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"DO THE RIGHT THING" (SPIKE LEE).
Term Paper ID:22537
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Essay Subject:
Analyzes racial themes & messages of 1989 film in context of Bell Hooks' sociopsychological theory of "the Other."... More...
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6 Pages / 1350 Words
2 sources, 3 Citations,
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Paper Abstract:
Analyzes racial themes & messages of 1989 film in context of Bell Hooks' sociopsychological theory of "the Other."
Paper Introduction:
Race and the divide between the races is either the subject or the subtext in many films. The theory of the creation of "the Other" as delineated by Bell Hooks applies to these works and helps illuminate how they handle the issue of race. Hooks's analysis will serve as the critical perspective to be applied to a film overtly about racial tensions and how they develop, Spike Lee's Do the Right Thing.
Hooks notes how race is used not merely to discriminate against one group or another but to make that group discriminate against itself:
Though systems of domination, imperialism, colonialism, racism, actively coerce black folks to internalize negative perceptions of blackness, to be self-hating, and many of us succumb, blacks who imitate whites
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"SEVEN" (DAVID FINCHER) & "COPYCAT" (JOHN AMIEL).
Term Paper ID:22434
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Essay Subject:
Compares 1995 films about serial killers. Plots, styles, characters, use of psychology & theme of evil.... More...
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7 Pages / 1575 Words
2 sources, 0 Citations,
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$28.00
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Paper Abstract:
Compares 1995 films about serial killers. Plots, styles, characters, use of psychology & theme of evil.
Paper Introduction:
Two recent films that have certain similarities in subject matter are Seven and Copycat, both of which deal with the hunt for a serial killer and both of which involve a sort of Hitchcockian borrowing in terms of the deliberate use of one of his favorite devices, the transference of guilt. The two films have certain other similarities to one another--each presents the usual pairing of a veteran police detective with a junior officer, each involves a serial killer who taunts the police and in effect dares them to catch him, each indicates the darkness at the heart of the killer, and each indulges in a certain amount of gore and in some of the trappings of the horror movie. In other respects, though, the films are quite different, with Seven being much the darker vision and the more daring treatment while Copycat is much more a clear star vehicle for two women and is
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"GET SHORTY" (BARRY SONNENFELD).
Term Paper ID:22432
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Essay Subject:
1995 gangster film. Plot, characters, style, humor, suspense.... More...
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6 Pages / 1350 Words
1 sources, 0 Citations,
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Paper Abstract:
1995 gangster film. Plot, characters, style, humor, suspense.
Paper Introduction:
The film Get Shorty (1995) mixes elements from different genres to create a movie about movies and about moviemaking. The central metaphor is that making movies is like being a gangster, and the world of the gangster and the world of the movie producer are shown to be very close in style and tone. The two worlds are brought together in this film through the central character of Chili Palmer, the gangster who likes movies. The film draws on expectations the audience has about what happens in crime films while twisting many of those expectations to produce a different sort of experience.
The plot is complex and has several different elements, all of which are finally linked through Chili Palmer. Palmer is the character who is followed from beginning to end, and the two worlds of interest to him--loan-sharking and movies--come
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"DEAD PRESIDENTS" (HUGHES BROTHERS).
Term Paper ID:22346
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Essay Subject:
Analyzes 1995 work as example of heist film in black cinema.... More...
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8 Pages / 1800 Words
3 sources, 3 Citations,
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Paper Abstract:
Analyzes 1995 work as example of heist film in black cinema.
Paper Introduction:
The Hughes Brothers' recent film Dead Presidents does what many of the best recent films do--it takes a standard plot as a jumping off point both for social criticism and for a different sort of kinetic movie experience, shaping familiar material into a new form. The fact that this is a black story rather than a white is only one of the changes from what is at heart a buddy movie about a group of friends who face a bleak future and who decide to join together to commit a robbery as a way of making something of their lives. In this particular version, the protagonists happen to be black, and their bleak future is at least in part a consequence of institutional racism and societal neglect. The growing awareness on the part of these friends that their world is a dead-end is shown to be a consequence in part of their experiences in Vietnam, experiences which tested their
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LAWYERS & JUDGES IN FILM.
