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WWII and Movies, 2007.
This paper explores how World War II affected movies in America.
1,800 words (approx. 7.2 pages), 6 sources, MLA, $ 57.95
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Abstract
The paper presents the thesis that World War II caused the movies and Hollywood to produce pro-war films during the period before the US joined the war and propaganda films at the height of the war. The paper shows how the movie industry was in support of America's war against Nazi Germany and Imperial Japan. The paper discusses how Hollywood encouraged the war and then worked to positively bring the realization that the war was a fight between good and evil and its soldiers were heroes and defenders of democracy.
Outline:
Introduction
Thesis Support 1
Thesis Support 2
Thesis Support 3
Conclusion
From the Paper
"Moving pictures, the cinema or films are some of the terms used to describe the movies. America has been known to give birth to the motion picture industry and as such, Hollywood becomes the Mecca not only of the American film industry but set the worldwide standard as well. Hollywood and the movies have become part and parcel of the American culture and as years or decades go by, the U.S. film industry mirrored what is happening in America at a particular period and produced films that captured the lives and histories of the time. One of the pivotal moments of the American film industry is during World War II when the film genre produced pro-war support themed movies."
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Silent Films and Talkies, 2007.
A discussion of how much the transition to sound changed the nature of films, according to Scott Eyman, in his essay "The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930."
924 words (approx. 3.7 pages), 4 sources, MLA, $ 32.95
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Abstract
This paper discusses the effects on Hollywood of the transition from silent films to films with sound. It analyzes the transition from the point of view of film historian Scott Eyman, in his essay "The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930." The paper discusses Eyman's theories based on certain films that have been produced since sound was introduced.
From the Paper
"Eyman may be correct that technology changed the financial dynamics of the studio systems, made filmmaking more expensive, and required the import of new actors and talent to Hollywood. Individual actors whose voices clashed with their on-screen personas, like John Gilbert saw their stars diminish, or end. But the nature of the cinematic medium as a visual medium remained constant, even after the introduction of sound. Of course, this is not to deny the presence of films like screwball comedies that were purely the production of the talkies, or the presence of some staged plays for film that became popular. But for the most part, audiences still come to films to see a good show, unlike the theater, where they expect more dialogue and character development, and less technology and spectacle."
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"The Elephant Man", 2007.
An analysis of the film "The Elephant Man," directed by David Lynch, as viewed by the philosophy of Anita Silvers in her essay "From The Crooked Timber of Humanity, Beautiful Things Can Be Made."
898 words (approx. 3.6 pages), 2 sources, MLA, $ 31.95
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Abstract
This paper discusses the film, "The Elephant Man," directed by David Lynch. It specifically analyzes the film according to the philosophy of Anita Silvers in her essay "From The Crooked Timber of Humanity, Beautiful Things Can Be Made." The paper describes Silvers' view that the standards of symmetry and wholeness should be rewritten as a standard for human health and discusses how this relates to the themes in "The Elephant Man."
From the Paper
"In her essay, "From The Crooked Timber of Humanity, Beautiful Things Can Be Made," Anita Silvers makes a profound call that the standards of symmetry and wholeness be rewritten as a standard for human health in a way that is sounded like a clarion call throughout the film "The Elephant Man." Merrick's unique plight is not simply tragic, rather his presence elevates the lives of others, and shows the valuable moral contribution that persons with so-called disabilities can make to society. Because of Merrick's unique presence in their lives, the cold medical professionals gain insight into the need to view human subjects and illness in a mode that is not simply mechanical, but humane and compassionate. The concept of how health is understood in moral terms becomes destabilized because of Merrick's overwhelming, instinctive morality, based upon his skillful perception of his situation."
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"The Other Sister", 2007.
An analysis of the portrayal of mental retardation in the movie "The Other Sister".
829 words (approx. 3.3 pages), 3 sources, MLA, $ 29.95
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Abstract
This paper examines how the film, "The Other Sister", portrays a developmentally delayed woman named Carla Tate who has been extremely sheltered for most of her life, by both her family and her educational system. It discusses how the film suggests that Carla is a highly functioning and compassionate woman, despite her disability. It also discusses how despite the positive portrayal of mentally challenged individuals, critics have felt that the film's treatment of the condition is very patronizing.
From the Paper
"The main problems, the film suggests, lie not with Carla's inherent abilities but the ways that Carla's family has reacted to her disorder, with a near-pathological sense of over-protectiveness. Because the family has another child of normal intelligence, the family tends to constantly measure Carla's functionality against their older daughter, who is highly capable, intelligent, and gets married over the course of the film. This family tension underlines the fact that mental retardation does not always have a clear, organic cause. Thus the fact that mentally challenged individuals often exist with in the context of a so-called normal home means that parents often have difficulties understanding what their child is or is not capable of achieving or understanding, in comparison to themselves or other siblings."
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'Hamlet', 2006.
