Abstract
This paper studies the literary images used by Henry James to portray New York in "Washington Square". It shows how James' perception of New York changed over time, the literary techniques James used to depict New York and the effectiveness of the images used by James. The paper shows the important link between James' use of images and the grand themes he was trying to express.

From the Paper
"When discussing morality as applied to Washington Square, an important distinction between the moral code of ethics with The American Scene needs to be made. Whereas in The American Scene there is much evidence to suggest links with the Christian faith directly (such as an allusion to the Beast of the Apocalypse), Washington Square appears to be based on the Republican political ideology towards religion rather than a direct appreciation of religion itself. There is a triangular structure with the main characters that is inherent in many of James' novels and tends to produce morality-based themes: the heiress, the fortune hunter and the protecting father. Dr Sloper is a man of intelligence, a Rappuccini of sorts, who espouses scientific objectivity and empirical observation however irrelevant to the moral situation that kind of rightness may be."

Tags:american, imagery, scene

Abstract
A detailed look into the the use of imagery and symbolism in the film Fight Club. This paper analyzes the depiction of the characters in the film through the use of color schemes and images as well as the different techniques used such as Subliminal messaging, a process by which visual or auditory influences are hidden amongst other images or sounds, such that the conscious mind and self are totally unaware of the information, which it has just absorbed.

From the Paper
"In the film Fight Club there are two main characters played by Edward Norton and Brad Pitt. Norton's character is a stressed out insomniac. To deal with this stress, his character tries attending support groups, and getting sleeping pills, unfortunately nothing seems to be working. During his most stressed out moments, there are flashes on the screen, which would not be noticed really in a first screening in a theatre, but easier to notice in DVD or VHS copies of the film. These flashes are not the director or editor's mistakes; they have significant underlying meaning. The flashes are director David Fitchers idea of subliminal messaging. They are images of Brad Pitt before his character Tyler Durden is introduced to the film. The significance of the editing is explained later in the film, when the topic of splicing porn into kids? films is discussed. It is believed that these flashes of Pitt show the significance of when Tyler Durden first starts coming into the mind of Norton."

Tags:brad, en, film, insomniac, messaging, mise, pitt, scene, subliminal

Abstract
This paper analyzes the movie "Godfather" and shows that the women in the film played a very important role for setting the tone. It looks at how stereotypes are fitted into the movie in many ways but with the women's role, this changes. Each of the important female characters are analyzed individually.

From the Paper
"Certainly, those qualities were not valued in Puzo's Italian-American female characters. The fact that Puzo's women are not well-respected translates over into Coppola's Godfather. Locked out of the family business, the women who were married to the mob seemed to have little to do beyond looking pretty and getting blown up. His men, on the other hand, were dynamic supermen -- cold-hearted killers, yes, but also devoted family men, guys who could go to work, knock off a few enemies, carve out a little more territory and still remember to bring home the cannoli. They were the inspiration for the generation of rising mobsters that included John Gotti. The Dapper Don with the sunlamp tan and Brioni suits carefully cultivated his image after that of Puzo's mobsters. Now, it turns out, the Dapper Don's role model was really a welfare mom who held her family together in the tenements of Hell's Kitchen while her husband broke down under the stress. This theme is carried well throughout Coppola's film The Godfather."

Tags:italian, mafia, male, family, female, puzo

Abstract
The paper explores how racism and sexism are present in fairy tales and how even the Disney stories of our more enlightened era are filled with all sorts of stereotypical depictions of good characters and evil. The paper uses the Walt Disney movie, "Alladin", to show how the characters have become "Anglicized" to suit a more Caucasian audience.

From the Paper
"It probably surprises no one to see to recognize the racism, and sexism, that was everywhere in traditional fairy tales. After all, that was a very unenlightened time when people were uneducated and rarely had the opportunity to get to know, and come to understand, people of other races.

"But things are different now. We have had decades of education and desegregation. It is surprising, then, to see some of the blatantly stereotypical images that fill Disney's movie screens. After all, a long time has passed since the brothers Grimm penned their tales, when bad men were always swarthy, or black, and could be spotted the second they stepped onto the page. Nevertheless, after looking closely at a few of Disney's recent hit movies, one might conclude things have not changed that much at all."

Tags:Pocahontas, Arab, Mickey, Mousing, Middle-Eastern

Abstract
This paper analyzes Eminem and Dr. Dre's "Guilty Conscience." It shows that rap music has many common elements with poetry to the extent that it ought to be considered and analyzed as poetry. The paper dissects the song, looking closely at its language, style and themes. The writer believes that rap music has a strong poetic message which should not be ignored or stereotyped.