Term Paper ID:22302
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Essay Subject:
Negative portrayals in [And Justice For All], [From the Hip], [Suspect] & [Presumed Innocent].... More...
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9 Pages / 2025 Words
4 sources, 0 Citations,
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Paper Abstract:
Negative portrayals in [And Justice For All], [From the Hip], [Suspect] & [Presumed Innocent].
Paper Introduction:
"Let's kill all the lawyers," wrote Shakespeare in one of his earliest plays, and ever since that time, members of the legal profession have been frequent subjects of barbs in the popular media. There have, to be sure, been popular entertainments that presented a positive view of the legal profession, from "Inherit the Wind" to the "Perry Mason" television show. But at least in the last couple of decades, negative portrayals have been more frequent. Lawyers have routinely been portrayed, and--perhaps even more strikingly--judges as corrupt.
The following discussion will take an analytical view of the negative portrayal of judges and lawyers in four films of recent years, "And Justice For All" (1979), "From the Hip" and "Suspect" (both 1987), and "Presumed Innocent" (1990). Of these films, the
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FEMME FATALES IN FILM NOIR.
Term Paper ID:22265
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Essay Subject:
Roles of Phyllis Dietrich in [Double Indemnity] & Veda Pierce in [Mildred Pierce] as lures for men.... More...
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5 Pages / 1125 Words
4 sources, 6 Citations,
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Paper Abstract:
Roles of Phyllis Dietrich in [Double Indemnity] & Veda Pierce in [Mildred Pierce] as lures for men.
Paper Introduction:
One of the most potent film genres in terms of subsequent influence was the so-called film noir, so-called because no one making a film noir at the time of its creation and ascendance ever used the term or even assumed that they were working in a genre or style that might deserve a name of its own. The term was applied long after by French critics who noticed a stylistic shift in American films in the 1940s, and as Thomas Schatz notes, this style dominated films in the late 1940s and early 1950s.
It came to identify both the narrative-cinematic style of those films and also the historical period during which they were produced (Schatz 112).
The style would have an influence long after that historical period ended. Indeed, it continues to have an influence today, though the underlying social dynamic that produced it in the
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"SHADOW OF A DOUBT" (ALFRED HITCHCOCK).
Term Paper ID:22252
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Essay Subject:
Theme of transference of guilt in 1943 film.... More...
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6 Pages / 1350 Words
3 sources, 2 Citations,
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Paper Abstract:
Theme of transference of guilt in 1943 film.
Paper Introduction:
One of the themes found in the films of Alfred Hitchcock is known as the transference of guilt, a theme Hitchcock first used when he was still working in England and that he continued with his American films. One way this was seen was that the hero or heroine would often be accused of a crime he or she did not commit, but there is more to it than that. For Hitchcock, the hero was always actually guilty of something, some sin in his life, which he would have to pay for by suffering through this period of false accusation. The idea of guilt and transference is clearly important in Shadow of a Doubt from 1943, and part of the fascination one has with this film is in seeing the ways in which this theme is presented. Young Charlie takes on the guilt of her uncle because she knows about it and says nothing, and she is nearly killed because of this. The suspense is created by the
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"LAST OF THE MOHICANS, THE" (MICHAEL MANN).
Term Paper ID:22250
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Essay Subject:
Analyzes 1992 film version of 19th Cent. novel about relations between Amer.-Indians & British colonists.... More...
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6 Pages / 1350 Words
2 sources, 1 Citations,
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Paper Abstract:
Analyzes 1992 film version of 19th Cent. novel about relations between Amer.-Indians & British colonists.
Paper Introduction:
The recent film version of The Last of the Mohicans (1992) takes certain liberties with the original story in an attempt to create a saga far more romantic than James Fenimore Cooper would ever have imagined. The novel was part of a series of novels known collectively as "The Leatherstocking Tales," of which there are five, all produced between 1823 and 1841. The Last of the Mohicans was the second in the series in the order written, though the chronological order of the novels would be different, with the first story chronologically being the last of the five novels produced. Cooper was the first major American novelist, and his books are infused with an understanding of the colonial period, though Cooper himself was born not only after that era but after the founding of the country in 1776. Cooper was born in 1789 and died in 1851. His most popular novel was probably
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"THE TIN DRUM" (VOLKER SCHLONDORFF).
