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Michael Almereyda?s "Hamlet", 2005.
A discussion on director Michael Almereyda's film version (2000) of William Shakespeare's "Hamlet".
4,755 words (approx. 19.0 pages), 10 sources, MLA, $ 122.95
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Abstract
This paper examines how director Michael Almereyda uses technology and a modern setting to tell the story of "Hamlet". It looks at how Almereyda's use of various devices, as well as forms of technology, give "Hamlet" new relevance to an audience that may not understand or care much about the succession of monarchies but does understand the consequences of corporate buy-outs. It also discusses how the fact that Almereyda sets "Hamlet" in modern times not only makes it more accessible to a modern audience, but also changes the image of the play.
From the Paper
"After one has seen multiple productions of "Hamlet", one comes to expect each production to place a different emphasis on Hamlet's madness. Therefore, one of the most striking things about Almereyda's Hamlet was that it completely de-emphasized Hamlet's madness. However, by taking emphasis away from the very scenes in which other directors have chosen to have their Hamlets act the most mad, Almereyda and actor Ethan Hawke have created something unusual: a Hamlet that is definitely mentally ill. While Hawke's Hamlet lacks the frantic lunacy of other Hamlets, the movie makes it clear that Hamlet is severely depressed. In fact, Hawke spoke of rock star Kurt Cobain, who ended his life by suicide, as his inspiration for Hamlet."
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?Fight Club?, 2005.
An analysis of this movie directed by David Fincher.
1,288 words (approx. 5.2 pages), 0 sources, $ 43.95
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Abstract
This paper examines the film, "Fight Club", (David Fincher), based upon the book with the same title by Chuck Palahniuk. The paper examines how the main character, Edward Norton, unwittingly creates for himself an alter ego in the form of Tyler Durden. Tyler is everything that Ed is afraid of being but wishes desperately to become. This eventually happens, with catastrophic consequences. The paper shows, however, that the question is what exactly Ed was searching for, why he created Tyler, and whether he was eventually successful in his psychological journey.
From the Paper
"Fincher for example suggests that the film depicts the self-destructive nature of caring for others. Caring for others, according to Fincher, requires the destruction of the self's most vital part, which is what happens to Norton. I however do not entirely agree with this assessment. Norton does care for others in the film, but only briefly during his support group phase. Caring for others is not his primary goal. The primary theme of the film is Edward's journey towards finding the truth in himself that cannot be touched by the superficial paradigms of society."
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The Movie Version of "The Turn of the Screw", 2006.
A look at the psychological interpretation of the "The Innocents", the movie adaptation of "The Turn of the Screw".
1,075 words (approx. 4.3 pages), 2 sources, APA, $ 37.95
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Abstract
This paper explores the supernatural tones of the movie "The Innocents" and the book on which it is based "The Turn of the Screw" and argues that it is more a psychological story than a supernatural story. Exploring various mental illnesses including bipolar disorder, and obsessive compulsive disorder, the author of the paper illustrates why there are stronger psychological undertones than supernatural undertones.
From the Paper
"The Turn of the Screw was such a popular story that it was adapted into a play and then later a movie. The story is based on a governess and her experiences after accepting a job being in charge of two young children. Throughout the book, the play and the movie there are implications of supernatural powers, but never are they proven. As the movie, book and play unfold and one places them under a microscope of analysis one will see that it is more about the psychological problems of the governess that create the illusion of supernatural powers."
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Freud and ?Star Wars?, 2005.
Applies Sigmund Freud's theory to a character from the movie, "Star Wars".
1,455 words (approx. 5.8 pages), 5 sources, MLA, $ 48.95
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Abstract
This paper presents a detailed examination of the main ideas of Sigmund Freud and how those ideas can be applied to the life of the "Star Wars" character, Darth Vader. The writer looks at some of the actions taken by the character and holds them against the theories of Sigmund Freud to explain Vader's personality and actions.
From the Paper
"The id, the ego and the superego were perhaps the most famous theories of Freud. Darth Vader demonstrates all three concepts in the movie series throughout his life. The id is demonstrated when he displays the instincts to love his son. He displays a sliver of good and right when he doesn't want to kill his own son. A seeming evil being with no feelings whatsoever suddenly develops the instinct to protect that son. It is human instinct and one he was born with which comes from Id."
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Automobiles and the Film Industry, 2006.
An in-depth look at how the film industry has used automobiles for many years to try and influence the public and popular culture.
1,871 words (approx. 7.5 pages), 10 sources, MLA, $ 59.95
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Abstract
This paper presents a detailed examination of automobiles in the film industry, and how they are impacted by mass media. More specifically, this paper analyzes how mass media influences the use of automobiles and popular culture surrounding their use. The writer explores several books and movies in support of the analysis presented.
