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Theories of Contemporary Film, 2008.
Examines two distinct views regarding cinema and realism in terms of the industrial mass production of contemporary film.
2,140 words (approx. 8.6 pages), 4 sources, MLA, $ 66.95
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Abstract
This paper looks at the theories of Andre Bazin and Theodore Adorno about the human condition in modern film. The author contends that, while it is undeniable that film is created in the context of a cultural industry as Adorno suggests, Bazin's insights regarding the origins of its psychological power over the mass audience are critical to the appreciation of how film can function as a vehicle of both commercial and popular interests. The paper shows how the theoretical perspectives of both Bazin and Adorno are flawed in not considering the complex relationship between cinema and "realism" in terms of style, aesthetics and the role of the author.
Table of Contents:
Introduction
Divergent Views on Cinema, Its History and Functions
The Human Factor - Cinema and Realism
From the Paper
"This argument is flawed in two respects: first, it ignores the fact that Welles was an "outsider" of the Hollywood system from the earliest days of his career, and far from being "forgiven" he was persecuted by the industry and its major business backers such as Randolph Hearst; and second, the problem of the "auteur" is not isolated to Welles or even a handful of cinematic innovators. Indeed, the history of cinema - even Hollywood cinema in the era of the major studios - is one of extraordinary creativity, innovation and dynamism."
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Madame Bovary as Film and Novel, 2008.
This paper discusses 'Madame Bovary' as a novel by Gustave Flaubert and as a film by director Vincent Minelli.
1,260 words (approx. 5.0 pages), 3 sources, MLA, $ 42.95
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Abstract
In this article, the writer discusses that in trying to bring 'Madame Bovary' to the screen, director Vincent Minelli had the problem that much of the story depended on Gustave Flaubert's brilliant narrative. In a novel, Flaubert's crafted sentences had held readers' attention for decades, but a translation into film seemed an insurmountable obstacle. The writer notes that Minelli found a device, by which he could have a narrator, a character playing Flaubert, introduce the movie, and at various time move the plot along. To do this, Minelli opens not with the novel itself, but with the trial of Gustave Flaubert on charges of presenting a morally degenerate woman as his heroine, thereby threatening to corrupt the morals of all of France. The writer maintains that as a novel, Madame Bovary remains a standard of the literary canon, one of the premier examples of realistic fiction, and effectively a benchmark against which much of modern realistic fiction is judged. The writer concludes that the movie is regarded as creditable, however it is not considered one of the great cinematic classics. A modern viewer sees the artificiality and yearns for more realistic movement in this movie version of a realistic novel.
From the Paper
" Trying to defend the movie, Flaubert paints a reasonable picture of the farm to which Charles Flaubert, a young doctor, has come one rainy night to attend to the broken leg of Emma Roualt. After he has set the patient's leg, he and Emma meet, and they are smitten with one another, he because she is a beautiful young woman, and he because she imbues him with a host of romantic ideals that he simply does not have. By his own confession, he is a rather simple, hard-working country doctor, but she declares him to be the most handsome and dashing man in the world."
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Film: "Walking Tall", 2008.
Evaluates the film "Walking Tall" as a Jesus narrative.
1,510 words (approx. 6.0 pages), 6 sources, MLA, $ 49.95
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Abstract
This paper begins by stating that some attempts to find the story of Christ in virtually every medium strains the contention beyond credulity. The author then tells the story of the film "Walking Tall" and attempts to relate it to segments of the New Testament. The paper points out that the film is a retelling of the Jesus narrative only in the loosest sense and that there is only token acknowledgment of the downtrodden, the outcast and the poor and there are no parables or no lessons. The paper concludes that, while many films can be seen as retellings of the Jesus narrative, "Walking Tall" is not such a film.
From the Paper
"Vaughn then goes to Jay's mill, where he is momentarily tricked onto a trap door. When this opens, he hangs as if crucified, but manages to escape, leading Jay into a climactic fight of fire-ax against crude club. Eventually Vaughn beats Jay, delivers a final, emasculating blow (compare Matthew 5:38-45 [turn the other cheek]), and announces proudly, "This is my town. You're under arrest." The movie ends with Vaughn and Ray making anti-gay jokes about Jay, while Vaughn basks in his unexplained but clearly miraculous accomplishment."
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Leadership in a Movie: The Case of Patton, 2008.
This paper assesses the film "Patton", by Frank Schaffner, through the portrayal of General George S. Patton.