Term Paper ID:21933
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Essay Subject:
Social & anthropological analysis of 1979 film of Gunter Grass's novel, emphasizing director's views of German/Nazi society.... More...
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9 Pages / 2025 Words
4 sources, 7 Citations,
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Paper Abstract:
Social & anthropological analysis of 1979 film of Gunter Grass's novel, emphasizing director's views of German/Nazi society.
Paper Introduction:
International relations remains to date an academic discipline in search of itself. The discipline has gone through a number of changes in terms of its underlying philosophical theories--and is showing signs of entering another transition period.
The purpose of this research is to examine the evolution of major international relations theories and to briefly explain the significance of these theories to understanding world politics. Particular attention will be given to changes in the field since 1970 and to future prospects for international relations theory.
Rise of Realism
Prior to the First World War, it could reasonably be argued that the field of international relations was in its infancy. No
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"A CLOCKWORK ORANGE" (STANLEY KUBRICK) & "THE PLAYER" (ROBERT ALTMAN).
Term Paper ID:21911
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Essay Subject:
Compares directors' styles, control, structure, character, views of society.... More...
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5 Pages / 1125 Words
2 sources, 0 Citations,
OTHER Format
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Paper Abstract:
Compares directors' styles, control, structure, character, views of society.
Paper Introduction:
The films A Clockwork Orange and The Player reflect the interests and styles of their respective directors, Stanley Kubrick and Robert Altman. The two filmmakers are very different in their methods of filmmaking--Kubrick is a former photographer with an eye for composition and control, while Altman prefers improvisation and the power of the moment, often a moment created by the actors themselves as they interact with one another and with the material. A Clockwork Orange is very much a controlled work showing the hand of Kubrick in every frame, while The Player shows how Altman improvises and relies less on control and more on spontaneity. Both filmmakers are commenting on cultural and social values they see in the world around them, and both see the values of the past, and the values that actually have value, as being eroded by various forces in the culture itself. Kubrick's
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"BLACKMAIL" & "VERTIGO" (ALFRED HITCHCOCK).
Term Paper ID:21898
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Essay Subject:
Feminist analysis by Tania Modleski of two films' characters, themes, violence.... More...
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8 Pages / 1800 Words
3 sources, 4 Citations,
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Paper Abstract:
Feminist analysis by Tania Modleski of two films' characters, themes, violence.
Paper Introduction:
Alfred Hitchcock made Blackmail as his first sound feature in 1929, and Vertigo in 1958 during his most creative period. The two films share certain characteristics in terms of the way the filmmaker presents women and in the relationships the female characters have with the male characters in the two works, and indeed these same elements and approaches can be found in many Hitchcock films made between the two. Tania Modleski links Hitchcock's works specifically to sexual violence in her feminist analysis of his works, and she cites other critics on the subject when she writes:
In film studies, Hitchcock is often viewed as the archetypal misogynist, who invites his audience to indulge their most sadistic fantasies against the female (Modleski 17).
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"KING LEAR" IN FILM.
Term Paper ID:21887
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Essay Subject:
Compares two versions: 1987 version directed by Jean-Luc Godard & 1984 version starring Laurence Olivier. Style, critical reception, characters, narrative, adherence to Shakespeare.... More...
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11 Pages / 2475 Words
12 sources, 20 Citations,
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$44.00
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Paper Abstract:
Compares two versions: 1987 version directed by Jean-Luc Godard & 1984 version starring Laurence Olivier. Style, critical reception, characters, narrative, adherence to Shakespeare.
Paper Introduction:
The purpose of this research is to examine two film versions of Shakespeare's King Lear. The plan of the research will be to set forth the context for and fundamental premises of the two works, and then to discuss the style, tone, language, and treatment of the protagonist in each.