A look at the female characters in Lawrence Olivier's 1948 production and Kenneth Branagh's 1996 film version of 'Hamlet'.
1,044 words (approx. 4.2 pages), 7 sources, MLA, $ 36.95
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Abstract
This paper reviews and discusses the contrast of the female characters in "Hamlet", as portrayed in two 20th century film productions: Lawrence Olivier's 1948 production and Kenneth Branagh's 1996 version.
From the Paper
"Shortly after this sequence, Hamlet bursts into his first soliloquy, and through this "textual transposition," placing the Ophelia scene immediately after the first soliloquy...a direct link is created between Hamlet's sense of sexual betrayal in Gertrude's "dexterous posting" between "incestuous sheets" with his uncle Claudius and Ophelia's refusal of him as a chaste or sexual lover. (Dawson 178; "Hamlet" I.2) The former seems likely, given that the actress who plays Ophelia seems so innocent, blond and docile to her father and brother's wishes, in contrast to the young, sensual brunette Gertrude. Oliver's Gertrude hardly seems old enough to have a mature son, although she also seems anything but innocent in the caressing way she behaves towards Oliver, even at the outset of the film."
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"Badlands" versus "True Romance", 2006.
Compares the movie, "Badlands", directed by Terrence Malick, with "True Romance" directed by Tony Scott.
1,763 words (approx. 7.1 pages), 5 sources, MLA, $ 56.95
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Abstract
This paper reviews, discusses and compares the movie "Badlands" directed by Terrence Malick, and the movie "True Romance" directed by Tony Scott. According to the paper, both movies tell the story of outlaws that are bound together through the bonds of love and violence.
From the Paper
"The great naivete in the perspective of Kit and Holly was deliberate upon director Terrence Malick's part. "My influences were books like The Hardy Boys, Swiss Family Robinson, Tom Sawyer, Huck Finn--all involving an innocent in a drama over his or her head. I didn't actually think about those books before I did the script, but it's obvious to me now. Nancy Drew, the children's story child detective--I did think about her," he said in a 1975 interview with Beverly Walker of Sight and Sound, shortly after the film's success at the box office. (Walker, 1975, pp. 82) The road provides them with a sense of freedom, a place where they can be free to be children, but also free to kill."
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Made-for-Television Movies, 2006.
A discussion regarding made-for-television movies and how they affect the home-viewing market.
1,511 words (approx. 6.0 pages), 2 sources, MLA, $ 49.95
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Abstract
This paper discusses made-for-television movies and the impact they have had or not had on the cinema, and home-viewing market. The paper further examines the role of the producer, and discusses the differences between theatrical release producing and television producing. The paper also takes a look at the success of the telemovie on pay-TV as opposed to free-to-air broadcasts.
From the Paper
"In terms of the budget, there are large differences between a feature film and a made-for-television film. The cost of "blockbuster" feature films keeps spiraling upwards - at last count, the most expensive films are hovering around the 200 million dollar mark just to produce. Made-for-television productions (depending on quality) will rarely breach the three million-dollar mark, with some coming in as low as 750,000 USD. These costs are kept low by short shooting times, with the average shooting time for a 2-hour Movie of the Week a mere three to four weeks in length with a 30-day preproduction time. A high-profile undertaking, such as HBO's Angels In America, or a film shot overseas, may touch the six million mark, but such cases are the exception rather than the rule. Considering that the major networks who finance these undertakings are reporting combined revenue of up to twenty billion dollars a year, it is easy to see why made-for-television movies are a cheap, attractive option for them. "
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The Double, 2006.
A review of the movie, 'Superman'.
2,191 words (approx. 8.8 pages), 0 sources, $ 68.95
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Abstract
This paper reviews and analyzes the legendary movie, 'Superman'. According to the paper, the movie explores the nature of the double, with the character of Clark Kent who transforms into Superman. The paper further discusses how the primary romantic storyline of 'Superman' is basically built on a lie.
From the Paper
"Kent turns humility into an art. He carefully crafts his Kent persona so that not even Lois Lane (Margot Kidder) can detect the truth. Because Superman is actually his real self, Kent does not suffer overly much when he can only win over Lane in his cape. Ironically, his Superman uniform is not the disguise; the Clark Kent business suit is. Kent's awkwardness partly stems from his having to suppress his whole identity. Yet his double is the only part of himself he can reasonably show to the world without causing any cataclysmic disruptions or raising eyebrows. Furthermore, Superman's double is genuine, a natural product of his sociological development within an ordinary American salt-of-the-earth family. His double did not arise from psychological trauma, self-hatred, or any other pathological reason. Quite the contrary, his need to craft a double identity stems from his desire to be a superman while walking among the people. Kal-El could have used his unearthly powers for self-aggrandizement but instead followed his father's advice and wisdom."
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"Shoah", 2007.
