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Censorship and Hollywood, 2000.
This paper illustrates the effects of censorship in the film industry as depicted in the documentary film "Hollywood Censored: Movies, Morality and the Production Code."
1,226 words (approx. 4.9 pages), 1 source, MLA, $ 41.95
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Abstract
This paper focuses on the documentary "Hollywood Censored: Movies, Morality and the Production Code" which illustrates the effects of censorship in the film industry. This paper examines the religious condemnation, societal expectations and financial insecurity that have plagued Hollywood and the film industry since the early 1900s. This paper discusses the profound effect the Catholic church had on Hollywood. The Legion of Decency was created in order to clean up to films that were being shown to society. The hold of the Catholic church in the major cities was massive and as long as Hollywood produced films the religious authorities felt were morally harmful to society, priests and parishioners would continue to ban films. The writer also examines the events that led up to the film industry being granted 1st amendment protection in 1952, in which films were finally viewed as an art form.
From the Paper
"In 1952 movies were granted First Amendment protection and films were finally seen as an art form. This came about after the studios were deemed monopolies and forced to give up their movie palaces. Theaters were now free to show any type of film they pleased and were not held liable to the production code. This allowed directors and producers a freedom they had not seen in many years. Breen's theories and strict regulations became obsolete. The control Hollywood and the courts had given him had been relinquished. As the freedom of the theaters grew, the power of the production code fell and in 1962 the production code was officially done away with and replaced with the ratings systems we now have. One producer in the documentary quotes Robert Graves by saying that "It's impossible for any artist not to be a part of his society even if he is against it" (Hollywood). Simply put, this means that as an artist, producer or director, it would be impossible, whether intended or not, to not mirror the society from which the art was created."
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Americanization of Italians, 2006.
An assessment of cultural assimilation of Italian Americans, as demonstrated in literature and film.
1,600 words (approx. 6.4 pages), 4 sources, MLA, $ 52.95
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Abstract
This paper examines the Americanization of Italian immigrants, as seen in
the novels "All the Nations Under Heaven" by Kenneth Jackson and "The Fortunate Pilgrim" by Mario Puzo and the films "Goodfellas" and "Raging Bull", directed by Martin Scorsese. By analyzing these works, the paper attempts to demonstrate that the immigration of Italians to America caused a dramatic shift in their sense of family values and relationships. The paper explains that the Italian family was once the basis of the collective society within traditional Italian culture, but in America the family dissolved into its respective parts -- i.e. the individuals. The paper goes on to show how these individuals interacted with American ideals and morals to establish a new way of life for their progeny, the American-born Italians.
From the Paper
"Traditional Italian households centered on the family rather than the individual pieces of the family. This type of collective culturalization tended to express gratifying feelings toward the family rather than personal feelings. However, as the immigration process initiated, the family bond began to weaken in Italian culture as the male patriarchs transcended the seas, leaving behind their cherished families. "Unlike Jews, who came largely as families, and the Irish immigration, in which women were in the majority for many years, Italian newcomers were at first mostly young men who often emigrated with the intention of making enough money in America with which to return home and purchase land."(ANUH , 135-136) With the money they received from work, the Italian men would then bring their kin over The Italian males received the first taste of independence that has lingered throughout their lives and led to the dissolving family values system."
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Film: "Taxi Driver", 2005.
This paper discusses the film "Taxi Driver" and director Martin Scorsese's cinematic techniques.
945 words (approx. 3.8 pages), 0 sources, $ 33.95
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Abstract
This paper explains that, in "Taxi Driver", director Martin Scorsese uses the camera and eerie lighting effects to underscore his study of the alienation of Travis Bickel, the taxi driver, who can not find a way to relate to others and build a life. The author points out that Scorsese uses camera angles and movement to create the narrative but uses the opposite, utter stillness, in scenes, which mark transitions. The paper relates that one of the most famous pivotal scenes in film shows the protagonist Travis acting with an imaginary adversary while looking in the mirror.
From the Paper
"Scorsese introduces the climactic scene with an abrupt change in camera movement. He uses a long, slow vertical move from the sidewalk to the top floor of the building. This shot is different from the others in its visual aspect, but it is consistent in that it provides Travis' point of view, which has been the predominant perspective throughout the film. During the violence that erupts as Travis attempts to rescue a twelve-year-old hooker, the camera movement is shaky and chaotic, underscoring the chaotic nature of the action. In a surprising shot, as Travis lies wounded, the camera moves up to the ceiling and an overhead shot takes us out of the room and down the stairs slowly, viewing the carnage from a great height."