The television production of King Lear adapted by and starring Laurence Olivier is accurately described as straightforward in its style of treatment of the text. The production as a whole is set in pre-Christian Britain, which is consistent with the fact that, according to Rowse, the Lear story was familiar to Elizabethans from Holinshed's account of ancient British history and legend (Rowse 338). The use of Stonehengelike pillars and rustic wood as structural elements, together with wilderness exterior settings, is consistent not only with
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"MARY SHELLEY'S FRANKENSTEIN" (KENNETH BRANAGH) & "FRANKENSTEIN" (MARY SHELLEY).
Term Paper ID:21881
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Essay Subject:
Compares film director's & book author's depictions of characters, relationships, plot, focus, images, pacing, style.... More...
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6 Pages / 1350 Words
6 sources, 5 Citations,
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Paper Abstract:
Compares film director's & book author's depictions of characters, relationships, plot, focus, images, pacing, style.
Paper Introduction:
The recent motion picture version of Mary Shelley's novel Frankenstein hews closely to the plot of the novel while failing to capture its essential purpose. The full title of the movie is Mary Shelley's Frankenstein, but the possessive does not mean that this version can be considered mary Shelley's vision. Janet Maslin of the New York Times notes this when she writes that the film
will not strike anyone as chiefly Mary Shelley's invention. Its principal architect is Kenneth
Branagh. . . [who] takes on the godlike, idealistic young scientist's role while also directing this "Frankenstein" as an overheated romantic fable (Maslin C1).
An examination of the book and the film shows where the attitudes
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"THE PUBLIC ENEMY" (WILLIAM WELLMAN) & "THE GODFATHER" (FRANCIS FORD COPPOLA).
Term Paper ID:21790
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Essay Subject:
Examines gangster films directed in 1931 & in 1972, focusing on social & family values.... More...
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8 Pages / 1800 Words
2 sources, 0 Citations,
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$32.00
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Paper Abstract:
Examines gangster films directed in 1931 & in 1972, focusing on social & family values.
Paper Introduction:
Motion pictures, though often viewed as no more than fantasy and escapism, often reflect the society and time in which they are produced, and for all the melodrama and "fantasy" of the gangster film genre, this is one type of film that seems destined to be a reflection on the society which produces it. The Public Enemy (William Wellman, 1931) and The Godfather (Francis Coppola, 1972) are separated by 40 years of time. The two films have much in common, but they also reflect different views of their respective social settings and specifically of the nature of the experience of organized crime in America.
Both films involve underlying assumptions about the force of the American Dream and the way in which that dream has been distorted as a justification for crime by certain individuals. Both films reflect the view that some criminals are born and some
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WEST, MAE.
Term Paper ID:21752
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Essay Subject:
Life, career, major roles & legacy of Amer. actress/sex symbol.... More...
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16 Pages / 3600 Words
8 sources, 32 Citations,
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$64.00
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Paper Abstract:
Life, career, major roles & legacy of Amer. actress/sex symbol.
Paper Introduction:
It is interesting to note the absurd places where the battle lines of freedom are sometimes drawn: the cost of tea in Boston, a funny-looking house painter from Austria, a busty lusty "belle dame sans merci" named Mae West. Mae West, née Mae West (nobody ever had to invent an interesting bio for her), was the vaudeville comedienne who conquered Broadway in the 1920s, saved Paramount Pictures in the 1930s, and - almost single-handedly - took on the censors of artistic freedom with every movie she made. And to look at her legacy now: almost forgotten beyond nostalgia for a "camp queen," her pictures dated and denuded of their controversial context, remembered in the 1990s primarily as a warning of what Madonna threatens to become. Nevertheless, for a brief period in the 1930s Mae West was the line in the sand drawn between those supporting "decency in America" and those
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"ELVIRA, MISTRESS OF THE DARK" (JAMES SIGNORELLI).
Term Paper ID:21736
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Essay Subject:
Examines 1988 comic film, focusing on ending. Style, theme, protagonist, message.... More...