From the Paper
"Since the inception of the automobile, significant importance has been placed on its use and look. Young men are conditioned to believe that attracting women is based in part on having the right type of car. Young women are raised to think if a man has a nice car he is a worthwhile pursuit. In addition, media and society have conditioned Americans to place certain values on certain cars. If it's a sedan or a station wagon the owner must be old or boring. If it is sporty or a particular type of car the assumption is made that the owner is modern in thought and action. Autos have importance in all walks of life, including entertainment."
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The Realist Horror Film, 2006.
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."
2,818 words (approx. 11.3 pages), 10 sources, MLA, $ 83.95
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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."
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Homosexuality in "North by Northwest", 2006.
This paper examines director Alfred Hitchcock's practice of inserting homosexual imagery into his films, while focusing in particular on the film "North by Northwest."
2,725 words (approx. 10.9 pages), 0 sources, $ 81.95
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Abstract
This paper analyzes Alfred Hitchcock's film "North by Northwest," while detailing the areas in which the director inserted homosexual references, albeit on a sub-textual level. This paper discusses the critical analyses of Robin Wood, author of "The Murderous Gays: Hitchcock's Homophobia" and D.A. Miller author "Anal Rope," who both explore Hitchcock's use of gay images in many of his films. This well-written paper details the manner in which the main character of Roger Thornhill's homosexuality is portrayed as perverse. The writer of this paper clearly describes how Thornhill's character is at first gay, his perception of the perversity of homosexuality which force him to become somebody else, resulting in his being reborn as a heterosexual. This paper also touches on the attitude of the film industry in the 1940s and 1950s regarding the issue of homosexuality, which at the time was considered illegal.
From the Paper
"The scene at Townsend's is a critical situation in Thornhill's character development. This is the first time that Thornhill is introduced to Van Damme, and at this point, Van Damme closes the drapes and turns on the lights. This presents two points that portray a homoerotic meaning. First, drapes in Hitchcock movies are usually portrayed as vaginal symbols. When Van Damme closes the drapes, he is denying Thornhill any kind of heterosexual sex. His turning on the light symbolizes the lighting of Thornhill's passion for Van Damme. The other point is that, with the drapes closed, they are free to do whatever they want without the intrusion of voyeuristic eyes. This is the beginning of the subtextual homoerotic relationship between Thornhill and Van Damme, which will play a major part in the overall context of homosexuality in the film."
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Milos Forman and the Czech New Wave Cinema, 2006.
This paper examines the history of the Czech film industry, as well as the accomplishments of prominent Czech filmmaker Milos Forman.
1,803 words (approx. 7.2 pages), 2 sources, MLA, $ 57.95
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Abstract
This paper analyzes the history of the Czech film industry. Under Josef Stalin, the Soviet Union adopted the theory of socialist realism as the official state formula for works of art including the cinema. Socialist realism held that the arts should glorify the political and social ideals of communism. With the death of Stalin, the development of creative ideas in the film industry were part of a wider growth of ideas in economics, politics, literature and the arts which made up the Czech new wave movement. This paper details the characteristics and goals of this particular movement. The Czech new wave movement gave east European filmmakers various methods for solving ideological and historical issues while looking for new way of expressing reality. This paper focuses on the career and accomplishments of prominent filmmaker Milo Forman. The movies that Milos Forman made early in his career as a director in Czechoslovakia, notably "Loves of a Blonde" and "Fireman's Ball" broke the prevailing mold of socialist realism. This paper discusses various films directed by Forman as well as the director's motivations and methods for creating both timeless and memorable films.
From the Paper
"With the death of Stalin, the development of creative ideas in the film industry were part of a wider growth of ideas in economics, politics, literature, and the arts that made up the Czechoslovak Reform Movement, or the New Wave. Eastern European filmmakers were trying various ways of solving ideological and historical problems, and looking for new styles for expressing reality: metaphors were the safest way to raise these issues under the close scrutiny of government censors. In Czechoslovak cinema, the symbols were derived directly from daily life. With liberalization it became possible to comment on the horrors and absurdities of the previous decade while directors dealt more directly with the compromises and crises of daily life. Honest, patient observation and a refusal to bend reality to the demands of a narrative characterize New Wave films."
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"Memento Mori", 2005.
This paper discusses the theme of "memento mori" a Latin phrase that means "remember mortality" as presented in Jonathan Nolan's short story "Memento Mori" and Christopher Nolan's film "Memento".