1,156 words (approx. 4.6 pages), 2 sources, APA, $ 39.95
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Abstract
The essay examines the 1970 film, "Patton", and illustrates the sort of leadership that director Frank Schaffner (and lead actor George C. Scott) feels typified the command of World War II American Army General, George S. Patton. Specifically, the paper looks at how Patton led through a combination of technical ingenuity, mastery and sheer force of will. Specifically, the paper demonstrates that Schaffner sincerely wants to portray Patton in a well-rounded fashion and shows how brilliance can be complicated by poor people skills and by a grasping nature.
From the Paper
"Still, even as he acknowledges Patton's strengths as a military commander, Schaffner never fails when the opportunity is available to show the down-side of Patton's leadership style. For instance, his intemperate outbursts to the press ruffle enough feathers among the high command that Patton must promise, at one point, to keep his big mouth zippered. Similarly, his poor people skills cause considerable tension between himself and other senior commanders - and may partly explain why Patton was placed on probation for the previously-discussed slapping incident (Patton). All told, the film is an enthralling look at a gifted man who, not unlike Douglas MacArthur, simply could not get along very well with other human beings and simply could not, though he was far from perfect himself, tolerate perceived shortcomings in others."
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Two Tennessee Williams Plays, 2008.
Compares Tennessee Williams' plays "Cat on a Hot Tin Roof" and "Streetcar named Desire" as films and as stories.
990 words (approx. 4.0 pages), 4 sources, MLA, $ 35.95
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Abstract
This paper relates that two of Tennessee Williams' most notable plays "Cat on a Hot Tin Roof" and "Streetcar named Desire" have been made into movies, which have become classics. The paper then discusses the similarities and the differences between the plays and concludes that, while both are good movies, "Cat on a Hot Tin Roof" has an element of truth that "Streetcar Named Desire" lacks. The paper includes dialogue from both films.
From the Paper
"For all the fierceness of the conflicts among the various members of the family, in the end, "Cat on a Hot Tin Roof" is a story of triumph. The story opens with Goober and Mae, with their children in tow, trying to get control of Big Daddy's fortune, and while they claim to be acting for everyone's good, their greed is transparent. Maggie and Brick are fighting and he is drunk so consistently that there seems little hope that they can weather this crisis. But they do. "
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Intercultural Communication, 2008.
This paper focuses on the communication lessons learned from the film "Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan".
1,674 words (approx. 6.7 pages), 2 sources, APA, $ 54.95
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Abstract
The paper discusses the film "Borat" that portrays a series of encounters between an individual, Borat, and people in the United States. The paper looks at issues of intercultural communication, how sex, gender and power are manifested in verbal behavior and how gender or culture influence non-verbal behavior. The paper also shows how the film illustrates the communication problems and cultural errors that result from using a second language. Additionally, the paper discusses how the film reveals that communication is affected by the tendency of people to hear what they want to hear and to only approve of what they want to hear.
From the Paper
"Intercultural communication is a major issue in the literature on communication and is emphasized in part as a way of training people to understand one another and to communicate in a way that is accepted by others. Many parts of the world today are becoming more alike because of the prevalence of media that exposes everyone to elements of different cultures, though even then, misunderstandings can abound because of a failure to understands and account for real differences in perception and meaning. Some of these problems can be seen illustrated in the film Borat."
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Early American Film History, 2008.
An overview of the history of the American film industry from the late 1890s to the 1920s.
1,848 words (approx. 7.4 pages), 7 sources, MLA, $ 59.95
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Abstract
This paper discusses how American cinema from 1896 and thereafter really has its roots in Thomas Edison's early inventions relating to film projectors. The paper then takes a look at the development of early film and cinematography throughout the 1880s and 1890s, starting from the invention of the kinetophonograph. It also tracks the history of films beginning with the first motion picture called "Monkeyshines", filmed in 1891, through the building of the first film studio and movie theaters. In addition, the paper discusses how, by the 1920s, American film and cinematography seemed to mature as an industry and how the technology had advanced to such a degree that producers and directors could shift their attention from the technology to the actual making of a film and directing of the storylines.
From the Paper
"The development of cinema into an art form in its early years is inextricably related to the development and advances associated with the film technology itself. Eventually the dominance of the East coast film companies which had advanced various film projection technologies in tandem with film production such as Edison's own Edison Company and the American Mutoscope Company among others, gave way to film production companies which began to concentrate solely on film production rather than on the technology development as well as film production. This shift in focus from the film projector itself to actual film production began in earnest in the US with the work of Edwin Porter who is known as the father of the story film (Bordwell 57)."
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Film: "The Queen", 2008.
Analyzes the film "The Queen", directed by Stephen Frears.