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6 Pages / 1350 Words
1 sources, 0 Citations,
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Paper Abstract:
Examines 1988 comic film, focusing on ending. Style, theme, protagonist, message.
Paper Introduction:
The statement, "A film doesn't just stop, it ends," indicates the need for closure, for a resolution, for a thematic conclusion, rather than simply for the plot of the film to come to an end and for the film to be over. Whether a film has ended or not is dependent entirely on the degree to which the ending relates to what has gone before, for it is in the unfolding of the film from the beginning that the seeds of the ending are planted. Issues are raised in the course of every film which need to be addressed and not left hanging. A film might leave its plot hanging by omitting important details or plot resolutions--we see this too often with mystery or suspense films that do not answer the questions they raise. Other films may not be quite so overt in what a resolution would be, but they leave the viewer dissatisfied because there is no resolution just the
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HEROES IN "THE MARK OF ZORRO" (FRED NIBLO) & "SPEED" (JAN DEBONT).
Term Paper ID:21735
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Essay Subject:
Describes & compares protagonists played by Douglas Fairbanks & Keanu Reeves in 1920 & 1994 films as examples of classical & action heroes.... More...
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6 Pages / 1350 Words
2 sources, 2 Citations,
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Paper Abstract:
Describes & compares protagonists played by Douglas Fairbanks & Keanu Reeves in 1920 & 1994 films as examples of classical & action heroes.
Paper Introduction:
The Action Hero is a recent version of the Melodramatic Hero developed as an Americanized form of entertainment and based in part on elements derived from the Classical Hero. The Classical Hero is the basic heroic type, characterized by outlandish courage and daring exploits. This hero "larger than life" character who also stands as an archetype of symbolic good. The Classical Hero is also a mythic hero associated with legend. The Action Hero is more human and is involved in situations that are more natural. An example of the Classical Hero can be found in the title character of The Mark of Zorro (1920), while the Action Hero can be found in the main character in Speed (1994). The two heros show a number of contrasts in their behavior and in their origins.
Zorro is a mythic character in the pattern of Robin Hood,
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"WAR GAMES" (BADHAM, JOHN) & COMPUTER HACKING.
Term Paper ID:21712
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Essay Subject:
Analyzes hackers' social significance & protagonist's motivations for hacking in 1983 film.... More...
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5 Pages / 1125 Words
1 sources, 0 Citations,
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Paper Abstract:
Analyzes hackers' social significance & protagonist's motivations for hacking in 1983 film.
Paper Introduction:
The movie War Games raises a number of issues of growing importance in our computer-oriented society. We live in an era when certain international tensions seem to have subsided with the disintegration of the Soviet Empire, and as a result many are calling into questions our military expenditures, including those that are directed toward intelligence capabilities and technological means of analysis and protection. It has been charged by some that we are leaving ourselves open to attack, especially attack by the new danger from terrorists, and computers make this danger all the more intense. Computer experts might be capable of breaking through our defenses and entering our computer systems to wreak havoc, including the sort of havoc seen in this film where missiles are launched by accident. Many people would not accept the idea that a lone
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"FALLING DOWN" (JOEL SCHUMACHER).
Term Paper ID:21582
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Essay Subject:
Analyzes violent protagonist of film as schizophrenic from psycoanalytic & social learning approaches & recommends therapies.... More...
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9 Pages / 2025 Words
5 sources, 8 Citations,
TURABIAN Format
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Paper Abstract:
Analyzes violent protagonist of film as schizophrenic from psycoanalytic & social learning approaches & recommends therapies.
Paper Introduction:
In the motion picture Falling Down, the main character is clearly disturbed and reacts to the world around him in an unwarranted fashion. An examination of this character will point to the symptoms he exhibits, his general life story, and his current interpersonal relationships, thus allowing for a psychological diagnosis. Based on this diagnosis, a possible treatment can be proposed and a long-term psychological outcome predicted.
