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"Nosferatu" and "Dracula", 2008.
A comparison of the films of "Dracula," based on Bram Stoker's novel and the 1992 film "Nosferatu," produced by German filmmaker F. W. Murnau.
2,983 words (approx. 11.9 pages), 6 sources, MLA, $ 88.95
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Abstract
This paper discusses Bram Stoker's horror novel, "Dracula." It describes the plot of the novel and its characters. The paper then looks at the play of "Dracula" that was produced on stage by Hamilton Dean and John Balderston and discusses its plot. It then discusses the 1931 film version of the novel. The paper finally analyzes the 1922 silent production entitled "Nosferatu," produced by German filmmaker F. W. Murnau and compares it to the films of "Dracula."
Table of Contents:
The Novel and the Play
The Plot
Dracula 1931
Nosferatu
Nosferatu and German Expressionism
From the Paper
"Expressionism focused and emphasized the subjective over the objective (Haney 2005). Its goal was to elicit the strongest possible emotional response. Nosferatu is not only the story of a vampire. It is also the story of plague and pestilence, of evil and greed, and of inequality and sexless marriage. It delved into sexual repression and revealed the vampires out of people in the state of the German soul after World War I in Germany. Bram Stoker's novel was a peek into the subconscious. Murnau brought it out and expressed it in the form of a film. He firmly drew from that awareness that everything present contains meaning and significance. The time of its production and other elements combined to make it an Expressionist film. Though not a completely traditional representation of Expressionism, Murnau made the film unique as compared with other films of its time. The most significant element is location filming, which gave it a strong realistic character. His talent puts his horrific dream teetering at the edge of reality. He meticulously chose the elements of his film and blended them carefully into a whole and single expression of a message (Haney)."
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"Meet the Parents", 2008.
A review of the production value and character relationships of the film, "Meet the Parents," directed by Jay Roach.
997 words (approx. 4.0 pages), 0 sources, $ 35.95
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Abstract
This paper introduces, discusses and reviews the film, "Meet the Parents," directed by Jay Roach. The paper discusses the characters, plot and storyline of the film. It looks briefly at the production value of the film, the cinematography, the relationship between the characters and the costumes used in the film. The writer concludes that he would recommend this film to people who are looking for a cute, romantic comedy.
From the Paper
"I would recommend this film to people who are in love, and want to see a cute, romantic comedy that would be appealing to them. I would also probably recommend it to anyone who was getting ready to "meet the parents" to show them what not to do during their visit. This isn't a film I would add to my permanent DVD collection, because I think once you've seen it once or twice, the gags are pretty much done, and you know how it ends, so what's the point? I think the acting is very good, and Robert De Niro is very convincing as the scary, retired CIA guy who can't leave his job behind. He's just controlling enough to be scary, and just human enough (with his obsession with the cat) to be human and sympathetic. I'd recommend this film to friends if they haven't seen it, and I might even watch it again, but I wouldn't sit through it more than once more, it's just not that kind of movie."
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Representations on Australian Masculinity in Film, 2008.
A comparison of the representation of Australian men in "Mad Max" directed by George Miller in 1979 and "The Adventures of Priscilla Queen of the Desert" directed by S. Elliott in 1994.
2,116 words (approx. 8.5 pages), 8 sources, APA, $ 66.95
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Abstract
This paper discusses two films which offer representations of Australian masculinities. It analyzes "Mad Max" directed by George Miller in 1979 and "The Adventures of Priscilla Queen of the Desert" directed by S. Elliott in 1994. It discusses how men are represented in the films and the relationship between this representation and questions of Australian identity.
Table of Contents:
Introduction
Mad Max (1979)
The Adventures of Priscilla, Queen of the Desert
Conclusion
From the Paper
"Both Mad Max and The Adventures of Priscilla, Queen of the Desert, are about expressing Australian male masculinity in ways that are uniquely Australian, because of Australia's unique history and geographical conditions. Both films uplift the male masculinity, even when it is masked in drag, by denigrating women in the film in ways described by Graeme Turner; that is relegating the woman to a role of sexual significance in relation to the role of the man, or to humiliate and denigrate in order to provide the uplift to the featured masculinity. Both films are geared towards a male audience, and their success lies in their representation of maleness, even though both films do it in a starkly different way."
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| Term Paper # 106867 |
temporarily unavailable
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"Monster's Inc.", 2008.
An analysis of cultural concepts in the film "Monster's Inc."
898 words (approx. 3.6 pages), 1 source, MLA, $ 31.95
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Abstract
This paper discusses how "Monster's Inc."(2001) is a children's film that uses the common childhood fear of monsters lurking in the closet and turns this conceit right on its head. The film depicts monsters as terrified of children and how they wait for children at night, but not to eat them--but to collect the screams of these small humans. The screams power the monster's society of Monstropolis with Scream Heat. The paper concludes that, because of their need to stimulate fear in the hearts of children, the monster's world more and more resembles in its images and structure, the society beyond the closet door.
Outline:
Introduction
Definition of a Principle or Cultural Theory That Is Present In the Film
Identify the Cultural Climate within the Film
Explain How You Would React If You Had To Exist In That Culture
Provide Analysis of What Could Be Done To Improve the Culture
Outline:
From the Paper
"The fact that people who are 'different' are often called monsters in real life creates an immediate resonance between Monstropolis and our own society. The cultural theory is the theory stressed by the film is of the dangerous potential fear of the 'other'--an entire society can be powered by a fear of difference and culturally structured around a fear of difference. But fearing something only makes what you fear all the more a part of your own culture. Because children look different from the monsters, and because the children's screams power Monstropolis, the monster's entire society must be devoted keeping the children 'out' as well as keeping children in a state of fear to generate screams. Without fear, the monster's culture and the society cannot exist. "
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The Benefits and Dangers of Solitude, 2008.