From the Paper
"My choice of poem to analyze may surprise you as a bit unconventional. I will analyze the hip-hop music star Eminem's song Guilty Conscience. I was initially going to choose Milton's Sonnet VII, a poem that is more than 350 years old, contains some of the classic themes of poetry, and is written by one of the most renowned poets ever. With Guilty Conscience, my approach will be almost the equal and exact opposite. The "poem" is a mere one-year in age, it contains some themes that do not yet seem to have been really discussed in the English literature academic community, and is written by someone whom most adults know at best as a controversial entertainer. Nonetheless, it is my opinion, which I hope to henceforth argue, that hip-hop music (also known as rap music) is another form of poetry and therefore is as valid a candidate for analysis as other poems."

Tags:hip, hop, rap, music, genre, poetry, poem

Abstract
The writer compares and analyzes "Brief Encounter" and "The Pumpkin Eater" with reference to the cinema of the time, including an in-depth investigation into the film-noir style 'romance' films of the British cinema of the 1940s. The paper looks to answer the question of whether or not these romance films were actually romantic.

From the Paper
"The elements that characterize romance films are that they "center on passion, emotion and the romantic and affectionate involvement of the main characters and the journey that their love takes through courtship or marriage." They often explore the themes of "love at first sight, unrequited love, obsessive love, sentimental love, spiritual love, forbidden love, sexual and passionate love, sacrificed love, explosive and destructive love and tragic love" They usually follow the trials and tribulations of the couple as they make their way through an episode in their lives. Typically romances have a "happily ever after" ending that leaves the audience feeling fulfilled, however there are some films that it is very difficult to classify as "typical" romances even though they are undeniably romances. There are a huge stock of romantic films that are instantly forgettable but what makes a romantic film enduring is that romance is not its primary concern it has more substance a simple exploration of a straightforward relationship. Brief Encounter is one such film, generally regarded as one of the greatest love stories ever to be produced by the British cinema. It is however not a typical romance and has definite tones of film noir and so does not adhere to the conventions of romantic films. Film noir is usually takes as its subject crime or mystery but there are some that deal mainly with romance such as The Postman Always Rings Twice and Double Indemnity, both adaptations of James M. Cain novels that are "seething with lustful self destructive romantic relationships between a femme fatale and an entrapped male partner" . Another example from the British cinema of a romance disguised as something else is The Pumpkin Eater. This film purports to explore the psychological and emotional state of a woman, and is an examination of these elements of her character. Her psychological and emotional state is however intrinsically linked to her relationship with her husband Jake. Both films deal with the romantic lives of the main characters, but are both undeniably tragic and somewhat disconcerting tales of love and marriage from a female, middle class perspective."

Tags:cinema, emotion, character, perspective, affection

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 focuses on the enduring themes and images occurring in the film in relation to other modern films, and examines the performance of Marlon Brando. It provides a technical, aesthetic and thematic analysis of the movie. The writer states that there are two ways to look at this film, one with an historical understanding of the political environment at the time the film was made, and the other without any such knowledge but watched for entertainment.

From the Paper
"On the Waterfront directed by Elia Kazan is a good example of a film that has stood the test of time, mainly due to the themes it deals with and the way in which it is visually presented. Although directly linked to Kazan's own experiences with HUAC, it contains themes and messages that give it continued relevance. It is concerned primarily with the role and status of the informer but also holds messages regarding social and moral conscience, religious ideology and the question of right and wrong which are universal and everlasting themes relevant to all humanity."

Tags:cold, huac, imagery, informants, studies, violent, war

Abstract
This paper looks at how in an age of celebrity magazines and constant media coverage, it is easy to forget that the celebrities whose faces we see every day are, in fact, real people too. It examines how a lot of work goes into shaping their careers and their personas and how this has an inevitable effect upon the person behind the persona. It attempts to analyze if this effect is a positive or negative one and whether the actor and his personality can become absorbed by his star persona, so they become one and the same. It examines the problem of stardom from several different ages including the great age of the Hollywood star in the 50's all the way to the present day, using examples as varied as Marilyn Munroe to Winona Ryder in order to show the varied pitfalls of celebrity and it's psychological effect on the individual performer.

From the Paper
"There are many, many actors in the business, most struggling to make a living in minor roles and bit parts. None of these are stars, so the terms are clearly not synonymous. A star must be created: "A star has two things an actor doesn't have: charisma and the ability to sell tickets." In the past, a star was usually created by the studio he was signed to, and plenty of work went into the image the public saw. Information about the actor in question was tightly controlled, far more so than today. Studios would distribute pictures of the fledgling star to promote interest, and perhaps start rumors about their first major role, or a love affair with an already established star."

Tags:charisma, consumer, fame, film, persona, star, theatre

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