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"The Time Machine", 2006.
This paper compares the film version of H.G. Wells' "The Time Machine" with the original book.
1,185 words (approx. 4.7 pages), 6 sources, APA, $ 40.95
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Abstract
This paper explains that both H.G. Wells' classic 1895 novel "The Time Machine" and the 1960 film version, directed by George Pal, focuses on what could happen if the war between the classes was allowed to develop and intensify with the consequences being the growth of human cruelty and the development of the human race into something inhuman, unsympathetic and overwhelmingly powerful. The author points out that George Pal's adaptation of "The Time Machine" centers on a plot line that is easily recognizable in the novel; the unnamed "Time Traveller" in the novel (portrayed in the film by Rod Taylor, presumably as H.G. Wells himself) is a Victorian scientist who constructs a contraption with the capability of sending him into the far distant future, specifically to the year 802,701 A.D.. The paper suggests that the film version of "The Time Machine", despite its visual effects and superb acting, cannot be an improvement on the original novel, due to Wells' extraordinary ability to take the reader into the unknown without the advantage of pure visual imagery as provided by the cinema.
From the Paper
"As a character, Weena represents the opposite of the horrible Morlocks, yet she also symbolizes the world of the future as a young girl without any knowledge of the past or any inclination to know what lies ahead in the future. In the novel and in the film, this device tells the reader and the viewer that the world of the far distant future will be made up of white and black, presumably good and evil, yet is also symbolizes the disparity between the social classes which was very evident in Great Britain when "The Time Machine" was first published in 1895."
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Technological Dystopia in Film and Fiction, 2006.
This well-researched paper analyzes the relevance of robots and robotic technology in both film and various written works of fiction.
2,566 words (approx. 10.3 pages), 12 sources, MLA, $ 77.95
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Abstract
The writer of this paper examines the issue of technological dystopia by highlighting the negative aspects surrounding the inclusion of fictional robots in both film and written works of fiction. The writer discusses why the characters or images portrayed by robots cause either admiration or resentment to the audience. This paper also explores the underlying issues that authors and filmmaker are trying to convey in using robots as central characters in their stories. This paper looks at the human-like robots in author Isaac Asimov's science fiction novels. This paper analyzes the impact of robots and advanced technology in films such as "Terminator" and "I, Robot." This paper discusses the common theme prevalent in numerous films and novels pertaining to the perfection of robots and the imperfection of human beings. This paper also analyzes the relationship between the fictional robot and man.
From the Paper
"Like any other machine invented by man, robots are shown to have the capacity to malfunction. Unlike a malfunctioning watch, car, or any other machine, robots are portrayed to have superior intelligence and consciousness. This makes the "malfunction" even more dangerous, since they can manifest harm with superior intent and capability. A robot defect is magnified because it can create an "intelligent" danger that humans may not be able to handle. There's also the factor of consciousness. Robots can become self-aware and realize that they are superior to humans. The implications of this are vast and debatable. Perhaps they will cooperate with humans and regard us as their creator, or realize that they are the superior beings and enslave humanity. Regardless of the result, authors always highlight this possibility. Something that has the superior capability to do good also has the same capability to do harm, so fail-safe devices should be put in place."
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"Boiler Room", 2006.
A look at why the main character of the film "Boiler Room" decides to cross the line and engage in a series of white collar crimes.
1,540 words (approx. 6.2 pages), 1 source, MLA, $ 50.95
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Abstract
This paper discusses and explains the key causal and motivational factors, at a macro and micro-level alike, that help fuel the main economic and psychological motivations of Seth Davis, the main character in "Boiler Room", to break the law.
From the Paper
"However, (at the macro level) Seth actually considers himself quite successful in his illegal casino endeavor. After all, at the macro level money is his main (actually his only) motivation. Still, as he later admits to himself when he is alone again, with his girlfriend, it hurts him deeply that his father disapproves so strongly of all he has done in life. Seth's macro-level and micro-level motivations are at war; on one hand, at the micro level, he yearns for his father to be proud of him. But on the other, at the macro level, Seth does not want to work hard for a living, or to wait for the spoils of life until he has really earned them, which his father has done. Seth's macro-level motivation, for quick, easy money, even if dishonestly obtained, eventually wins out over his desire to make his father proud."
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The CSI Effect, 2006.
An analysis of the impact of the CSI Effect on the judicial system.
3,891 words (approx. 15.6 pages), 8 sources, MLA, $ 106.95
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Abstract
It is often said that art imitates life, but the onslaught of televisions shows that deal with crime scene investigation have jurors expecting for life to imitate art. This is described as the CSI Effect named after a popular CBS television series. This paper explores the impact that the CSI effect has had upon jurors and the judicial system and also investigates the impact of the CSI effect on prosecutors. It also explores the some of the positive factors that have come about as a result of the CSI Effect.
