".
1,076 words (approx. 4.3 pages), 3 sources, APA, $ 37.95
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Abstract
The paper examines the similarities and the differences between the novel and film "Postcards from the Edge," both as artistic expressions and as representatives of their historical period. The paper discusses how the novel is told in brittle, episodic fashion in contrast to the more linear storyline of the film. The paper shows how both forms of the story "Postcards from the Edge" have merit.
Outline:
The Novel as History
The Novel as Literature
The Film as Art
Comparing the Novel and the Film
The Film as History
Conclusion
From the Paper
"Postcards from the Edge is an examination of the Hollywood culture from the point of view from someone who has survived it and who has suffered some of its vagaries. This perspective makes the novel semi-autobiographical, although it is a work of fiction. Through Fisher's eyes, and through the eyes of her protagonist, the reader glimpses the life of an insider. Although it can be difficult to read due to its disjointed nature, Postcards is well worth the effort to attempt."
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College Application: Broadcasting and Communication, 2006.
A college student's application to the broadcasting and communication department at Ryerson University in Canada.
956 words (approx. 3.8 pages), 6 sources, MLA, $ 33.95
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Abstract
This paper gives a description of the college applicant. It highlights the
experiences that have been critical in shaping the applicant's understanding of broadcasting and television as team productions and describes the applicant's leadership qualities and technical skills. The paper also discusses an aspect of the Canadian communications industry in which the applicant is interested.
From the Paper
"Although I am still a teenager, I have been fascinated with the fields of broadcasting and communication for as long as I can remember. It was as a freshman and sophomore in High School that I first studied television broadcasting as an academic subject; gaining knowledge of the range of television programming while also acquiring hands-on experience at live video production and post-production editing techniques. Later, as a participant in the Advanced Television Production course - a class recommended for those interested in careers in communications - I had the opportunity to work as a camera operator, video editor, writer and talent director. I am particularly proud that some of my packages, montages, and remotes were selected for broadcast on the school's morning announcements, as well as for air on the local cable channel."
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Narratological Analysis of Cache, 2008.
This paper presents a narratological analysis of the film "Cache", by writer and director Michael Haneke.
1,219 words (approx. 4.9 pages), 3 sources, MLA, $ 41.95
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Abstract
In this article, the writer studies the film 'Cache', by writer and director Michael Haneke, through a narratological analysis. The writer first provides a definition and analysis of narratology. The writer then notes that 'Cache' is a complex and ambiguous drama that readily makes itself available to narratological analysis due to its deceptively "simple" visual presentation and story structure, which in fact disguises a profoundly inventive underlying narrative approach reminiscent of Antonioni in its lack of closure and refusal to manipulate or pander to audience expectations. The writer concludes that Cache also plays with the ambiguity between the hermeneutic code and the proairetic code. The writer maintains that by allowing these two codes to interplay without well-defined closure, Haneke is able to provide his audience with an active role in the decipherment of the film's "text," a task which can continue long after the film has ended.
From the Paper
"The opening fade-in to what appears to be a simple long-shot of the house front, held for an interminable amount of time, is in fact revealed to be a videotape of the house front being watched on their television by Georges and Anne. This identical shot, or shots very nearly identical to it, is repeated several times throughout the film. Other shots which appear at first to be ordinary omniscient narrator shots (such as Georges' first visit to Majid's apartment), turn out, when repeated minutes later in another context, to have been in fact point-of-view shots taken from the position of the mysterious voyeur's hidden video camera."
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"Seven Up!" - A Documentary on Childhood, 2006.
An examination of the way in which children and childhood are presented in the documentary film "Seven Up!", directed by Peter Almond.
1,287 words (approx. 5.1 pages), 1 source, MLA, $ 43.95
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Abstract
This paper examines the documentary film "Seven Up!" directed by Peter Almond. It looks at whether the film presents the true voices of the children involved; what they actually think and feel. The paper also examines the way in which children and childhood are presented by the film and the importance of the film in terms of developing our understanding of childhood. The paper argues that the film does not present the true voices of children but rather how these voices are shaped and influenced by the children's environment and their social and economic status.
From the Paper
"Childhood is a socially constructed concept and as such hides the vast differences between children in terms of age, gender, ethnicity and social status. The film attempted to highlight these issues to some extent. The children chosen for the film were all seven year olds from Britain. Hence in some ways they all shared the same concept of childhood, the western one (as opposed to for example non-western, developing country childhood). To some extent there is a cultural chauvinism in the film, since the children are all fit into this western concept of childhood."
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