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The Madness of Stanley Kubrick, 2008.
This paper provides an avant garde analysis of Stanley Kubrick's work in film.
4,023 words (approx. 16.1 pages), 15 sources, APA, $ 108.95
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Abstract
In this article, the writer notes that in every enterprise, someone has to be first and in the case of modern science fiction motion pictures, the "first" is widely acclaimed to be Stanley Kubrick's masterpiece, '2001: A Space Odyssey'. This paper provides an avante garde analysis of Stanley Kubrick that includes some of his most important works, such as '2001: A Space Odyssey' and 'A Clockwork Orange'. To this end, a biographical assessment of Kubrick is followed by a description of the man himself, his style, and the themes expressed in his films. A summary of the research and salient findings are presented in the conclusion. This paper includes a photograph.
Outline:
Review and Discussion
Conclusion
From the Paper
"It would seem that Kubrick was the right man at the right time with the right stuff to create these masterpieces, and it is difficult to determine whether they helped fuel the turbulent period in American history in which they were produced or if they were social reflections of what was taking place in American society at the time. Either way, the research was consistent in employing superlatives in describing Kubrick's work and it is safe to suggest that people will be watching his movies a hundred years from now. It would also seem safe to posit that Kubrick naturally recognized what humans would like to see if they had the opportunity to see it for themselves, whether they want to admit it or not. In the case of 2001: A Space Odyssey, for example, the director showed audiences what a happy and unexpected future might be like and how they might be a part of it. By sharp contrast, in his movie, A Clockwork Orange, Kubrick also showed audiences what the future might be like, but there was a definite "horror-show" difference involved."
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"Run Lola Run", 2008.
An examination of the motif of running that is present in the 1998 film, "Run Lola Run," directed by Tom Tykwer.
1,522 words (approx. 6.1 pages), 0 sources, $ 50.95
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Abstract
This paper discusses the 1998 film, "Run Lola Run," directed by Tom Tykwer. It discusses how the movie is constructed of motifs that symbolize the human relationship to the passage of time. The paper specifically focuses on the motif of running in the movie and the message that it sends to the audience. The paper looks at the examples throughout the film of this theme.
From the Paper
"Diagonal, angular, or oblique shots are sparingly used in Run Lola Run. High angle shots are often used for street scenes. For example, the bank is shown from a high angle as well as from eye level. High angle s used during the animation sequence when Lola dashes down the stairs. Moreover, the red filtered bedroom scene is shot at a high angle to depict the couple laying in bed. People are more often than not framed on screen at eye level, especially when they converse with one another. Tykwer uses low angle shots at key points. Most notably, the director combines high and low-angle shots in the same scene when one person stands over another. The effect shows different perspectives of the same situation."
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The Star System in Hollywood, 2008.
This paper looks at the star system and its contribution to the development of Hollywood public relations and advertising strategies.
1,755 words (approx. 7.0 pages), 6 sources, MLA, $ 56.95
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Abstract
The writer of this essay explains that the Hollywood star system was developed prior to the 1920s, but perfected by the 1930s as a way to develop a studio 'brand,' and keep people coming to the cinema week after week. The writer notes that by finding, training, developing and promoting talent, Hollywood's studio moguls were able to control product and insure on-going success. In this article, the writer explores how the star system was created and how it contributed to Hollywood's enduring success. The writer discusses that this contrasts with European cinema, which tended to be far more personal, director-driven and less oriented to developing a 'brand,' other than for the specific director.
Outline:
Introduction
The Impact of the Star System on Film
Origins of the Star System
1920s: Rise of Star Power
1930s: Decade of Studio Power, Heyday of the Star System
Conclusion: The Breakdown of the Star System
From the Paper
"The studios were able to weed out the independents through the above-named actions. They were helped by the environment and technology as well. Specifically, the coming of the 'talkies' in 1927 made it more expensive for studios to produce competitive films. This helped to weed out the less-competitive independent studios. Secondly, the Crash of 1929 and the subsequent Depression had a negative effect on weekly film attendance, making it more difficult for less widely-distributed or financially weaker films to survive. As a result, the studios were able to consolidate their movie-making and -distribution strategies, and to increase their bargaining power with their stars.
"There were monumental battles between the stars and their studio heads--but only where the stars felt that they could withhold their services and do real damage to their bosses."
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Harlem Renaissance and Negritude Writers, 2008.