Outline
Introduction
CSI Effect
Pressure Placed On Labs and Forensic Experts from Jurors Suffering From the CSI Effect
Positive Impact of the CSI Effect
Coping with the CSI Effect
Conclusion
From the Paper
"Although the creator of CSI asserts that the technology and types of forensic evidence shown on the television program are not realistic, there are many who disagree. In fact some experts that have worked on the show and other similar shows have quit because they believe that the shows are detrimental to the judicial system and may influence potential jurors in a negative way (Botluk & Mitchell (2005). In addition, some experts believe that the shows can unknowingly be teaching criminals how to get away with crimes (Botluk & Mitchell (2005). For instance, a criminal may watch the show and learn how crime scene investigators find perpetrators."
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"Groundhog Day", 2006.
A look at some of the psychological issues in this film starring Bill Murray.
1,118 words (approx. 4.5 pages), 4 sources, MLA, $ 38.95
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Abstract
"Groundhog Day," directed by Harold Ramis, is a humorous look at how the main character relives the same day over and over again until he gets it "right". This paper examines how this character, played by Bill Murray, deals with stress and stressors in the move. This paper approaches the film from a psychological perspective.
From the Paper
"One of the coping mechanisms Phil used was suicide as a way out of his problem. That did not work so he had to find another way to deal with his dilemma and his stress. He also uses manipulation as he tries to get to know Rita and make her fall in love with him. He manipulates her day after day to learn everything about her and become the "perfect" man for her. However, he finds that finally this does not work anyway, and he becomes the perfect man by altering his own personality and his own way of thinking."
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"Judgement at Nuremberg", 2006.
An historical review of the 1961 film "Judgement at Nuremberg".
2,900 words (approx. 11.6 pages), 4 sources, APA, $ 85.95
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Abstract
This paper discusses the historical veracity of the 1961 movie "Judgment at Nuremberg", a fictionalized account of the post-World War II Nuremberg Trials. The film focuses on an actual trial of judges who carried out the laws promulgated by the Nazi State. The paper provides an extremely detailed outline of the movie's plot development, delving into an analysis of the characters and their actions and motivations. The paper concludes by examining how the movie parallels -- and deviates from -- history.
From the Paper
"Assigned to the trial as Chief Judge is Dan Haywood (Spencer Tracy), a low profile justice, who by his own admission, was not the original or subsequent choice. The prosecutor is Col. Tad Lansing (Richard Widmark) an "army man" who vows to convict the four ex-German Judges. Defending the accused is Hans Rolfe (Maximilian Schell) who must convince the court that the defendants were acting only for the love of their country. Among the defendants are respected Judge Ernst Janning (Burt Lancaster) who has written several books on law accepted the world over. Lawson accuses the defendants of signing orders for the sterilization of innocent men and the execution of those who opposed to the Reich and the extermination of the Jews. He puts Rudolph Peterson (Montgomery Clift) on the stand as a victim of sterilization. Rolfe manages to expose the pitiful Peterson as mentally challenged. Later Irene Hoffman (Judy Garland) is put on the stand to explain her alleged affair at the age of 16 with an elderly Jew. As his coup de grace, Lawson shows a film depicting the horrors of German concentration camps.
In between the sessions, Judge Haywood strikes up a friendship with Madame Bertholt (Marlene Dietrich) the widow of a former German general, in whose former home the judge is staying. In spite of their differences they begin to grow fond of each other."
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The Motion Picture "Catwoman", 2006.
A paper on the reasons why "Catwoman" was not a successful film.
3,850 words (approx. 15.4 pages), 11 sources, MLA, $ 105.95
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Abstract
This paper examines the reasons that in an age of wildly successful comic-book based movies, such as "Batman" and "Spiderman," "Catwoman" was not a successful movie. The author examines such issues as the writing of the movie, technical editing issues, and special effects. The paper contends that the movie is a cinematic disaster despite an all-star cast, a high budget, and good subject matter.
Table of Contents:
Executive Summary
I. Introduction
II. Situational Analysis
A.SWOT External
1. Economy
2. Society
3. Technology
4. Industry
B.SWOT Internal
1. Capital
2. Personal
3. Product
III. The 4Ps of Marketing
IV. Recommendations
From the Paper
"Catwoman, directed by the French Director Pitof, makes a climbs-down with the audience to the point of starting when Joel Schumacher puts rubber nipples on the bat suit and treated his fetish for neon-lit sets. Catwoman is Batman and Robin once again excitedly crapping over all the well-treasured achievement of 'serious' comic book movies and approaching with full vigor. Taking into account the marketing aspect, it is an easy thing to put the blame on the actress on Halle Berry due to the awesome debacle of a film. This is due to the fact that she is the one who is running around the 'nameless computer-generated city" draped in an ill fitting leather attire and doing the role of embarrassing scenes in whish she gulps down 6 cans of Tuna fish or at times she is crazy for a catnip. To discharge this role, Berry was paid millions. The audience rightly was not prepared to accept this rubbish. The true wedgie in the crotch of Catwomen is director Pitof, who had experience with special effects and Hollywood hack, who has a difficult time in feeling confident with the obsolete filmmaking devices such as "acting, "drama", & self-control for a long period to really make a movie out of this Bob Kane created character. (Catwoman: www.filmfodder.com)"
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Darkness in War, 2006.
