| Papers [61-70] of 2815 :: [Page 7 of 282] | | Go to page : <— 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 —> | |
|
|
"A Time to Kill", 2008.
This paper discusses the social implications of John Grisham's movie "A Time to Kill".
985 words (approx. 3.9 pages), 9 sources, APA, $ 34.95
»
Click here to show/hide summary
Abstract
The paper explores how the movie "A Time to Kill" addresses the issues that surround the rape and murder of a young African-American girl, the justice dealt to her white rapist-killers and how the revenge meted out by her father is dealt with. The paper highlights how, with the characters acting as realistic representatives of life in the American South, the movie shows how racist socialization is both widespread and inevitable.
From the Paper
"The plot of the movie "A Time to Kill" contains several social implications. Each one of these social factors plays a role in how the movie addresses the issues that surround the rape and murder of a young African American girl, the idea of "justice" being dealt to her rapist-killers, and with how the vigilante justices meted out by her father is dealt. While the protagonist, portrayed by Samuel L. Jackson has clearly committed the act of which he has been accused, his character is more sympathetic than the men that he has killed. The sympathy that his story creates in the minds of both the jury--and the audience--is such that it transcends the actual demands of the justice system."
| |
|
A Character Analysis of "Blood Diamond". (2006), 2008.
A film review of "Blood Diamond" directed by Edward Zwick.
2,456 words (approx. 9.8 pages), 1 source, MLA, $ 74.95
»
Click here to show/hide summary
Abstract
This study analyzes and evaluates three central characters in the film, "Blood Diamond" (2006) by director Edward Zwick. It also provides a synopsis of the film's plot and the moral and ethical issues that arise.
From the Paper
"I.The ends and means of each character builds bridges into the central character, Danny Archer, as he is enveloped in the illegal conflict diamonds that are brought into Europe through smuggling as a result of the Sierra Leone civil war. The means of Archer's greed his one unethical standard that drives him toward making profits off the horror and destruction of whole communities in Africa during internal military conflict. He is willing to go to any means to rationalize his involvement with RUF, as he is directly linked to Europeans that are creating civil wars in Africa to exploit Africans and their natural resources. When Danny talks about his immoral perspective on the world with Maddy Bowen, an American journalist writing a story about the war, his means to an end as a businessman is made clear:"
| |
|
"Platoon", 2008.
An analysis of the war film genre of "Platoon" by Oliver Stone.
755 words (approx. 3.0 pages), 3 sources, MLA, $ 26.95
»
Click here to show/hide summary
Abstract
This paper attempts to understand the plot, characters, and the biographical background of Oliver Stone's film "Platoon". By realizing the intensive mix of history and personal accounts of Stone's own involvement in the war, the paper discusses how Stone provides a crucial moral controversy about the nature of warfare. It also examines how Stone defines central moral problems with American imperialism, and how the lower class soldiers fighting the war were equally doomed as their equally poor Vietnamese enemies whom they fought. It contends that Stone brings forth a conglomeration of themes into this film, creating much fictionally portrayed drama and how he also defines the majority of issues that arose in Vietnam during the 1960s.
From the Paper
"The critical aspects of this type war film genre garner more to a sensationalized conglomeration of various personal experiences and the way that the war was fought in regards to atrocities committed by American imperialism. Stone often brings forth the lack of morality or ethical considerations that American commander held against their men in the filed of battle, and how the war was often mismanaged and not efficiently run in the best interest of American troops. Furthermore, the issue of American imperialism and its massive destructive power is represented due to the harshness and severity of atrocities done to soldiers, Vietnamese civilians, and the aggressive stance the American government had begun to take against communism in Asia. "
| |
|
"To Kill a Mockingbird", 2008.
A critical analysis of the theme of racism in the 1962 film "To Kill a Mockingbird" directed by Robert Mulligan.
