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Women and Work, 2008.
This paper analyzes the award-winning documentary 'The Life and Times of Rosie the Riveter' by director Connie Field.
2,667 words (approx. 10.7 pages), 8 sources, MLA, $ 80.95
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Abstract
In this article, the writer notes that Connie Field's documentary 'The Life and Times of Rosie the Riveter' explores a world and a social context far removed from the world of working women today in the early 21st century. As such, its use as a non-typical resource for study might appear surprising. However, as this essay argues, many of the issues addressed in this documentary with respect to women and work - choice, racism, the dichotomy of domestic and paid labor - continue to be issues confronting women today over a half-century later. From an inclusive political economy perspective, this essay argues the thesis that the experiences of the women represented in 'The Life and Times of Rosie the Riveter' are reflective of broader, large scale social phenomena in regard to the differential treatment of women's labor in our globalized capitalist economies and the state structures that support these economies.
Outline:
Introduction
Rosie the Riveter in an Historical Context
Choice, Opportunity and the "Breadwinner Ideal"
Opportunity and Status of Women's Labour
Conclusion
From the Paper
"When we understand women's labour in this historical continuum, we gain insights into the larger structural and economic forces shaping not only opportunities for women but also the exploitation of women's labour, and the restrictions placed upon women's choices by capitalist power structures. The fact that women in the 1990s worked to ensure family survival in much the same way as did women in the 1930s is indicative of the deep structural forces that have determined women's labour opportunities over time. Moreover, this historical contextualization allows us to understand the depiction of women and work in The Life and Times of Rosie the Riveter in a more complex way. Many women, and in particular women from low-income families, who were often coincidentally women of colour and/or recent immigrants, have had to work in the paid labour force before the Second World War. The significance of the historical events outlined in Connie Field's documentary is not so much that women were in the paid labour force for the first time but that the nature of their labour, and their standard of recompense, was radically different from that which they "enjoyed" in the years before the Second World War."
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"Boyz in the Hood", 2008.
An analaysis of the social and delinquency theories that can be used to explain the actions of the main characters in John Singleton's film, "Boyz in the Hood."
1,386 words (approx. 5.5 pages), 5 sources, APA, $ 46.95
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Abstract
This paper describes John Singleton's film, "Boyz in the Hood" as one of the most disturbing American films of the last quarter-century. It discusses the plot of the film and the loose sexual mores and gang life of the neighborhood portrayed in the film. The paper then analyzes several social and delinquency theories that can be advanced to explain the actions of the main characters in the film.
From the Paper
"In the end, there is little question that several delinquency and/or social theories can explain why the 'hood is such an awful place for its inhabitants - and such a hard place from which to escape. In this writer's view, the social strain theory precipitates the other two theories insofar as a lack of opportunity and the desperate struggle to survive in harsh conditions inevitably compels people to do whatever they have to do to survive. At the same time, Singleton places a lot of emphasis upon fathers and suggests that Tre learned to stay out of trouble because of his father's stern guidance. In the end, it is hard to conclude that any one of the theories is the sole reason for neighborhoods like those found in South LA; after a careful review, all three have complementary dimensions as well as over-lapping ones. In any event, the film is a troubling look at what can happen when communities collapse as a result of social pathologies."
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Marcello Rubini in Federico Fellini's "La Dolce Vita"., 2008.
This paper applies existential-humanistic psychology to the character of Marcello Rubini in Federico Fellini's film, "La Dolce Vita".
1,666 words (approx. 6.7 pages), 5 sources, APA, $ 54.95
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Abstract
The paper explores how humanistic and existentialist psychology could help Marcello, the lead character in Federico Fellini's film, "La Dolce Vita". The paper shows the unhappiness inherent in Marcello's lifestyle and discusses how Marcello needs a father figure or a stern therapist that could authoritatively guide the boy towards manhood.
From the Paper
"In Fellini's 1960 film classic, La Dolce Vita, Marcelo Mastroianni plays a wandering play-boy journalist (Marcello Rubini) who seems unable to commit to anyone or to anything. For example, he threatens throughout to write a novel, but never really makes any substantive process on the matter. In terms of his personal relationships, Marcello appears to move from one woman to another without any great enthusiasm for establishing a meaningful relationship with any one of them."
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"La Dolce Vita", 2008.
This paper analyzes the history, culture and architecture of Italy in Federico Fellini's film "La Dolce Vita".
