| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "1960S CINEMA": |
|
|
1960s Cinema, 2002.
A review of cinema from the 1960s, using five of the most memorable movies from the period.
1,979 words (approx. 7.9 pages), 5 sources, MLA, £ 44.95
»
Click here to show/hide summary
Abstract
This paper analyzes numerous films of the 1960s which focused on specific social issues, such as the sexual revolution, women's rights and feminism, the military/industrial complex, domestic violence and the breakdown of societal mores and ethics. The five important films referred to are all considered as quintessential examples of 1960s cinema--"The Apartment", "Dr. Strangelove", "Who's Afraid of Virginia Woolf?", "Bonnie and Clyde" and "Cool Hand Luke".
From the Paper
"In the 1960 comedy/drama "The Apartment", starring Jack Lemmon, Shirley MacLaine, Fred MacMurray, Ray Walston and Edie Adams, director Billy Wilder focuses on the main character, C.C. Baxter (Lemmon), an ambitious and somewhat gullible young insurance clerk who tries to advance his social standing by lending his apartment key to several high-ranking executives who are prone to cheating on their wives. But when Baxter meets and falls madly in love with Fran Kubelik (MacLaine), the apartment building's elevator operator, it suddenly dawns on him that Fran is the same woman that his boss (MacMurray), a so-called happily married man, has been taking to his apartment for numerous sexual romps."
| |
|
The Evolution of Italian Cinema., 2002.
Explores the evolution of Italian cinema from neorealism in the 1940s to personal realism to the 1960s.
1,650 words (approx. 6.6 pages), 4 sources, £ 44.95
»
Click here to show/hide summary
Abstract
The evolution of Italian cinema, from the neorealism of the 1940s and early 1950s to the more personal realism of the late 1950s and early 1960s, was defined by complex forces at work in Italian cultural, political and economic life at the time.
| |
|
Cinema du Look, 2003.
An overview of the key features of the cinema movement known as Cinema du look.
1,652 words (approx. 6.6 pages), 6 sources, MLA, £ 38.95
»
Click here to show/hide summary
Abstract
The paper examines how snubbed by French film academics, lovingly received (generally) by the audiences, Cinema du look at first appears as a triumph of style over substance. It systematically identifies the main features of the cinema movementby referencing the works of three main directors (Besson, Beineix and Carax) and demonstrates how the movement is not simply a triumph of style over substance. It shows how beneath the surface of these films (and these directors) is an interconnected postmodern reflection of contemporary society.
From the Paper
"Cinema du look, to some extent, can also be viewed as a return to the early days of cinema, where the spectacle of the movies was paramount. The ?cinema of attractions? as it is known. What is on the screen is there to amaze and astound the viewer, to be pleasing to her eye. Science fiction movies and other spectacle movies like The Fifth Element (1997), which I would argue definitely shares qualities with other cinema du look texts (fantastic colours, the ?Diva? who sings an operatic number, the lack of attention to characterisation and a wafer thin story) are viewed as being in a formulaic genre. The history of French cinema, and accordingly the attitudes of French establishment film critics, is the history of the auteur, and may go some way to explaining the hostility met by cinema du look amongst the French critics of the time."
| |
|
Iranian Cinema, 2005.
This paper discusses the history of Iranian cinema especially the period after the revolution.
1,790 words (approx. 7.2 pages), 6 sources, APA, £ 40.95
»
Click here to show/hide summary
Abstract
This paper discusses that, although cinema has not always been a part of Iranian culture, its growth was slow yet steady in a country ruled by Islamic rules and regulations. The author points out that the Islamic Revolution of 1979 brought an end to the already slowing cinema industry of Iran; theatres were destroyed believing they were symbolic of moral decay that had plagued the society. The paper relates that, after the revolution, the situation of the Iranian cinema gradually improved especially as women began to experience more freedom and interaction rules were relaxed; women became directors resulting in some famous movies including "Rakhshan Bani'etemad's Kharej AZ mahdudeh" ('Off Limits', 1987) and Nargess' "Tahmineh Milani's Tazeh cheh khabar" ('What's New?' 1992).
Table of Contents
An Introduction to Iran
Brief Overview of Cinema in Iran
Iranian Cinema after the Revolution
From the Paper
"The first film ever made in Iran was a silent movie produced in 1921 and talkies came later in 1933 when first sound movie Dokhtar-e-Lur came out. This marked the beginning of Iranian industry which was technically inferior to many advanced film industries of the world. While the industry was suffering because of lack of technical expertise, audience's appetite for foreign films didn't help the situation either. Most theaters therefore screened foreign films only and Iran rarely produced any movies for first fifty years. By 1947, Iran had produced only 2 films, in 1952 the number reached 20, by 1962 it increased to 30 and in 1971, Iran had produced 88 films. In 1977, the number of domestic films came down to 50 while foreign films during that period totaled 504."
| |
|
Third Cinema, 2003.
A summary of Scott Cooper's article on third cinema in the United States.