A look at the Harlem Renaissance and Negritude poems and a film that celebrate the rebirth of Black culture.
2,092 words (approx. 8.4 pages), 8 sources, APA, $ 65.95
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Abstract
The paper looks at the works of poets such as Claude McKay, Langston Hughes, Countee Cullen, Leopold Senghor and Aime Cesaire and also examines Haile Gerima and Shirikiana Aina's 1993 film "Sankofa". The paper highlights how both the poems and the film develop themes related to the rediscovery of a Black culture and a new identity.
From the Paper
"The Black population coming from the continent was constantly perceived as an inferior race and was subjected to intense racial discrimination in the societies it came in contact with. In response to such attitudes, there were numerous movements which advocated an emancipation of the Black race and a rediscovery of their heritage. At the same time, initiatives such as the Harlem Renaissance and the Negritude constantly tried to reach out to the roots of the Black culture and promote a new vision of Africa and its people. Poets such as Claude McKay, Langston Hughes, and Countee Cullen were representative for the literary segment of the Harlem Renaissance, while Leopold Senghor and Aime Cesaire were strong voices for the Negritude movement."
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"Raising Arizona ", 2008.
A review of the film "Raising Arizona" directed by Joel Cohen.
1,837 words (approx. 7.3 pages), 0 sources, $ 58.95
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Abstract
The paper relates that the film, "Raising Arizona" (1987) continues to be successful today in rental and DVD sales because it parodies family and social issues that are consistent in American society. The paper explores the filmmaking techniques, social issues and the directorial choices in the making of this great film and comedy.
From the Paper
"The opening scene is one that serves not just to draw the viewer into the film in an entertaining way, but helps introduce the relationship and moods of the main characters' personalities. H.I. McDonnough, a small-town career criminal, played by actor Nicolas Cage, is arrested - again. Edwina, played by actress Holly Hunter, is taking H.I.'s mug shots. The scene in the police station shows H.I. stands against the line tape and we know that he is six feet tall, disheveled in his unbuttoned and colorful Hawaiian shirt, his thick mass of dark and uncontrollable manly chest hair showing above his Italian t-shirt line and he stares with a love-struck look at Edwina."
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"The Crucible", 2008.
An analysis of the film "The Crucible" directed by Nicholas Hytner.
1,058 words (approx. 4.2 pages), 1 source, APA, $ 37.95
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Abstract
This paper reviews the film "The Crucible", which is a retelling of the classic Arthur Miller play. The paper discusses how Hytner's version is skillfully filmed and acted and could therefore be considered an art film. The paper relates, however, that the film falls short on entertainment for many viewers because watching this film is sometimes boring and requires a high level of concentration.
From the Paper
"The film concerns Abigail Williams, a young girl living in Salem Massachusetts who becomes embroiled in the Salem Witch Trials of 1692. Abigail and some of her friends dance in the woods with Tituba, a black slave, and are accused of being witches. They confess they are "possessed," and begin to systematically accuse others in Salem of being witches or consorting with them. As the film progresses, the girl's accusations become more and more outlandish, and they become "possessed" in the courtroom as they accuse the people around them. Some of the people of Salem, like Rebecca Nurse, can see through the girls, but for the most part, the people are swept up in witch fever, content to believe the girls and their allegations."
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'Breathless' and Technique, 2008.
This paper examines the movie "Breathless" directed by Jean-Luc Godard and looks at its message for society and the film technique used.
1,083 words (approx. 4.3 pages), 2 sources, MLA, $ 37.95
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Abstract
In this article, the writer introduces and analyzes the film "Breathless" directed by Jean-Luc Godard. Specifically, the writer discusses a distinctive formal device from the film and details how that device is related to questions of state and government. The writer maintains that this film is really much more than the story of a petty thief who never seems to amount to anything. It is really a commentary on society and government of the time, from the rather inept investigators to the casual way society deals with death in the film. The writer notes that many film critics and experts believe Godard invented the jump cut technique with this film, and uses it quite effectively to question the state and government of the time. The writer concludes that Godard seems to be saying that if you flaunt society and its rules for long enough, it will come back to haunt you in the end.