A review of Claude Lanzmann's film about the Holocaust, "Shoah".
2,849 words (approx. 11.4 pages), 3 sources, MLA, $ 84.95
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Abstract
The paper relates that "Shoah" consists of many hours of interviews with three categories of characters: survivors, witnesses and perpetrators. The paper explains that, in order to depict the historical reality, the director takes the survivors back to the places where their story happened. The paper relates that there are four places which concerned the director: Chelmno, Treblinka, Auschwitz - Birkenau and Warsaw ghetto. The paper maintains that Lanzmann succeeds in passing down a message about man's capacity for cruelty to his fellow man to the coming generations and in publicizing the Jewish tragedy around the world.
From the Paper
"Shoah consists of many hours of interviews with three categories of characters: survivors, witnesses and perpetrators. In order to depict the historical reality, the director takes the survivors back to the places where their story happened. He makes them face the places where the terror took place. The particular medium of the documentary film work describes the historical reality of the holocaust through people who lived "shoah" , history is told by the people who survived, witnessed or people who were directly involved in conducting the holocaust."
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"Capote"--A Film Review, 2007.
An examination of the recent film "Capote" from a marketing perspective.
2,852 words (approx. 11.4 pages), 7 sources, APA, $ 84.95
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Abstract
This paper analyzes the marketing approach for the recent film, "Capote." The author acknowledges that this film was clearly meant for a more educated and selective audience, which impacted its marketing approach. This approach included waiting for the film to receive awards, and a careful release pattern that built on reviews and word-of-mouth to bring in the public. The writer concludes that the film's success shows that it found its target audience and may have drawn others along once the awards were announced and the quality of the film touted from the podium.
From the Paper
"Many widely-accepted ideas about film releases govern what the industry as a whole does, among them the idea that certain times of the year are best for certain kinds of films, that a big star can assure a large opening weekend, that a high-grossing opening weekend is necessary if a film is to succeed, and so on. Many of these accepted ideas have been challenged from time to time by one or more films, and even when shown to be wanting, the underlying belief remains powerful and affects next year's product. Many of the independent companies have been taken over by larger entities and act as boutiques, but they still manage to continue to be the most likely to challenge accepted doctrine and to take more chances. Sony Pictures Classics is the sort of in-studio arm that has been developed to handle this sort of release, with Capote a prime example."
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'Deliverance', 2007.
This paper examines how the movie 'Deliverance' defines two moral spheres.
862 words (approx. 3.4 pages), 1 source, MLA, $ 30.95
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Abstract
In this essay, the writer points out that there is a clear lesson in 'Deliverance' about the difference between city and rural people. The writer notes that director, John Boorman, goes to great lengths to show that the two groups of people portrayed in the film have completely different values and, in a sense, different definitions of survival. The writer maintains that the main characters define survival, at least at the beginning of the movie, in terms of financial wealth and material comfort, whereas the rural characters have a more basic sense of survival. The main characters come to rural Georgia looking for a taste of something simple, but instead find a world much more complex. The writer concludes that there are two separate worlds and, in the end, when the men promise the local sheriff never to return, it is a fitting symbol that these worlds should not - and can not - be integrated.
From the Paper
"In the dueling banjo scene early in the movie, which is one of the movie's most famous scenes, Drew's remark that he is having trouble keeping up is a powerful harbinger for the struggles in the backwoods society that will plague the main characters for the rest of the movie. At the end of the dueling banjo scene, as Bobby tries to approach the boy, who appears to be inbred, the boy turns away in disgust. The message here seems to be that they may speak the same language and enjoy the same music, but that there is a wall of distrust and animosity that stands between city people and their rural counterparts. Not surprisingly, shortly after they begin their trip the men become lost, both physically and metaphorically - they have entered a world they do not understand and where their values and sense of judgment are now out of place."
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'Lord of the Flies', 2006.
An organizational overview of the film, 'Lord of the Flies'.
1,300 words (approx. 5.2 pages), 1 source, MLA, $ 43.95
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Abstract
This paper reviews and discusses the film, 'Lord of the Flies'. According to the paper, the movie about children in a dire situation can be related to the managerial wisdom reflected in Smith and Berg's work 'Paradoxes of Group Life'.
From the Paper
"Smith and Berg suggest that an organization is at its most functional, when it can acknowledge individual difference and the special contribution individuals can make to that organization, rather than attempts to subsume such difference within the confines of a greater philosophy. For example, rather than force Piggy to engage in the most laborious physical tasks, Jack used Piggy as an advisor. Rather than have all of the children constantly tend the flame, tending the flame was left to certain group members. The age and different physical abilities of the children were respected. However, the desire of other boys to exert leadership, and to make their influence felt in a less democratic fashion was difficult to manage. Furthermore, the homogeneity of the common goals of the group was not enough to keep the group together--the differences, even the negative differences of some of the boys should have been better managed by Jack and his friends."
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