1,889 words (approx. 7.6 pages), 2 sources, MLA, $ 60.95
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Abstract
The paper examines Federico Fellini's Italian film "La Dolce Vita" within the context of its times. The paper looks at how the architecture in the film gives the movie greater resonance and depth and reveals the limitations in the character Marcello's pleasure-seeking view of the world. The paper is of the opinion that the film is a masterpiece by a master-craftsman that uses the architecture of Rome as a most effective tool.
From the Paper
"The period 1950-1960 was a difficult one in some respects for Italy. The nation's glory as the seat of power for the Roman Empire was obviously far in the past and the country was still suffering the lingering effects - loss of life and international disgrace - of Mussolini's unhinged efforts to gain for himself (and, secondarily, his country) power and standing by aligning (however uneasily) with Hitler; moreover, the country's embarrassing foray into North Africa during the war years (and during the lead-up to the war) was still fresh in mind. While it can be over-stated, one is tempted to suggest that the events of less than two decades earlier - along with the terrible human toll they exacted - fed a burgeoning cynicism that made Italian young people of the age disinclined to accept the mores of their parents; after all, the Second World War had been, for all intents and purposes, their parents' war. When viewed within that context, the spiritually bankrupt nature of many of La Dolce Vita's characters and the sense of decadence which pervades the film throughout seems to hint at a culture that has lost its way and turned against the strict injunctions and moral coda of earlier times."
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The Meaning of Comedy, 2007.
A review of the films "Sherlock, Jr." directed by Buster Keaton and "Bringing up Baby" directed by Howard Hawks.
966 words (approx. 3.9 pages), 6 sources, MLA, $ 34.95
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Abstract
This paper examines Aristotle's definition of comedy using two classical cinema comedies - "Sherlock, Jr." and "Bringing up Baby" - to illustrate this definition. The paper explains that Aristotle believed that comedy shows people engaged in ridiculous activities, but this ridiculousness is not painful or destructive and the comic action must be without bad intent. The paper looks at how in each movie the lead character is ridiculous, but always portrayed without malice. The paper points out that in "Bringing up Baby", a longer film than "Sherlock Jr.", and one in which sound allows for the speedy development of more characters, the subordinate characters draw heavily on classical models such as Shakespearean figures like Dogberry and Verges in "Much Ado About Nothing". The paper notes that these characters too are ridiculous although not malicious, and clearly inferior in the nonsense they act out, but saved in the end through the resolution of the plot. In conclusion that paper shows that Aristotle's definition is general, even imprecise, but it is clearly a definition which is well illustrated in these two films.
From the Paper
"These people act without malice. Keaton wants to be a detective, but is outdone by the "sheik," who gets him blamed for the theft of a gold watch, and by his girlfriend, who shows his innocence. In his dream, he is a great, if bumbling detective. Grant tries mainly to avoid Hepburn, but cannot extricate himself from her. Hepburn means well, repeatedly offering to help him get the funding for his museum which is his main hope. Sherlock Jr. begins with scenes of Keaton sweeping the theatre, beset by people who claim to have lost money in his trash pile. The scenes are funny: they show an inferior person, an inept sweeper, being ridiculous. They do little, however, to advance the main plot."
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Dream and Cinema, 2008.
This paper examines the utilization of dreams in American cinema, focusing on David Lynch's "Eraserhead" and Nina Menkes' "The Bloody Child".
1,230 words (approx. 4.9 pages), 5 sources, APA, $ 41.95
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Abstract
The paper discusses the use of dream as a visual device in David Lynch's film "Eraserhead" and Nina Menkes' film "The Bloody Child". The paper analyzes Lynch's use of the dreamscape as a means to facilitate symbolic substitution and Menkes' use of the dream concept as a means of actual narrative.
From the Paper
"Dream and cinema seem to go together. Film has long been considered a type of fantastic representation of what people experience, to one degree or another, when they sleep. Film seems to have the ability to bring dreams to life or to reduce life to the palatable state of a dream. In this light, dream must be understood to be an alternate form of reality; if not physical then certainly conceptual. To better grasp the psychological importance and the subjective realities that dreams, through film, can and do represent, one need look no further than the Native American religions where dreaming is seen as, "a source of personal empowerment"(Irwin, 1994, p.231). Viewed in this light, the utilization of dreams in American cinema and especially in the films of David Lynch and the lesser known Nina Menkes, must be examined from a much more rational and empirical perspective."