From the Paper
"This could be a commentary about society at the time, as well. Society at the turn of the 1950s was becoming more open, looser, and it seems more unconcerned with rules and regulations. Children of the baby boomer generation (like the young girl Patricia played by Jean Seberg in the film), were rebelling against their parents and their uptight morals, and these two characters epitomize that rebellion. Michel is the ultimate rebel, who goes against society and yet wants to be accepted in society, and attempts to appear affluent by stealing and cheating others. He is ruthless and cunning, quite the opposite of the innocent Patricia, and this pits the two sides of society against each other in the film. It is clear that Patricia is basically honest, which Michel clearly is not. They make an incongruous couple, and that is another element of the film that Godard uses to criticize society. The jump cuts throughout the film also signify the great gap between the two characters, and how they will never really come together in a meaningful way; they are too far opposed from each other."
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Violence in Film, 2008.
This paper discusses the issue of violence in film, concentrating on the film "Pulp Fiction" directed by Quentin Tarantino.
1,459 words (approx. 5.8 pages), 4 sources, MLA, $ 48.95
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Abstract
In this article, the writer notes that to some members of the modern audience, the film 'Pulp Fiction' represents the worst aspects of modern culture and that the critical acclaim it received for its unabashed embrace of violence has led to an increasing amount of violence in films, up to and including the modern horror porn. The writer points out that others argue that the violence in 'Pulp Fiction', while disturbingly real, absolutely excessive, and not representative of daily life, serves a very important purpose. The writer maintains that rather than detracting from the plot, the violence in 'Pulp Fiction' is an essential part of the plot; without which, the movie simply would not exist. The writer concludes that by humanizing the character Marcellus, Tarantino makes a cogent argument for the fact that, as a society, Americans have dehumanized and marginalized a huge segment of people, simply because of their criminal behavior, and that this dehumanization is morally wrong.
From the Paper
"Like the other characters in the story, Butch's livelihood depends on violence. However, while Butch's life may have been violent, which is a prerequisite for a professional fighter, the film makes it clear that Butch has not previously been engaged in the type of criminal activity as the story's other leading characters. Therefore, when the audience is introduced to Butch, they see a washed-up has been who is willing to take a dive for money, but who is not entirely comfortable with having made that decision. What the audience does not know is that Butch has not actually decided to throw the fight, but is actually making his own plans to score big on the fight and escape with the money. Somehow knowing that Butch intends to cheat Marcellus, a crime boss, makes Butch seem virtuous in comparison. In addition, there is something underneath Butch's complacent and dopey exterior, and Tarantino uses violence to show the real Butch, who is actually a proud man with a lot of honor, even if his views of what is honorable do not coincide with society's views."
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"Baraka", 2008.
A review of the 1992 film "Baraka" by Mark Fricke and Mark Magidson.
1,141 words (approx. 4.6 pages), 0 sources, APA, $ 39.95
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Abstract
The paper discusses the film "Baraka", which stretches the boundaries of movie media and challenges viewers to develop a broader understanding of the human experience. "Baraka" is a plot-free film consisting simply of superb photography and cinematography. The paper comments that "Baraka" demonstrates that words are insufficient in conveying the sense of the sublime, and rather that visual art can suggest the intimate connections between human consciousness and the manifest universe. The paper concludes that humanity is not necessarily in conflict with nature even in starkly industrial settings.
From the Paper
"The traditional religions that rely heavily on nature for religious art and religious ritual especially form links between human consciousness and the divine. "Baraka" depicts the interfaces between humanity and nature; and between human religious expressions and nature too. Footage of Kenyan tribal ritual, for example, illustrates the formal ways human beings have cultivated respect for the world in which they live. Fricke juxtaposes such intimate human-nature connections with dysfunctional, unharmonious ones."
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"Cinema Paradiso", 2008.
A review of the film 1988 "Cinema Paradiso" by Giuseppe Tornatore.
2,126 words (approx. 8.5 pages), 1 source, MLA, $ 66.95
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Abstract
The paper discusses the film "Cinema Paradiso" and how it depicts a relationship between an old man who worked as projectionist in the local movie theater and the village boy he teaches about film and about life. The paper focuses on the expressive quality of Italian neo-realism and other influences on the boy. The paper looks at a touchstone film for particular film that is "The Bicycle Thief" by Vittorio De Sica.
From the Paper
"The film Cinema Paradiso (Giuseppe Tornatore, 1988) is clearly a paean to the motion picture as an art form, a shared social reality, an entertainment, and a means of personal expression. The film also details a human relationship between the old man who worked as projectionist in the local movie theater and the village boy he teaches about film and about life. The film is presented as a reminiscence, for the boy has become a famous movie director and returns to his home town when he hears of the death of the older man."
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