This paper analyzes the experience of solitary confinement in May Sarton's "Journal of a Solitude" and "The Rewards of Living a Solitary Life" and in the 2000 film "Castaway," directed by Robert Zemeckis.
1,319 words (approx. 5.3 pages), 3 sources, MLA, $ 44.95
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Abstract
The paper explores how solitary confinement proves a challenge to the author and poet May Sarton, as well as the protagonist Chuck Noland of "Castaway," the 2000 film based upon the real-life experiences of a FedEx employee tragically stranded on a desert island. The paper examines the profoundly different responses of the two characters to solitude. The paper explains that Noland is a man trapped against his will on an island with only a volleyball, while Sarton has recourse to friends and simply chooses to live alone, in relatively comfortable circumstances.
From the Paper
"Both works suggest that human beings are fundamentally social animals to some degree, and need companionship as a way of remaining mentally stable, emotionally centered, and sane. However, because Sarton's solitude is occasionally broken with some visits from other people, it does not have the soul-destroying character that Noland's solitude has. Because Sarton's solitude is chosen, she can take delight in the spiritual rewards provided by a life apart from the hustle, bustle, and time constraints of the rest of the social world. And perhaps most importantly of all, even though Hanks learns a great deal during his time on the island, because Sarton embarked upon her solitary life with a purpose, to pursue a fruitful writing career and to avoid the distractions of too much society, she enjoys her time alone"
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"Bold and Beautiful", 2008.
An analysis of the genre and the narrative structure of soap operas, focusing on the "Bold and Beautiful", March 24, 2008, Episode #5274.
2,393 words (approx. 9.6 pages), 7 sources, APA, $ 73.95
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Abstract
This paper discusses soap operas and focuses specifically on "Bold and Beautiful." It describes the generic features of the soap opera format and then looks at their narrative structure. Finally, the paper discusses the relationship between the narrative structure and the genre or soap operas. The paper presents examples from "Bold and Beautiful" from March 24, 2008, Episode #5274.
Table of Contents:
Step #1: Generic Features of Soap Opera Format
March 24, 2008, Episode #5274
Step #2: Narrative Structure of the Soap Opera Format
Step #3 Relationship between Genre and Narrative
From the Paper
"In John Fiske's essay ("The Codes of Television") he is talking about the CBS documentary with General Westmorland (Vietnam era general running the war for the U.S.) in which extreme close-ups are used for emphasis. Writing in the New York Times (and quoted by Fiske) Alex Jones explains "the extreme close-up can be especially damaging when an interview is carefully scripted and the cameraman is instructed to focus tightly on the person's face at the point when the toughest question is to be asked."
"The same genre of camera close up is used in soap narrative, albeit there is noting damaging about the result. In fact, it plays into the hands of the director and writers to have the camera zoom in tightly on Brooke's face as she is making her stand against Taylor. Immediately after Brooke makes her strongest protestation, the camera goes very tight on Taylor, whose head is nodding slightly but not in agreement; she nods because she understands where Brooke is coming from, and what she (Taylor) can expect to be confronted with for at least this episode, and likely one or more - or dozens - in the foreseeable future."
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"In the Mood for Love", 2008.
An examination of the style and use of music within the film, "In the Mood for Love," directed by Wong Kar-wai.
1,711 words (approx. 6.8 pages), 1 source, MLA, $ 55.95
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Abstract
This paper analyzes and reviews the film, "In the Mood for Love," directed by Wong Kar-wai. It describes the plot of the film and the characters who are involved. The paper then looks at the style of the film, the music used to create moods in the film and how tension is portrayed. It also discusses how the camera follows the characters and what this portrays in terms of mood.
Table of Contents:
Summary of the Film
Essay
From the Paper
"The music used to create moods in this film is perfectly suited to the buildup of desire and the melancholy that surrounds these two unrequited lovers. This movie is about desire, for certain, but it's also about restraint and sadness. And the main musical theme may drive some viewers crazy. The theme music is "Yumeji's Theme" - a waltz with stringed instruments that plays when the two characters are passing in the hall, or when they meet outside in the rain, or ride in slow motion in the back of a cab. It seems to always nearby."
"Also, several songs by Nat "King" Cole are used frequently by the director. One of them is "Aquellos Ojos Verdes" (Green eyes) which may denote jealousy. All three Nat "King" Cole songs are sung in Spanish, a strange mix of language and culture in a movie that is supposedly taking place in Hong Kong, 1962, and that features both Cantonese and Shanghai subtitles."
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Film: Federico Fellini's "8 1/2", 2008.
Examines Federico Fellini's "8 1/2" as a film noir.
1,015 words (approx. 4.1 pages), 1 source, APA, $ 35.95
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Abstract
This paper explains that film noir tends to bend time and to alter the normal chronology of a story as part of the thematic requirements suggesting connections between past and present and strengthening the idea of fate determining the course of events, as if those events were already set in time before they transpire. The post-modern approach to time infused much film making in the 1960s, making time a key element in the structure of the film. The author points out that Federico Fellini's film "81/2 "is autobiographical to a great degree, presented as a surreal meditation through the eyes of the film director, Guido, who dresses in the style of Fellini.
From the Paper
"In the next several sequence in the film, Guido interacts with his wife, his mistress, the writer of his film, the producer of the film, and a number of actors wanting to curry favor on the one hand and to get direction from Guido on the other. Guido's response in many of these encounters might be seen as distracted, and indeed he is considering his options, regretting the responsibility placed upon him by all of these people, and reconsidering his relationships one at a time."
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| Term Paper # 106573 |
temporarily unavailable
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