Abstract
This paper examines the French New Wave, one of the most significant movements in cinema's history, which occurred during the period of around 1958 to 1964 and contained a whole new interpretation of cinema and narrative techniques. In particular, it analyzes Jean-Luc Godard's films "A Bout de Souffle" and "Le Mepris" and comments on the way these films show Godard's relationship with the classical Hollywood period through the visual style and techniques he uses.

From the Paper
"European cinema is felt to have gained its greatest strength in producing smaller-budget films as a reaction to the big budget genre films produced by the Hollywood studios. These are called "art-house" films, or "art cinema". Instead of the escapism and spectacle that Hollywood narratives offered, art cinema focused on realism (nouvelle vague), ambiguity and innovative styles. A Bout de Souffle (Breathless), Godard's first feature length film, set the tone for the French New Wave as it was one of the first successes to come out of the period. It is still very much discussed today as it offers a good example of the period's conventions. The film also uses many conventions of Hollywood genre narratives, but whilst it can be seen as pastiche, it could also be said that placing conventions from different cinemas also creates distance between them to allow for intellectual criticism. The film is based on a Hollywood type script by Truffaut, with a 1930's film noir style narrative."

Tags:hollywood, souffle, le, mepris

Abstract
The essay looks at the various macro and micro business ethics issues raised in the film, "Wall Street" and outlines how Western Christian theologians would rationalize these. The essay deals with topics such as greed, corruption, corporate governance, leadership, corporate codes of ethics etc. using Oliver Stone's 1987 film "Wall Street" as a study piece.

From the Paper
"In Wall Street we find that Gecco has a plutocratic monopoly over the power and control of his company because he has the board "in his back pocket" . At Gecco & Co. there is a tragic lack of contestability, and Gecco, being at the pinnacle of the corporate organogram has absolute power. However from a Christian perspective, especially considering Gecco's laissez-faire ethical stance, this is hardly ideal, and if we look briefly to the Christian scripture on leadership qualities we find from the Christian perspective, Gecco is certainly not the right man for the job -"the overseer must be above reproach, the husband of but one wife, temperate, self-controlled, respectable, hospitable, able to teach, not given to much wine, not violent but gentle, not quarrelsome, and not a lover of money."."

Tags:theology, Gecco

Abstract
A brief examination of the movie "Pulp Fiction" from the aspect of language and its impact on culture.

From the Paper
"However, the danger and sophistication that are ever-present in the poster can only really be appreciated when related to the third myth, that of 'cool'. Danger in itself is not a myth, it is a definite fact of life that, in real-life, is taken seriously as a truth. But when the danger is removed from the individual then the cool aspect of danger can be perceived as a myth. Ultimately we know that smoking is bad for one's health, but when one is separated from it, the act becomes cool, we also know guns are extremely dangerous yet again once we can take that step away and they are no immediate threat to us, they can be perceived as cool. This removal that is necessary in order to establish the element of cool is achieved in an interesting way in the poster. Rather than being just a poster, the edges have been made to look worn and there are stylized wrinkles in the paper. The purpose of this is to enhance the illusion of this image that makes up the poster as being the cover of a 'trash novel'. We realize that in actual fact these images that we have been examining are being portrayed by the film company as fiction. "

Tags:cool, dogs, reservoir, movies, myth, james, dean

Tags:benjamin, walter

Abstract
This paper discusses how as Hollywood's entertainment counterpart, Las Vegas has been screened as a mecca for romance, crime, action and adventure. It shows how with its consumer expenditure and capital gain, its seductive neon lights, together with its surrounding vast desert, make it an ideal space for filmmakers to explore a diverse range of character types and narratives. It analyzes how although all set in three different periods of time, the films "Ocean?s 11", "Casino" and "Leaving Las Vegas" depict very different images of Las Vegas. It discusses how each film does this through the director's use of mise-en-scene and iconography and the values it holds and their use of time both outside of the film to create a period of time and within the film to correspond to the film's narrative.

From the Paper
"Scorsese depicts a Vegas at a time when organized crime played a pivotal role in the ownership and running of the casinos. Behind the sexy showgirls, the enticing neon lights, the shining slot machines and the lucky blackjack tables, lives an underworld of greed, vengeance and power which he explores in his 1995 film Casino. In 1983, Ace Rothstein played by Robert De Niro is blown into a sky of flames and is dropped into the flashing neon lights of 1970's Las Vegas. The opening credits are supplied over a close up of the dots which combine to create a neon sign; very similar to the opening credits of Milestone's 1960's classic Ocean's 11, reminding us that these signs will take us into the glittering world of Vegas, where "anything goes;" a world in which before Casino, has only ever been depicted through the eyes of the visitor."

Tags:nevada, urbanism, scorsese, hollywood, gambling, city

Abstract
This paper analyses the editing and suspense of the final sequence of the film "The Usual Suspects". It looks at Bryan Singer?s use of editing in order to create suspense by examing the scene, shot by shot. It also assesses each of the methods used such as cross-cutting, with a detailed look at desired effects and actual effects.