808 words (approx. 3.2 pages), 2 sources, APA, $ 28.95
»
Click here to show/hide summary
Abstract
This paper analyzes the critical elements of racism that arise as they pertain to Robert Mulligan's film "To Kill a Mockingbird". It looks at how in many scenes within the film, Mulligan effectively captures the spirit of Atticus Finch (Gregory Peck) and his desire to defend a black man from being wrongfully charged with raping a white woman. The paper also discusses how, by acknowledging the problems of racism in the South in the 1930s, Mulligan provides cultural and community based examples of racism that are realistic and poignant.
From the Paper
"The major issue in Mulligan's civil rights era film To Kill a Mockingbird is how racism is prevalent between families within the town. The Radley's are the racist faction that seeks to have the black boy hung for supposedly raping a white girl, and it is the Finch's that help to bring about justice to seek a legal means to try the case. Mulligan brings this conflict into focus, which is a major reason why the film depicts racism effectively as a cultural issue that divided communities in the 1930s. In Mulligan's characterization of the families, Nathan (Richard Hale) is very similar to Boo's dad, as he is racist and does not care for outsiders to interfere with the events that occur inside the Radley home."
| |
|
"Hero" by Zhang Yimou, 2008.
A review of cinematography and martial arts stylization brought forth by director Zhang Yimou in the film, "Hero."
706 words (approx. 2.8 pages), 2 sources, APA, $ 25.95
»
Click here to show/hide summary
Abstract
This paper analyzes the film, "Hero" directed by Zhang Yimou. It describes the plot structure of the film and discusses the cinematography and martial arts stylization brought forth by Zhang Yimou. The paper concludes that the film offers a high level of martial arts entertainment that rises far above other films that have come forth in this genre in the past decade.
From the Paper
"In conclusion, Hero, by director Zhang Yimou, offers a high level of martial arts entertainment that rises far above other films that have come forth in this genre in the past decade. Although Yimou had not put a great deal of innovation into the normative "assassin's" plot in this genre he invariably provides a deeper visual representation by showing more details and interactive special effects in the fighting scenes. Jet Li and the other martial artists in the film are high caliber martial artists that provide incredibly mythic choreographed acrobatics and fighting scenes that rise far above the competition. Hero is a film that demands more storytelling innovation, but certainly, the martial arts and special effects in the film make greater advances in this style of Asian filmmaking."
| |
|
Accurate Portrayals in the Film Industry, 2008.
This paper illustrates the realistic portrayal of teens in the film "Rebel without a Cause," directed by Nicholas Ray.
1,268 words (approx. 5.1 pages), 1 source, MLA, $ 43.95
»
Click here to show/hide summary
Abstract
The paper asserts that the portrayal of various groups in the entertainment industry can sometimes be realistic. The paper then analyzes, as an example, how teens are depicted in the film "Rebel without a Cause" and highlights how these young people exhibit all the angst and pain one finds in wayward, drifting youth. The paper is of the opinion that the film accurately conveys many timeless themes and challenges inherent in growing up and offers unusual clarity to the subtle dynamics that can rend families apart.
From the Paper
"To start with, the portrayal of teens in Rebel without a Cause is realistic. The film itself focuses chiefly upon the character of young Jim Stark (James Dean) and his difficult passage to adulthood. In the opening scenes of the film, as the three adolescent protagonists - Jim Stark, Judy (played by Natalie Wood) and Plato (Sal Mineo) - come into contact with one another at the local police station, the audience is made aware of the painfully dysfunctional nature of their respective home lives. To wit, Jim's father is a weak man clearly hen-pecked by a wife who seems to care more about "appearances" than she does about her children - or maybe even her spouse. For her part, Judy seems saddled with a father who views her as a tramp and has become cold and aloof now that his daughter is about to become an adult. "
| |
|
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
»
Click here to show/hide summary
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."
| |
|
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
»
Click here to show/hide summary
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."
| |
|
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
»
Click here to show/hide summary
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."
| |
|
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
»
Click here to show/hide summary
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."
|
|
|