920 words (approx. 3.7 pages), 1 source, MLA, £ 22.95
»
Click here to show/hide summary
Abstract
This paper summarizes Scott Cooper's 1989 article third cinema in the United States". It emphasizes the need for disenfranchised peoples to tell their stories from their own perspectives. The author discusses the problems of ideology. The paper also explores common characteristics of Third Cinema and Third World Cinema.
| |
|
Rebellion in Canadian Cinema, 2007.
An analysis of the representation of rebellion in Canadian cinema as compared to American and British cinema.
1,911 words (approx. 7.6 pages), 0 sources, MLA, £ 43.95
»
Click here to show/hide summary
Abstract
This paper argues that Canadian films such as "Goin' Down the Road"(1970), directed by Donald Shebib and "Nobody Waved Goodbye"(1964), directed by Donald Owen, ultimately suggest that Canada has not yet found its solution to the problems of societal rebellion and tension and neither adolescents nor adults can articulate an ideology of meaningful resistance.
From the Paper
" The film's jerky camera motions, overlapping dialogue, and clumsy scene splicing highlights this unfinished nature as well. Peter is an unfinished person, isolated even from other people his own age, and the only coherent windows on his life are provided by the jumps and jerks of the confined black-and-white cinematic lens. Unlike the delinquents of America who gleefully flee to the open road with a sense of possibility, to Peter the nation of Canada is so vast, so isolate and rural, that he feels he has nowhere to go within its borders, even when he is driving in a (stolen) car. "
| |
|
Brazilian Cinema, 2008.
Presents a history of Brazilian cinema with a focus on traditional Latin American themes seen within this history.
9,145 words (approx. 36.6 pages), 9 sources, MLA, £ 135.95
»
Click here to show/hide summary
Abstract
This paper relates that the major cinematic areas of tradition in Brazilian cinema include cannibalism, hunger, vera cruz and other areas of social and political significance. The paper then takes a look at each of these
Latin American traditions and in an effort to provide an understanding of each tradition in Brazilian filmmaking history. The paper juxtaposes these traditions to the events of the eras in which they emerged and the dual dichotomy of Brazil's political impact on filmmaking, and cinema as an impact on Brazilian society.
Table of Contents:
Introduction
Literature Review
The Early Years
Cinema Novo
"Vidas Secas"
"The Guns"
"Garota de Ipanema" (Girl From Ipanema", 1967)
"Terra em Transe" ("Lang in Anguish", 1967)
Third Cinema
Amacio Mazzaropi
1980s - 1990s: A Shift In Brazilian Filmmaking
"At Play in the Fields of the Lord"
Conclusion
From the Paper
"The earlier works between 1930 and 1959 were creative, although the costumes relied largely on the actor's own sense of style and resources. This cinema reflected the development that the country was going through, and investment by foreign markets and banks. Between 1956 and 1961 the country experienced growth in economic output and production. Not so different than in America, where this period represented what has often been referred to as the good years for the nuclear family; in Brazil the Brazilian president, Kubitschek promised 50 years of progress in five, and he made good on his promise."
| |
|
Women in the 1960s, 2008.
This paper discusses the roles of women in the 1960s, along with societal changes affecting these roles.
2,593 words (approx. 10.4 pages), 8 sources, APA, £ 55.95
»
Click here to show/hide summary
Abstract
This paper discusses how the 1960s brought about a great deal of change in American life as we know it today. These changes included the passing of the civil rights bill and the women's liberation movement. Both the civil rights and the women's liberation movement have been explored in a great deal of literature about the 1960s. This paper examines everyday life for women in the 1960s. The author focuses on educational and workforce opportunities in addition to family and marriage.
Outline:
Introduction
Life for women in the 1960s
Education and Job opportunities
Marriage and Family
Women's Liberation Movement
Conclusion
From the Paper
"Although single motherhood was becoming more prevalent it still wasn't as accepted as it is today so many young women got married. Some married women were able to be stay at home mothers if their spouses had good jobs. However, this was usually only the case if the husband had some type of higher education. In many cases if both the husband and the wife only had high school diplomas or did not graduate from high school they both would have to work outside of the home.
"For women who could afford to stay home with their children, much of their daily lives were relegated to managing the home. Women would be responsible for cooking, cleaning, childcare, running errands and the like. Women would also be responsible for ensuring that different community or family functions (eg, birthdays, bridal showers) took place and ran smoothly. Although both working women and housewives were expected to maintain the home, women were becoming increasingly more significant in public life. This was a marked contrast from the 1950's when women's roles were more defined.
"Regardless of whether a woman was a housewife or part of the workforce her daily routine would include taking care of children; whether it be getting them to school, caring for them in the home or sending them to day care. If a woman worked and was also a mother she had to balance work life with home life. In some cases fathers began to take a more active role in the lives of their children but most of the responsibility in rearing children and attending to domestic affairs was left to the woman."
| |
|
Social Protest of the 1960s, 2004.
This paper discusses the 1960s, a decade filled with change, when Americans threw off the aura of conformity from the previous generation.