2,665 words (approx. 10.7 pages), 1 source, APA, $ 80.95
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Abstract
This paper explains that the film "The Queen" is an intimate and often shocking portrayal of the Royal Family as it faces the great crisis of the death of Princess Diana. The author believes that film is very much like a Shakespearean play, especially "Hamlet". The paper relates that the entire focus of this film is the conflict between what Diana represented and what the monarchy actually is. The author concludes that, even though the Queen is depicted in the most human and ordinary way, the final emphasis is on her determination and personal power to meet the almost impossible challenge of modernizing the monarchy.
From the Paper
"The second part of the film takes place two months after the funeral of Diana. Referring to the monarchy, the Queen asks Blair if he believes the affection that people feel for this institution will be diminished because of Diana's death and the Royal Family's behavior during that time. Blair replies that he does not feel that people's attitudes will be negative. It is clear during this private conservation with Blair that the Queen intends to be in control. She wants information but not in the form of advice."
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The Alamo and America's Image of Itself, 2008.
A comparison of the events that occurred at the Alamo with their portrayal in the movies named, "The Alamo" that were subsequently made.
761 words (approx. 3.0 pages), 5 sources, MLA, $ 27.95
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Abstract
This paper discusses America's image of itself over the siege and slaughter at the Alamo, as portrayed in the movies named, "The Alamo." The paper compares the historical accounts of the events that occurred at the Alamo with the way that these events were portrayed in the movies. It also looks at the role that Davy Crockett played in the defense.
From the Paper
"Finally, there is a lesson that America should learn from the Alamo. Desperate courage can carry men to feats far beyond what could reasonably be expected of them. This is not a trait exclusive to Americans. The defenders at the Alamo were hopelessly outnumbered, but fought with the savagery of men committed to their struggle. Although the Mexican army prevailed, the losses ran to some 1,600 men dead, including many of the finest soldiers. Although able to recruit some replacements during the campaign, the Mexican army was losing men, materials, and morale even as it managed its victories as it marched towards San Jacinto. In 2007 in Iraq, the United States faces a group of men fighting for their land, against a vastly technologically superior force of invaders. With their technology and firepower, the Americans can win every battle. Should we, like Santa Anna, feel entirely confident of final victory?"
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| Term Paper # 104302 |
temporarily unavailable
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Film Genres and Subjects, 2008.
A discussion of popular film genres, as well as common and uncommon film subjects.
1,150 words (approx. 4.6 pages), 2 sources, MLA, $ 39.95
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Abstract
This paper describes some common film genres and subjects. It also discusses some generally untreated subjects, such as Native Americans. In addition, the paper provides a list and overview of the top Oscar winners of all-time. It concludes that the subjects, which filmmakers choose and audiences most enjoy, are those that are larger than life.
From the Paper
"These are only five broad genres of film. We could add to these several additional genres and many sub-genres, which are more narrowly focused on specific subjects or people. Westerns, for example, were very popular during the 1940's and 50's. They focused on the cowboy and portrayed Native Americans in a generally unfavorable way. While some later films, such as Dances With Wolves (1990) with Kevin Costner treated Native Americans more favorably. This would be one example of a subject long missing from American film. In this regard Mel Gibson's recent Apocalypto about Meso-Americans is a relatively untouched topic as well about Native Americans."
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"Spring, Summer, Fall, Winter . . . and Spring", 2008.
A review of "Spring, Summer, Fall, Winter . . . and Spring", a Korean film by directro Ki-duk Kim.
1,490 words (approx. 6.0 pages), 1 source, MLA, $ 49.95
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Abstract
This paper takes a look at Ki-duk Kim's film "Spring, Summer, Fall, Winter . . . and Spring". The paper holds that the film teaches the viewer a great deal about Buddhist philosophy, through everything from the scenery to the characters, including animals. The paper argues that the director is not always subtle about his Buddhist message. However, it concludes that he does seem to present a view of Buddhist philosophy that allows the viewers to draw their own conclusions.
Outline:
Summary
The Meaning of the Film
What the Film has Taught Me
Conclusion
From the Paper
"Spring, Summer, Fall, Winter . . . and Spring opens during the springtime at a floating temple on a lake set somewhere in Korea. This part of the movie features a small boy who is studying with the elderly monk who inhabits the temple. Although he is preparing to become a monk later in life, Ki-duk Kim shows the boy committing acts of cruelty against animals. The monk attempts to teach the boy respect for the natural world around them by assigning him a punishment for tying rocks to the animals. The monk's warning that the boy will carry a stone in his heart forever if he kills an animal, along with the punishment, sets a theme for the boy's mental state over the course of the movie. Animals, too, play a part throughout the film beginning with the animals being tormented and continuing through to the monk using the cat's tail to paint the characters of the sutra."
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