FALLING DOWN
In the film, a man sits in his car behind a line of stopped cars on the freeway while a broken car is towed out of the way. It is a very hot day. He becomes agitated and angry and finally leaves his car, just walking away. He determines to walk to his wife's home, from East Los Angeles to Venice. As he encounters
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"NINE TO FIVE" (COLIN HIGGINS) & "THE GRADUATE" (MIKE NICHOLS).
Term Paper ID:21579
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Essay Subject:
Describes & compares films' comic spirits, themes, characters, plots, role of change.... More...
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5 Pages / 1125 Words
2 sources, 0 Citations,
APA Format
$20.00
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Paper Abstract:
Describes & compares films' comic spirits, themes, characters, plots, role of change.
Paper Introduction:
The comic spirit is apparent in films like The Graduate and Nine to Five, both of which are resolved ultimately through the "intervention of change" as a means of bringing about the "happy conclusion." The element of change is essential in all drama, comic or not, but it serves a certain purpose as a means of resolving issues well in comedy, whereas in drama it may produce a tragic conclusion. Both tragedy and comedy involve conflict, and conflict is resolved by change. The comic spirit in the two films under discussion begins in both cases with a firm grounding in the real world--these are comedies that satirize real life and the problems faced by people everyday, which gives them a strength and an appeal beyond more contrived comedies. The issue in The Graduate is the transition from youth to adulthood, and in Nine to Five the subject is the state of office relations in
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"THE GIRL CAN'T HELP IT" (FRANK TASHLIN) & "SOME LIKE IT HOT" (BILLY WILDER).
Term Paper ID:21526
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Essay Subject:
Compares treatment of women, sexuality & relationships in 1957 & 1959 films.... More...
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5 Pages / 1125 Words
2 sources, 2 Citations,
MLA Format
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Paper Abstract:
Compares treatment of women, sexuality & relationships in 1957 & 1959 films.
Paper Introduction:
The treatment of women in the films The girl Can't Help It (Frank Tashlin, 1957) and Some Like It Hot (Billy Wilder, 1959) reflects both the attitudes of the time in which the film was made and to a degree the attitudes of an earlier age, notably the 1920s in Some Like It Hot. The films have similarly ambivalent credentials--each film makes full use of the beautiful woman as sexual object, presenting her again and again as a source of titillation for the males in the audience just as she is for male characters in the film, while at the same time the underlying theme in each film tries to downgrade the woman as sexual object and to elevate her to a different status. In each case, there are a number of males who buy into and even live by the stereotype of women, while other males in the films serve as converts to what we might characterize as a mildly feminist point
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"RESERVOIR DOGS" (QUENTIN TARANTINO).
Term Paper ID:21509
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Essay Subject:
Themes, style, violence, symbolism, characters in 1991 film.... More...
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9 Pages / 2025 Words
1 sources, 0 Citations,
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Paper Abstract:
Themes, style, violence, symbolism, characters in 1991 film.
Paper Introduction:
Reservoir Dogs is a film that takes a satiric look at itself, at the genre of the caper film and the dynamics of betrayal and the criminal code seen in such films. The film is extremely violent, which for many viewers may mask the satiric thrust of the story and the way the interplay of characters involves a twisted sense of morality, the so-called "honor among thieves" that here is a palpable presence holding together a group of professional criminals who have nothing else to believe in except that they will be able to rely on each other. As the film unfolds, though, they can rely on nothing in a universe of random events over which they have no control.
The story is simple enough: A group of small-time criminals band together under the leadership of a man who has decided how a robbery is to be staged. The robbery itself is never seen in the
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"HAMLET" IN FILMS.
Term Paper ID:21478
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Essay Subject:
Compares styles, tones & protagonists in Laurence Olivier's 1948 & Franco Zeffirelli's 1991 versions.... More...
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6 Pages / 1350 Words
2 sources, 0 Citations,
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Paper Abstract:
Compares styles, tones & protagonists in Laurence Olivier's 1948 & Franco Zeffirelli's 1991 versions.