1,240 words (approx. 5.0 pages), 4 sources, MLA, $ 42.95
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Abstract
This paper explains that the phrase "memento mori" forces the reader to remember mortality, specifically his own mortality. The author points out that there are specific lines that demonstrate this theme such as J. Nolan writes in "Memento Mori", "Everybody else needs mirrors to remind themselves who they are. You're no different." and, from the film "Memento" near the end of the film Leonard Shelby, the film's protagonist, says, "Everyone needs a mirror to remind themselves who they are. I'm no different." . The paper concludes that Jonathan Nolan's short story nicely exemplifies Jean-Paul Sartre's statement that, without our memories, we have no notion of how we have changed from one day or one year to the next; however, by contrast, C. Nolan's film separates the plight of the protagonist from the plight of the viewer.
From the Paper
"J. Nolan addresses the issues of memory and mortality in a powerful yet minimalist manner. It is precisely the brevity of Nolan's story that makes it memorable. It boasts few descriptive details and a plot that is developed so minimally that it is just enough to keep the story coherent. The result is a chilling experience in which the reader feels entirely absorbed in the person of Earl, the story's protagonist. There are no other characters in the story, and the absence of definite setting gives the story universal appeal. Even the first sentence is, in some sense, addressed directly to the reader: "Your wife always used to say you'd be late for your own funeral." "Memento Mori" is successful because, while it introduces Earl and his struggle with memory loss as he seeks to avenge his wife's death, it also manages to introduce the reader to his own memory, identity and mortality."
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Kenneth Branagh's Version of "Much Ado About Nothing", 2006.
An analysis of Kenneth Branagh's film adaptation of William Shakespeare's "Much Ado About Nothing".
1,380 words (approx. 5.5 pages), 5 sources, APA, $ 46.95
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Abstract
This paper describes and summarizes the plot and characters in the film adaptation of William Shakespeare's "Much Ado About Nothing". The paper also explains the play's theme that something so innocent can be quickly turned into woe by deceivers.
From the Paper
"The idyllic scene contrasts sharply with the next scene, where the MEN enter, galloping atop of fierce, snorting steeds that thunder down the hill side, the men sweaty, disheveled uniforms sport triumphant smiles or stern determined gazes, as the prince's army returns from a successful battle. Pure animal testorone, in the most positive sense, that gets the blood circulating and makes the women swoon, even in this day."
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?Clueless?, 2004.
A critical analysis of the movie, "Clueless", directed by Amy Heckerling.
1,850 words (approx. 7.4 pages), 1 source, MLA, $ 59.95
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Abstract
This paper argues that the idea of a media organization as diversified as Paramount Pictures with a strong public image to uphold, releasing a grossly sexist, maligning and insulting movie such as "Clueless" is practically beyond comprehension. The paper presents a negative critique of this film about affluent Beverley Hills, including comments about the footage and locations, the story line and the poor acting by Cher.
From the Paper
"The two truly contradictory roles in "Clueless," are the roles of Cher's two lamented loves in the film. First, of course is the fact she dates no one, doesn't particularly like anyone of the opposite gender and is, of course, still a virgin much to the surprise of all her friends. Then, as if by magic, there is suddenly the appearance of the gay young man in the midst of the class. Why the fact the males in the movie, but not the females know he's gay? Can this be possible outside the confines of realism? One must doubt the existence of such a situation especially in upscale Beverly Hills."
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Hitchcock and "Psycho", 2006.
An examination of the movie "Psycho" directed and produced by Alfred Hitchcock.
1,764 words (approx. 7.1 pages), 6 sources, MLA, $ 56.95
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Abstract
In this review of Alfred Hitchcock's movie "Psycho", the author looks at elements of the movie that made it so successful. The author points out that "Psycho" was not one of Hitchcock's regular movies. The author tells us how Hitchcock was a very careful craftsman. There was absolutely not a single "ad lib" type scene shot in the movie. Hitchcock was a creative innovator, not merely a director of a number of takes of scenes. The author talks about the two key scenes in the movie, the infamous shower scene, and then the revelation of Norman Bates' "mother." The author concludes with his own personal opinion of the movie and states that no-one will know in advance if a movie will be a classic or not. That is left up to the viewers to decide.
From the Paper
"The audience is so captivated by the shower scene sequence- and there are many people who see the film over and opver again-= that it is hard to realize tghat the entire scene takes a few short minutes. It seems longer, because Hitcock's careful editing draws out the suspense andn then magnifies the horror without really showing it to us in full. Whereas so many more recent films delight in bloody corpses and dismembered bodies and blood running into gutters, Psycho is horror through careful editing not through actual camera intrusion that shows everything. We don't need to see everything, because we know- from the minute we can see Norman at the peephole, that disaster is going to strike, and we wait- and then it happens! And not seeing everything all at once makes it so much more horrifying with that screaming of the violins as counterpoint to the blood dripping into the shower floor."
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