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Parker's "Othello".
An analysis of Oliver Parker's 1995 film version of William Shakespeare's play "Othello".
734 words (approx. 2.9 pages), 2 sources, MLA, $ 26.95
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Abstract
This paper reviews the film "Othello", describing various key scenes including an analysis of the cinematography of those scenes, showing how the character's thoughts and feelings are conveyed to the viewer on screen. The paper also analyzes the plot and the director's focus in the story and concludes that Parker shows, through the character of Emilia, that mankind's worst enemy is his own desires and wants.
From the Paper
"Parker begins the sequence by showing a scene in which the viewer sees the love and tenderness Othello and Desdemona have for each other. This is when Othello is just recovering from an epileptic seizure caused by Iago's implication that Desdemona is cheating on Othello with Cassio. Desdemona walks into their bedroom with Emilia in tow and sees the post-epileptic state her husband is in. She begins to worry over Othello and they exchange a moment of love. The camera shot of this moment includes a view of Emilia. The viewer can see that Emilia has seen this tender moment and, judging from the expression on her face, she wants to have the love that Othello and Desdemona share."
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Studies in Struggle, 2006.
A contrast between the movies "Boyz N the Hood" and "New Jersey Drive".
1,450 words (approx. 5.8 pages), 7 sources, MLA, $ 48.95
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Abstract
This paper reviews, compares and contrasts the 1991 film "Boyz N the Hood", directed by John Singleton and the 1995 Nick Gomez film, "New Jersey Drive". The paper begins by summarizing the themes of "Boyz": the often unspoken battles between Afro-Centrism and assimilation; between action and resignation; between scholars and gangsters. According to the paper, Singleton's formula was so successful that it spawned dozens of similar films, including Gomez's "New Jersey Drive." The paper compares and contrasts each movie's treatment of racism and the struggle for the black characters in -- and against -- a white-dominated society. The paper also explores how each film treats the issues of urbanization and gang affiliation.
From the Paper
"New Jersey Drive" is far less subtle in its definitions of "oppressor" and "other." Nearly all the police officers in the film are white, and many display overtly violent and racist tactics toward the black youths on which the film focuses, One exception is a black officer who, when asked if he knows a young prisoner's identity, ironically replies with a staple racist remark; "Who knows... I can't tell them apart." Clearly, in the ghetto Nick Gomez paints, racism and white supremacy are the root causes of tension. In "Boyz N the Hood," the tension (while still palatable) is less racial, and more ideological. Returning to the classroom scene, one young, black student responds to Tre's Afrocentric lesson on the origins of Man by quipping, "I ain't from Africa, I'm from Crenshaw Mafia." This simple statement sets up one of the films most prevalent themes; the tension, the direct opposition between racial identity (Afrocentrism), and loss of that identity (gang affiliation) (Boyd, 347)."
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"Karmen Gei", 2006.
An analysis of the film "Karmen Gei", directed by Joseph Gai Ramaka.
3,100 words (approx. 12.4 pages), 4 sources, MLA, $ 90.95
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Abstract
This paper analyzes "Karmen Gei", a film directed by Joseph Gai Ramaka about women's sexuality in Islamic and Wolof culture, set in urban and rural Senegal. The paper highlights the film's main character, Karmen, who is the embodiment of the new woman, unafraid of her sexuality or her power over others. The paper then attempts to contextualize the film within Senegalese society, in which the topic of women and sexuality is particularly contentious. It emphasizes the issues raised by the film, which include the emancipation of women and the positive changes that are occurring on the one hand, and the negative political climate, which hinders these changes, on the other hand.
From the Paper
"Karmen Gei was seen as a danger to Islamic and Senegalese society when it first came out because it completely undermined the existing Muslim beliefs of a women's role in society, especially as it pertained to their duty towards men. Everything about Karmen's character undermines the role of men, making them almost obsolete. Her success both sexually and financially is self-made and though she may need men in the process, she is the one in control and who holds the power. She is the leader of the smuggling ring and the only female. The men obey and respect her precisely because she is a woman who knows her own power and who uses it successfully to her advantage. If she were a man, there would likely be more conflicts within the group. Another instance, which demonstrates that men are superfluous in her life, is her bisexuality and her relationship with Angelique, the female prison guard. Phil Powrie cites the opening scene when Karmen is dancing overtly sexually among a group of other female prisoners. The perspective that we view this from would seem to be from a man's perspective because of our western biases of the purpose of this type of dancing. Instead, the camera shows Angelique, whose perspective we were unknowingly looking through the entire time. Powrie writes that, "This turns the potentially male gaze into a female gaze. That the male gaze is intended is made clear at the end of this opening sequence in a Foucauldian moment when the camera cuts to a high-angle shot to reveal the prison walls with male guards looking down onto the women below...in addition, the prison context, which emphasizes Angelique's hold over Karmen, ironizes the failing male gaze, the patriarchal panopticon fissured by a desiring same-sex gaze" (Powrie, 287). To imply that Karmen does not even need men for sex or to feel desired is a complete biological contradiction for many Muslims, making her far too independent in her role as a woman."