A review and comparison of the movie "Apocalypse Now Redux" and the Joseph Conrad book "Heart of Darkness".
1,020 words (approx. 4.1 pages), 2 sources, APA, $ 36.95
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Abstract
This paper examines the shared central theme of both Joseph Conrad's book, "Heart of Darkness", and Francis Ford Coppola's film, "Apocalypse Now Redux". The paper studies the Kurtz character, who comes to be criticized for continuing to do what he had done previously under army control, but now on his own authority. The paper studies how the other characters react to Kurtz and his ensuing madness. In both the book and the movie, there are numerous possibilities for an endless abuse of power by foreigners in a primitive jungle setting. The paper demonstrates how this setting tends to bend their minds and release their dormant savage energies. For example, the paper shows how in "Heart of Darkness", gun-crazy members of the company are depicted firing wildly upon anything and everything as they progress up the river. Likewise, the paper analyzes how the men in the patrol boat rigid (PBR) in "Apocalypse Now Redux", act even more brutally, due to the circumstances of the Vietnam War.
From the Paper
"The dominant theme of Heart of Darkness is man's vulnerability to his own darker nature and the various ways in which this terrible, savage, proto-man can be unleashed; power, the jungle, "the Company," all serve as catalysts for the emergence of this hidden, voracious id-thing within us all, most realized in Kurtz. In Apocalypse Now Redux, Coppola is right on target in exploring this theme, his choice of Viet Nam in the sixties providing all the requisite elements: madness, power, the jungle, and "the Company" are all present, the latter being represented by the United States (US) Army, or perhaps the USA as a whole. This last touch is ingenious, as it calls up a whole series of speculations regarding the various forms of imperialism. In Conrad, set at the turn of the century, the imperialism is traditional, overt. In Coppola, the US presence is just as overt, yet the pretense upon which it is based is more ideological, geopolitical."
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Alfred Hitchcock, 2006.
This in-depth paper analyzes the film techniques of one of America's greatest filmmakers and directors, Alfred Hitchcock.
3,058 words (approx. 12.2 pages), 6 sources, MLA, $ 89.95
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Abstract
This paper details Hitchcock's unique talent for drawing the audience into his characters' thoughts, actions and emotions. This paper focuses primarily on three of the director's films, "Rear Window," "Notorious" and "Vertigo." The writer of this paper delves into Hitchcock's use of the subjective approach which when done correctly lets the viewing audience see into the minds of the characters on the screen. The writer contends and explains how Hitchcock's subjective storytelling and proper camera angles allow the viewer to see the point of view of the characters. This paper analyzes the director's use of subjective cinema which presents an idea in the mind of the character without the need for dialogue while at the same time using a point-of-view shot camera sequence resulting in a build-up of suspense. This paper contends that Hitchcock's use of the subjective approach is a powerful method of filmmaking, even more so than the actual acting. This paper details how the subjective approach along with specific camera angles in "Vertigo" allow the viewers to identify with the protagonist Scottie while the cinematography gives the audience a true sense of the dizziness and fear of falling felt by the character.
From the Paper
"The poison scene with its sequences of Alicia knowing what is happening is another example of the subjective techniques used by Hitchcock. As noted above, the audience has information that even the protagonist does not have. At the start of the scene, the audience knows that Alicia is being poisoned by Sebastian and his mother, because they know she is working for the Americans. The scene also shows the different type of actual camera shots: The establishing shot opens the sequence, frequently an exterior and sets the scene. The long shot (LS), which shows all or most of a fairly large subject (for example, a person) and usually much of the surroundings and extreme long shot where the camera is at its furthest distance from the subject, emphasizing the background."
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Monsters in Literature, 2006.
This in-depth paper analyzes various works of Western literature in which the authors utilize monsters or images of evil to symbolically represent the dark side of humanity.