Paper Introduction:
The character of Hamlet in the play of the same name by William Shakespeare has long been a difficult one for critics to assess because he is seen as passive rather than active for most of the play. Early in the play he is charged with the task of avenging his father, a task given him by his father's ghost, and yet for most of the play he does nothing about it. He is highly reflective but inactive until the very end of the play when he does his duty, destroys the man who killed his father, and is himself destroyed. Critics have pondered the question of why he waits so long. In his film version from 1948, Laurence Olivier answers this question in a spoken prologue, stating that this is the tragedy of a man who could not make up his mind. There is no prologue in the Franco Zeffirelli version from 1991, with Mel Gibson in the title role, and it is less clear why Hamlet
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"THRONE OF BLOOD" (AKIRA KUROSAWA) & "MACBETH".
Term Paper ID:21431
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Essay Subject:
Analyzes director's filmic interpretation of opening & final scenes from Shakespeare's tragic drama.... More...
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6 Pages / 1350 Words
2 sources, 2 Citations,
MLA Format
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Paper Abstract:
Analyzes director's filmic interpretation of opening & final scenes from Shakespeare's tragic drama.
Paper Introduction:
Akira Kurosawa's Throne of Blood is a version of Shakespeare's Macbeth, and the film follows the play in general terms until the end. An examination of the opening scenes and the last scene shows how the filmmaker has approached the material and what changes he has made to achieve a somewhat different effect from the original play while remaining true to its spirit.
The opening scenes in Macbeth set the stage with a sense of doom and foreboding as well as an overlay of the supernatural. In the first scene, the three witches appear amid thunder and lightning and cast a spell over the proceedings. In the second scene, the exposition is managed as messengers deliver the battle news to King Duncan. It is in the third scene where the character of Macbeth is introduced and where the three witches
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"THELMA & LOUISE" (RIDLEY SCOTT).
Term Paper ID:21416
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Essay Subject:
Examines film's female protagonists' behavior as deviant & criminal response to male-dominated society.... More...
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6 Pages / 1350 Words
7 sources, 13 Citations,
APA Format
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Paper Abstract:
Examines film's female protagonists' behavior as deviant & criminal response to male-dominated society.
Paper Introduction:
The recent film Thelma and Louise presents two women who turn to criminal activity as part of their way of dealing with the world of males, and their way of dealing with men can be labeled deviant. Indeed, the film presents the development of this deviant behavior as itself a response to the deviance of males in American society. As presented in the film, this instance of female criminality is a case of crossing over, specifically indicating that these women are using countermeasures to male deviance that will themselves be deviant. This instance of deviant behavior will be used as the subject for the application of the ideas of crossing over and criminal organization and honor to illustrate the nature of, development of, and consequences of this deviant behavior.
It is interesting that the film under discussion is itself
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"THE LAST EMPEROR" (BERNARDO BERTOLUCCI).
Term Paper ID:21344
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Essay Subject:
Political, historical & cultural analysis of film about life & career of Pu Yi.... More...
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9 Pages / 2025 Words
4 sources, 16 Citations,
TURABIAN Format
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Paper Abstract:
Political, historical & cultural analysis of film about life & career of Pu Yi.
Paper Introduction:
Pu Yi, the last Emperor of China, holds a curious place in the annals of history. As the final representative of the Manchu Dynasty, his place is secured in Chinese records as the very undramatic end to the imperial era. Pu Yi's essentially non-existent rule takes on a greater significance only because of post factum interest in the ruler as a person. Pu Yi is "The Last Emperor," the final imperial occupant of the famed Forbidden City, a man whose luxurious lifestyle as a child was replaced by the grey world of the gardener in Mao's Red China.
During the mid 1980s, Bernardo Bertolucci, an Italian film director of international repute and admittedly leftist leanings, sought - and won - permission from the Chinese Communist government to shoot a motion picture about Pu Yi inside China, indeed, inside the Forbidden City. With funding from Columbia
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"THE FRENCH CONNECTION" (WILLIAM FRIEDKIN).
Term Paper ID:21335
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Essay Subject:
Analyzes 1971 film. Plot, characters, style, urban imagery, ambivalent morality.... More...