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"The Cranes Are Flying", 2006.
An analysis of the movie "The Cranes Are Flying".
980 words (approx. 3.9 pages), 2 sources, MLA, $ 34.95
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Abstract
This paper studies the themes of ascent and descent represented in the film "The Cranes Are Flying", directed by Mikhail Kalatozov. The author shows how straight, dramatic slopes of all kinds are seen throughout the film, as the main characters, Veronica and Boris, run past them, creep up them, step on and off them and experience literal and figurative death at their lowest points. The paper argues that these visual cues enable the film to be emotionally compelling. The paper concludes that the angular mise-en-scene provides symbolism to punctuate the film's emotional peaks and valleys.
From the Paper
"The film opens with Veronica and Boris running in the streets. They run on flat ground, but profiles of tremendous stairways loom behind them. The streets are wet and uninhabited, as if the couple is coasting along in a dream - a fantasy world that exists on a plane directly in front of reality. This scene gives the viewer an idea of the carefree love that the two characters share while allowing only subtle premonitions of things to come. At a later point, when Fyodor enters the kitchen after Veronica has left and begins to make negative comments to Boris regarding the relationship, he does so after ascending a staircase. He invades their plane."
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"Toy Story", 2005.
An overview of this film directed by John Lasseter.
700 words (approx. 2.8 pages), 0 sources, $ 24.95
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Abstract
"Toy Story" (directed by John Lasseter, 1995) may be an animated film, but it is no cartoon. The paper provides an overview of the movie which has a developed plot, sophisticated character development and is made to look as if it were filmed instead of drawn.
From the Paper
"It is ironic that the one who is most displaced by the new toy, a Space Commander, Woody is intelligent, diplomatic and accustomed to doing the thinking for the group, until he finds himself forced to surrender his favored position on Andy's bed to the newcomer. The newcomer is heroic and intently focused on fixing his space ship, trying to maintain contact with "mission control" with a constant stream of one-way messages. The other toys are familiar from everyone's childhood, and their personas are either consistent with their image or a complete opposite."
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The Image of the Robot, 2006.
This paper studies how robots are portrayed in modern literature, art and film.
2,600 words (approx. 10.4 pages), 12 sources, MLA, $ 78.95
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Abstract
This paper examines the portrayal of robots in contemporary literature and fiction. According to the author, the image of the robot is presented in all its best and worst aspects. The paper discusses technological dystopia, focusing on the more negative issues surrounding robots and highlighting their significance. The paper addresses the questions of why robots are portrayed so often in modern culture, why their qualities cause both admiration and resentment from audiences, and what the underlying human issues are that the artists want audiences to realize.
From the Paper
"In stories pertaining to robots, they are almost always endowed with a humanlike appearance. In Isaac Asimov's Robot Series ("Caves of Steel", "The Naked Sun", "Robots of Dawn", "Robots and Empire"), there's one robot character that is the most human of all robots. His name is R. Daneel Olivaw (in the books, the "R" stands for "Robot"). He is virtually indistinguishable from an ordinary human, apart from the seeming perfection of his physical appearance. He can think, talk, and move like a human. He also seems to displays emotion. The character has used this quality to disguise himself as a human, thereby deceiving the real humans and other robots. In the movie "The Terminator", the robot from the future named as "T800" was so advanced in its physical qualities that it can only be recognized as a robot by its superior strength and total lack of human emotion. In "Terminator 3: Rise of the Machines", a more advanced robot, the "T-X" (Terminatrix), has a female appearance but much more powerful than its "male" predecessors. Other movies, such as the "I, Robot", do not have "human" robots but the basic body structure used is still humanlike. In the movie "Stepford Wives", the woman robots look disturbingly real and perfect."
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"Harrison Bergeron", 2006.
A review of the short story "Harrison Bergeron" by Kurt Vonnegut Jr.