From the Paper
"The cross-cutting of perspectives continues, Verbal limps and drags himself down the street; while the car driving slowly behind; and Kujan has reached the steps outside the police station. It is at this point when an attack from the trailing car is anticipated. Singer then stops the chase in its tracks to give his final, blatant clues to the audience. We cut between two perspectives. An objective view of Verbal's posture changing to prove he is not a cripple, the final part of his act; and a subjective POV shot in the police station viewing the fax containing a sketch of his face. The car then stops, verbal gets in, and they drive off. This is where our link with Kujan ends. He is given neither of these last two clues/facts within the film. His case is catch Keyser, and ours just figure out who Keyser is, to which Singer given us all the clues."

Tags:cross-cutting, singer, keyser, scene, shot

Abstract
This paper examines how Alfred Hitchcock's films deal with many psychological themes, including the idea of voyeurism. It reviews two of his films; "Rear Window" (USA, 1954, Alfred Hitchcock) and "Vertigo" (USA, 1958, Alfred Hitchcock) and discusses the occurrence of voyeurism within the narratives of both films. It also looks at the idea that certain aspects of the films can be said to be representations of the voyeuristic nature of cinema-going itself.

From the Paper
"I will now look at Vertigo and consider how the voyeurism and the gaze of the film can be seen as much more sexual than that of Rear Window. It has been said that Rear Window seems like a comical "test run" for the more obsessive and frightening nature of Vertigo, and that Rear Window, Vertigo and Psycho form a sort of trilogy of films that contained the them of voyeurism. Vertigo was not as popular on its original release as Rear Window. This is probably due to the fact that there is a lot more complexity and psychology in the story, or because James Stuart seemed too old to play the romantically obsessed man. The story is about Scotty (James Stewart), an acrophobic detective who has been hired by a friend to trail his beautiful and troubled wife, Madeline. His quest at first is an innocent one, but he soon becomes Madeline's obsessive stalker. "

Tags:auteur, jeff, scotty

Abstract
This paper examines how the film "Ocean's Eleven" is part of a trend of films that are popular because they present an aura of 'coolness' around the main characters. In particular it explores how the movie uses film making techniques to push the boundaries and question the conventions of what is considered 'cool'.The essay is split into the following sections: semiotics, narrative structure, genre, audio-visuality and editing. Each section explains key points (with references) and applies them to "Ocean's Eleven" to construct a central argument about film and the conventions of 'cool'.

Outline
Introduction
Section 1: Semiotic Construction of Meaning
Section 2: Narrative Structure
Section 3: Codes and Conventions of Genre
Section 4: Audio - Visuality
Section 5: Editing
Conclusion

From the Paper
"Semiotics can convey more complicated messages when signs are combined. The first time the audience sees Rusty, the suit he is wearing signifies that he is successful and stylish. In particular it brings to mind a James Bond style hero. This would be considered to be part of the paradigmatic axis: the suit was chosen from a whole range of outfits Pitt could have worn, because of what it signified. At the same time, instead of sipping vodka-martini like James Bond, Rusty is eating fast-food with his fingers; in fact he is frequently seen eating this way throughout the film. The syntagmatic axis describes how signs are combined. In this case, Rusty is certainly not the generic, sophisticated hero."

Tags:hero, semiology, rusty, linus

Abstract
This paper reviews Martin Scorcese's film "Taxi Driver", the story of Travis Bickle, a taxi driver with no particular plot but more of a documentary of Bickle's life. It discusses Scorcese's tendencies to make films about the United States that are hard, rough-edged, unglamorous and violent and how "Taxi Driver" is no exception. It examines how America is portrayed as a completely messed-up society and how Scorsese shows that there is something fundamentally wrong with sex, politics and drugs all combined to produce an America that is falling to pieces.

From the Paper
"The film is basically Bickle's view of New York City as he sees it. The New York he sees is one of slime, grime, seediness and filth: Travis only sees the cruel and sadistic underworld of the city. This is the main representation of America in the film and this is the reason that the film attracted such stark criticism from middle-American conservatives and moralists. The America which Scorsese portrays within Taxi Driver is a weird perversion of the America Dream. America is portrayed as seedy and decaying, not the country where opportunity is for all: the only people who are seen as prospering in the film are those engaged in illegal activities."

Tags:deniro, driver, martin, scorsese

Abstract
This paper discusses how "Thelma and Louise" strayed from the typical "road movie" formula in terms of casting, theme and storyline. It shows how the film not only helped to redefine gender stereotypes but also paved the way for other women, as well as gays, people of color and other traditionally underrepresented groups, to become "road movie heroes" as well.

From the Paper
"The conventional road movie twosome, which is usually comprised of either two young males or a male and female with a romantic connection, has permeated the genre since its inception. Thelma and Louise broke that tradition by not only using two female protagonists, but by portraying men in a consistently negative light; essentially as either "rapists", "bullies" or "boy toys"."

Tags:action, adventure, film, gender, roles, theme, gay, color