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6 Pages / 1350 Words
8 sources, 7 Citations,
TURABIAN Format
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Paper Abstract:
Analyzes 1971 film. Plot, characters, style, urban imagery, ambivalent morality.
Paper Introduction:
William Friedkin's film The French Connection (1971) was not the first film to be shot on the streets of New York, nor was it the first realistic police drama to evoke those streets. Its success, however, assured that there would be a spate of such films over a period of years, and the style of the film influenced films and television shows for some time. The city of New York was featured in this film in an interesting way. The streets of New York had been the setting for films many times, though during the 1930 and 1940s those streets were usually simulated on a back lot in Hollywood. In 1948, that changed with the production of The Naked City, a film that was shot on the streets of New York and that made the city very much a character. The French Connection is a descendant of that earlier film. Both use similar techniques of cinema vérité camerawork to
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"GOODFELLAS" (MARTIN SCORCESE).
Term Paper ID:21328
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Essay Subject:
Analyzes 1990 film style, characters, narration, violence, critical views.... More...
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6 Pages / 1350 Words
5 sources, 5 Citations,
MLA Format
$24.00
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Paper Abstract:
Analyzes 1990 film style, characters, narration, violence, critical views.
Paper Introduction:
Martin Scorsese's film GoodFellas is an examination of the criminal lifestyle in America, and director Scorsese uses the techniques of film to good advantage in shaping the story to keep every element fresh, to build an overall impression of the activities of organized crime, and to shape a different film experience in a genre that has been addressed many times with varying results by other filmmakers in the past. Critic John Simon states of the film,
GoodFellas, with a script by [Nicholas] Pileggi and Scorsese, is a testimonial to the banality of evil as compelling as Eichmann's story and far closer to home (Simon 63).
The film uses the story of this one particular criminal to comment on the whole criminal enterprise and in a larger sense to
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"THE MALTESE FALCON" (JOHN HUSTON).
Term Paper ID:21327
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Essay Subject:
Compares 1940 film & 1930 novel by Dashiell Hammett.... More...
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6 Pages / 1350 Words
3 sources, 4 Citations,
MLA Format
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Paper Abstract:
Compares 1940 film & 1930 novel by Dashiell Hammett.
Paper Introduction:
The 1940 version of The Maltese Falcon was the third version of the novel to be filmed and the most successful. It was also the film truest to the spirit of the novel, though the 1931 version (with the same title) followed the plot very closely without capturing the inherent spirit of the piece. The second version--Satan Met a Lady in 1936--was very poor and made what had been a dark detective story into a comic romp with a detective more buffoon than threat. John Huston returned to the original novel for his version of the story and clearly tried to stick closely not only to the story but also to the spirit of the piece, with its moral ambiguities intact as they had not been in the 1931, more traditionally hero-vs.-villain rendering. Yet, Huston had of necessity to make changes by curtailing certain scenes, altering the order and point of view to a degree, and
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"APOCALYPSE NOW" (FRANCIS FORD COPPOLA) & "HEART OF DARKNESS" (JOSEPH CONRAD).
Term Paper ID:21326
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Essay Subject:
Compares 1979 film & novel on which it is based. Scenes, characters, symbolism, ending.... More...
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7 Pages / 1575 Words
8 sources, 10 Citations,
MLA Format
$28.00
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Paper Abstract:
Compares 1979 film & novel on which it is based. Scenes, characters, symbolism, ending.
Paper Introduction:
The film Apocalypse Now (1979) is a translation of Joseph Conrad's short novel Heart of Darkness to the milieu of the Vietnam War. In doing so, screenwriters John Milius and Francis Coppola utilize the basic plot structure of the novel, with elements altered to reflect the horrors and terrors of the war. Underlying both the novel and the film is the idea of the journey into the darkest areas of the human soul. The film indeed carries this much further than does the novel because where Conrad features a central character who comes to question his own righteousness and to wonder whether all men could not become a Kurtz under the right circumstances, Milius and Coppola see the war in Vietnam as made up of precisely the "right" circumstances. The war is a veritable cauldron of evil forces in which the central character not only fears he might be just like Kurtz, but
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