900 words (approx. 3.6 pages), 5 sources, MLA, $ 31.95
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Abstract
The writer summarizes the story and explains that it is not only a reflection of the author's concern with controlling the masses through television but is also an attack on the idea of enforced equality. The paper shows how the use of television to control people is a major theme in "Harrison Bergeron". The writer describes the dehumanization in the story, which is a result of government oppression, as well as the physical punishment that awaits rebellious people like Harrison. In conclusion, the writer states that no government is able to suppress the individual completely because of the desire of humans to be themselves and not machines.
From the Paper
"The other major theme in "Harrison Bergeron" is the concept of equality. His world is similar to that of a tyrannical dictatorship, where people have no rights, thanks "to the 211th, 212th, and 213th Amendments to the Constitution, and to the unceasing vigilance of agents of the United States Handicapper General" (139). This new world represents total conformity, where people like George must wear weights and radio transmitters which play loud noises to hinder their intellectual development. Vonnegut's world is the most extreme and horrifying that anyone can imagine. According to Joseph Alvarez, "If everyone were equal in every which way, the various handicaps would not be necessary" (3). Alvarez is making the statement that it is ironic of the government to enforce equality to everyone but themselves. The government does not make themselves equal to the rest of society, but higher than the rest of the population. The Handicapper General displays a slave driver approach, in which they use physical discipline to keep everyone in check. Insane people enforce the insanity in Vonnegut's futuristic America. According to literary critic Carl Mowery, "In this society, it is the H-G's job to neutralize the human attributes that every citizen was given by God" (3). The aspect of equality Vonnegut takes so literally that even a person's basic rights such as freedom of speech and freedom of choice are nonexistent."
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Hollywood Heroes, 2006.
This paper examines the portrayal of heroic characters in film as detailed in "A Certain Tendency of the American Cinema" written by Robert Ray, while focusing on the two leading characters in the 1993 film "The Fugitive."
2,112 words (approx. 8.4 pages), 2 sources, MLA, $ 66.95
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Abstract
This paper explores Ray's book "A Certain Tendency of the American Cinema," in which the author points out how, in classic Hollywood films, a dichotomy between the "outlaw hero" and the "official hero" not only exists but converges in a delicate balance. The writer of this paper discusses how this specific balance allows one type of hero to have the characteristics of the other type and vice versa. This paper focuses on the two leading characters, both portrayed as heroes, albeit differently, in the 1993 film "The Fugitive." This paper analyzes the characteristic and personality traits of both characters while clearly describing how their actions reinforce the process of crossing over into the realm of the official hero.
From the Paper
"Another way Kimball defies traits of the classic outlaw hero is that he lacks "distrust of civilization...represented by women and marriage," which Ray attributes to the outlaw hero. Near the beginning of the movie, Kimball mockingly wards off the men who ogle at his wife Helen at a party hosted by the Devlyn-McGreggor pharmaceutical firm. Later, he justifiably shows anger over his wife's death and repeatedly sees Helen's warm countenance in his sleep. His actions, feelings, and dreams all show that he is still very much in love with his late wife. In general, the characterization of Dr. Kimball as an outlaw hero, coupled with his set of traits as an official hero, allows him to move between the two extremes without having to choose either one or the other. This duplicity reinforces Ray's idea of how "the parallel existence of these two contradictory traditions evinced the general pattern of American mythology: the denial of the necessity for choice."
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Product Placement in Movies or Television, 2006.
A review of the article "Benefits to Corporate America" by Samuel Turcotte.
993 words (approx. 4.0 pages), 1 source, MLA, $ 35.95
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Abstract
The writer details the main points from the article by Turcotte. The paper explains that product placement is when a product is used by actors in films or in television shows. The paper discusses the benefits of product placement in movies and in television programs, as seen in the article. The writer concludes that Turcotte's article is excellent, but that because of the rapid changes in how movies are being distributed in the past few years, Turcotte may have to review his findings in light of the mass distribution of DVDs within six months of a movie's original release.
Table of Contents:
Implied Endorsements
Far Reach (Long Life & Global)
Low Cost
Low Clutter
High Profile
Optimum Viewing Environment
A Captive Audience
From the Paper
"One of the most important benefits a corporation can gain is by having a star imply endorsement of their product by using it in a film. Most specifically, big name stars almost never appear in U.S. television advertisements but if they are seen using a company's product in a "reality like" situation in a film, Turcotte notes that it has been shown that the audience is more likely to believe that this action might imply the star's endorsement of the product than if the star were to do a paid advertisement."
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