4,151 words (approx. 16.6 pages), 11 sources, MLA, $ 111.95
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Abstract
The writer of this well-researched paper contends and explains the manner in which the theme of monsters in classic Western literature originates from religious, cultural and linguistic sources. This paper focuses primarily on Mary Shelley's "Frankenstein" and Victor Hugo's "The Hunchback of Notre Dame," both classic romantic novels which clearly depict dark and gothic images. This paper explores Shelley's writing style which illustrates how evil can emerge from the human psyche literally as well as symbolically. The writer discusses and details the similarities in both novels. This paper analyzes Hugo's intention when describing Quasimodo who is slightly more appealing than Frankenstein, albeit Quasimodo's appearance does convey a certain amount of fear. This paper contains several selected portions of text from both novels which are relevant to the specific topic detailed in this paper. The writer also discusses how this particular style of dark writing has evolved in more contemporary and up-to-date works by authors such as Stephen King as well as in films such as "Fatal Attraction" and "Silence of the Lambs."
Table of Contents:
Introduction
Frankenstein: Who Was the Real Monster?
Victor Hugo's Hunchback: An Illustrative Device
Allegory or Entertainment?
Modern Monsters: The Theme Continued
Conclusions
Works Cited
From the Paper
"There is little question that Hugo fully intended Quasimodo to evoke horror in his readers. He creates Quasimodo as a grotesquely deformed, almost non-verbal, and deaf. Interestingly, Hugo assigns the character a friend, if not a creator as in Frankenstein, but as a protector--one who supposedly has the best interests of the monster at heart. This friend, Dom Claude Frollo, ironically on some levels represents the "best" of humanity as is exemplified by his devotion to the Church and a life of God. However, the reader soon sees the irony, as well as the inherent evil of the human heart not in the monster, but in the supposedly "good" human man. This, the reader sees most clearly in the following passage, perhaps one of the most striking in the novel, when Frollo, a supposed beacon of hope and mercy, passes by Quasimodo being tortured by a terrible mob."
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"Heart of Darkness" and "Apocalypse Now", 2006.
A comparative analysis of Joseph Conrad's novel "Heart of Darkness" and the movie "Apocalypse Now".
1,296 words (approx. 5.2 pages), 2 sources, MLA, $ 43.95
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Abstract
This paper examines how both "Heart of Darkness" and "Apocalypse Now" depict the inherent cruelty and devastation of colonialism and imperialism: "the horror, the horror" of hostility, violence, murder, rape, and destruction. It discusses how neither Conrad nor Coppola suggest that any good comes from colonization even if war does permit heroes to emerge and how in addition to the macro-cosmic consequences of colonization, both "Heart of Darkness" and "Apocalypse Now" show how imperialistic practices wreak havoc on the individual and collective psyches of the oppressor and the oppressed.
From the Paper
"Both Coppola and Conrad use nature, notably the jungle, to emphasize the eventual meaninglessness of human activity, to strengthen their portrayals of basic human instincts like anger and fear, and to draw out the differences between the European colonizers and their victims. Especially in Heart of Darkness, the jungle also serves as a means to explain some of the motives behind colonization: the desire to rape natural resources and the symbolic desire to tame wild people. The Africans have been living in "the heart of darkness" for thousands of years; for the European invaders, the jungle is another enemy; it is hostile and they view it as such."
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"Heart of Darkness" & "Apocalypse Now", 2006.
This paper reviews and analyzes both Joseph Conrad's 1902 novel "Heart of Darkness" and Francis Ford Coppola's 1979 film "Apocalypse Now."
1,302 words (approx. 5.2 pages), 3 sources, APA, $ 43.95
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Abstract
This paper details the plot and the main characters of Kurtz and Willard in Coppola's film which focuses on America's involvement in the Vietnam War. This paper also examines the plot and main characters of Kurtz and Marlow in Conrad's novel which depicts the devastation in central Africa brought on by colonialism and imperialism. This paper analyzes the similarities in the characters of Kurtz in both works. This paper discusses the similar endings in both stories in which Conrad and Coppola succeed in offering the reader and viewer a small glimmer of hope. This paper explores the manner in which Coppola and Conrad use nature, primarily the jungle, to depict basic human instincts such as anger and fear. This paper also analyzes Conrad's and Coppola's similar portrayals of the cruelty and devastation of colonialism and imperialism albeit in different parts of the world and in different eras.
From the Paper
"For Conrad and Coppola, colonialism and imperialism destroys the psyches of both the oppressor and the oppressed. In Heart of Darkness and in Apocalypse Now, the protagonists struggle between their sense of duty, loyalty, and obligation with their sense of compassion and sheer disgust. Marlow and Willard both signify the probable state of mind of many American soldiers during the war in Vietnam, and of many European traders during the colonial era. Their illusions shattered by what they encounter in the jungle, Marlow and Willard can nevertheless not completely wrest themselves from their origin and cultural identity. One of the reasons Kurtz is such a legendary figure in both stories is that the man attempted to traverse the worlds. Both Kurtzes suffer immensely as a result, and both come across as being egomaniacal and completely deluded. The Kurtzes simultaneously despise the native peoples and love them, but their love is not borne of respect."
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