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Gangster Film Genre, 2008.
An analysis of the historical context of the rise of the gangster film genre in the United States and its development from 1930 to 1960.
1,897 words (approx. 7.6 pages), 9 sources, MLA, $ 60.95
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Abstract
This paper looks at the history of the gangster film genre in the United States from the 1930s to the 1960s. It specifically looks at the impact that this film genre has had on American society and culture. The paper discusses the historical context of the rise of the gangster film genre and why it appealed to Americans at that time in their history. It gives specific examples of films and characters that fit into this category.
Table of Contents:
The Rise of the Gangster Genre
The Postwar World
1960's and Beyond
From the Paper
"As World War I ended, the 18th Amendment ushered in Prohibition and with it a wave of crime matched only by the drug and gang wars of our own era. Where brewing and distilling were once respectable trades, the importation, production, transportation and sale of alcoholic beverages was taken over by criminals during the 1920s. In big cities like New York or Chicago, headline grabbing mobsters battled for control of this illegal market. Competition among newspapers sensationalized and romanticized the stories of events like the St. Valentine's Day Massacre or the exploits of "Scarface" Al Capone. Our contemporary war on drugs can be seen as a parallel event - both of which run counter to the dominant free market and individual free choice ideology of the United States. Just as ethnic minorities were disproportionately represented as violating prohibition in the 1930s, those portrayed in modern gangster films are disproportionately Latino and Black or immigrant."
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The Documentary Film, 2008.
This paper looks at the six different modes of documentary filmmaking, with a focus on the documentaries "Out of Control: AIDS in Black America" and "Other Faces of AIDs".
2,614 words (approx. 10.5 pages), 8 sources, MLA, $ 78.95
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Abstract
The paper discusses the documentary film's six primary modes of filmmaking and illustrates some of these modes with reference to different documentaries. The paper then applies the data to two specific documentaries; "Out of Control: AIDS in Black America" and "Other Faces of AIDs," which address the growing AIDs crisis in the African-American community. The paper shows how in both films the expository mode takes over, creating a sense that the white reporters and filmmakers are lecturing, which undercuts the effectiveness of the message and separates the black community.
Outline:
Introduction
Six Primary Modes of Documentary Filmmaking
Conclusion
From the Paper
"The classification of documentary films into six modes was proposed and explained by Bill Nichols. As Nichols describes these six modes, he suggests that each of the six corresponded to a particular period in documentary filmmaking when that mode prevailed, though all persist and may be found in some films at any given time. The observational mode is considered by some to be the truest form, given that it involves the least direct interference or interpretation by the filmmaker. As Nichols writes, these are films that "eschew commentary and reenactment [and] observe things as they happen" (Nichols, Representing Reality: Issues and Concepts in Documentary 138). This is considered by many to be the most "documentary-like" of all the documentary forms, and perhaps the best-known practitioner of this form is Frederick Wiseman."
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Disneyfication of "Beauty and the Beast", 2008.
A comparative analysis of Madame Leprince de Beaumont's "Beauty and the Beast" and the Disney film version.
1,898 words (approx. 7.6 pages), 2 sources, MLA, $ 60.95
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Abstract
This paper examines the Disney adaptation of Madame Leprince de Beaumont's "Beauty and the Beast" . The paper contends that an analysis of Belle's character reveals that Disney's treatment of the fairy tale entirely neuters the story, taking away its dramatic, harsh moral lessons, and diminishing its female role model to an idle idiot who should not have survived the first ten minutes. The paper continues to discusses how this is further exacerbated by the introduction of cute, irrelevant animated characters who only serve to trivialize the film further. The paper concludes that, while traditional fairy tales offered chicken soup for the soul, Disney offers canned soup for the soul.
From the Paper
"Beaumont's Beauty has many other good qualities besides, and demonstrates them consistently throughout the story. For example, she is patient when her shrewish sisters berate her. She is considerate when her father offers her gifts, requesting almost nothing for fear it might be beyond his means. She does ask for a rose, not because she wants one, but because she does not want to show her sisters up. Thus, in somewhat Christian fashion, she turns the other cheek, meeting her sisters' insults with kindness and consideration. Disney's Belle gets no such opportunity to show Christian charity - this lucky young woman is an only child, unburdened with mean-spirited sisters! Again, the Disney character is denied the opportunity to model strength of character to viewers, and instead remains comparatively insipid. "
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"Cyrano", 2008.
A comparison of the plot, the ending and the performances in the films "Cyrano de Bergerac," directed by Jean-Paul Rappeneau and "Roxanne," directed by Steve Martin, in order to analyze which is the more romantic film.
777 words (approx. 3.1 pages), 3 sources, MLA, $ 27.95
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Abstract
This paper compares and contrasts the films "Cyrano de Bergerac," directed by Jean-Paul Rappeneau in 1990, and "Roxanne," directed by Steve Martin in 1987, with respect to the question of which was the more "romantic" film. The paper discusses the plots, the ending and the character performances in the films. It concludes that based on these three considerations, the French version is the more romantic.
From the Paper
"Finally, one cannot compare these two films without considering the performances of their protagonists. While Steve Martin delivers a fine performance as C.D. Bales the fire fighter, Gerard Depardieu's swashbuckling Cyrano - strong, noble, and extraordinarily sensual - is brilliant. The figure of the swashbuckler has been an icon of romantic film from the time of Errol Flynn. The scene in Cyrano de Bergerac where Cyrano fends off multiple attackers reveals him as a figure appealing not only to women but to men as well: women want him, and men want to be him. In this sense, it may be argued that a great romantic hero has to appeal to both sexes; like Humphrey Bogart's Rick in Casablanca or Clark Gables' Rhett Butler in Gone with the Wind."
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Globalization's Hybridization in Films, 2008.
This paper evaluates the globalization process of hybridization in films by using the examples of "Mulan" and "Crouching Tiger, Hidden Tiger".
1,650 words (approx. 6.6 pages), 4 sources, MLA, $ 53.95
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Abstract
This paper explains that globalization has resulted in tremendous cultural exchange and adaptation that many people view as an unfortunate dilution and abridgment of culture. The author points out that "Mulan" is easy to dissect for its inaccuracies and misrepresentation of Chinese culture; however, this is pointless because the film industry forever has sought dramatic stories that are then fitted into the differing aims of film. The paper states that the very popular, 2001 Chinese-made masterpiece "Crouching Tiger, Hidden Tiger" very obviously was created to appeal to what was known of the North American imaginary view of China. The author reflects that, although both films can be seen as 'hybridized', they should be evaluated as Hollywood outsourced products carefully designed and marketed to acquire profits.
Table of Contents:
Introduction
"Mulan"
"Crouching Tiger, Hidden Tiger"
Reflections
Concluding Discussion
From the Paper
"This video, like the film that is discussed presently, was a Disney production meant for a non-Chinese market, released in 1998. The film centers on a legend of the Wei Dynasty (386-534 AD), its heroine a girl to join the army, taking her father's place and obscuring her gender. Mulan was such a good soldier that she was later decorated by the emperor and was offered a court position which she declined in order that she returns to her family. After a fascinating progression of much daring-do and matters of who suspected or did not suspect that Mulan was actually a young woman, ..."
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Film: Andrei Tarkovsky's "The Mirror", 2007.
This paper reviews Andrei Tarkovsky's 1975 film "The Mirror" by citing two critics of this film.
950 words (approx. 3.8 pages), 2 sources, MLA, $ 33.95
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Abstract
This paper explains that, in his film "The Mirror", Andrei Tarkovsky provides his audience with a collection of his childhood memories. The author points out that Tarkovsky tries to remember his childhood home exactly as it was in his past but some of his memories are not as pleasant as he hoped; therefore, he relies on his imagination to create a new vision that will always be pleasant and desirable. The paper relates that the film is unconventional because of his use of a "creative relationship" to form the timeline. The author relates that critic Peter Green believes that Tarkovsky's intention when planning his film was to reflect his mother; therefore, his obsession with his mother is important to the film. The paper states that critic Ian Christie stresses the importance of the actual place where the filmmaker spent his childhood.
From the Paper
"When remembering his father the images reflect his emotions, "expressing hope and despair". In the establishing shot, a man is walking towards what Tarkovsky describes as his childhood home. Metaphorically, this could be the filmmaker seeing the father he was so desperate to see returning home. The very first shot is a young boy at the doctor's office. At first, he is unable to talk, but once he is cured, he is portrayed as perfect. This sequence could once again be translated as Tarkovsky sending a message to his father, that he wants his dad to be proud of him and see him as intelligent."
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