2,800 words (approx. 11.2 pages), 5 sources, MLA, £ 59.95
»
Click here to show/hide summary
Abstract
This paper explains the equation that caused the explosion of the 1960s was a simple one. ?Consumerism + cold war + denial = conformity?. The paper gives details about two leaders of the 1960s movement for change, Abbie Hoffman and Janis Joplin, each of whom contributed to the social protest mindset of the 1960s in a different way and became symbols of importance to the counterculture. The paper states that, if it were not for the 1960s, blacks might still be forced to the back of the bus, women would still be expected to stay home and not have career ambitions, and Viet Nam might still be going on.
Table of Contents
Introduction
What Came before the Storm
Social Protests
Compliments and Contrary Effects
Abbie Hoffman and Janis Joplin
Conclusion
From the Paper
"The social protests began at various stages. The south had them erupting because of the segregation that was still an accepted practice in that area. Other parts of the nation had them because of the Viet Nam conflict and all that it represented by way of government lies and the loss of innocent lives. Innocence was destroyed during this era, as the younger generation pulled back the curtain of the Wizard and saw that it was only a man dressed as the American government. Once the untruths became evident, the grass root movement to change the nation took hold and social protest became a way of life for the American people."
| |
|
Cinema- Voice for Political and Social Issues., 2006.
An examination of cinema as a means to voice political and social issues.
3,690 words (approx. 14.8 pages), 5 sources, MLA, £ 73.95
»
Click here to show/hide summary
Abstract
In this paper the author highlights many of the uses of cinema as a means to political and social communication. He cites many examples of where politics have been affected by the use of cinema and social trends have been established as a result.The author also centres on cases where American movies have been banned due to political issues and influences. The paper concludes by stating that cinema is not the only influence on the changes that have occurred in politics and society.
From the Paper
"A lot of Canadians seem to be loyal to Canadian art, Canadian music, orchestras perform works by Canadian composers, and theatres that perform Canadian plays. But at the same time there are movies that are being now produced and shot in Canada when once they sued to be shot and filmed in the US. Although a lot of Canadians say that they would prefer to be distinctive of their own culture and society at the end of it seems like if they were given a choice they would rather opt for the American way of living."
| |
|
Classicism and Art Cinema, 2007.
A comparison of Hollywood classicism and art cinema using the films "Singin' in the Rain," directed by Gene Kelly and Stanley Donen and "My Life to Live" (Vivre Sa Vie) directed by Jean-Luc Godard.
2,114 words (approx. 8.5 pages), 6 sources, MLA, £ 47.95
»
Click here to show/hide summary
Abstract
This essay attempts to broadly define the characteristics and underlying principles of both Hollywood classicism and the art cinema. It references one film from each category - "Singin' in the Rain," directed by Gene Kelly and Stanley Donen and "My Life to Live" (Vivre Sa Vie) directed by Jean-Luc Godard, respectively. The paper argues that the predominant stylistic distinction between the two modes lies in the art cinema's subversion of logical causality.
Table of Contents:
Introduction
Hollywood Classicism
The Art Cinema
Conclusion
From the Paper
"Moreover, Godard is also situating his work in the context of New Wave cinema for his audience. This is evident towards the end of My Life to Live in which - in one of the moving, documentary-like boulevard-scanning shots that are commonplace in the film - Godard shows and has his characters comment upon a line-up of movie patrons to see Truffaut's Jules et Jim; a work by his New Wave rival. Within the broader span of cinematic history Godard situates his protagonist, Nana, in a mirror relationship to the protagonist of La Passion de Jeanne d'Arc. As Nana watches her cinematic predecessor crying in closeup there is a closeup of a tear running down Nana's face as well; a referential cinematic relationship that Godard's audience would both expect and understand."
| |
|
Classic Cinema, 2004.
A look at the definition of classic cinema and some older movies that deserve the title.
2,766 words (approx. 11.1 pages), 8 sources, MLA, £ 58.95
»
Click here to show/hide summary
Abstract
This paper discusses how classic cinema doesn?t simply happen and how it takes time, dedication, and a certain ?Je ne sait quoi? to create a theme, method, or a wave of influence that can be seen and felt years after its initial pass. It examines how classic cinema goes above and beyond the call of simple entertainment and how it creates a benchmark and platform, which future filmmakers will use to create new and interesting ways to tell a same story over and over again. In particular, it analyzes how films, such as "Birth of a Nation" (1915), "The Cabinet of Doctor Caligari" (1920), and "Battleship Potemkin" (1925) ,through their unique, pioneer, or innovative approach to the film medium, created ideas and methods that are still in use today and how they have bestowed upon themselves the right to carry the title of classic cinema.
From the Paper
"In the film "The Cabinet of Doctor Caligari" (1920) the most obvious image is that of surrealism. This movie is an eerie look into issues that revolve around insanity and hideousness. The set itself is incredibly expressionistic and offers the viewer many elusive and vague images. This fits in well with the location, which is, through most of the movie, an insane asylum. The doctor has hypnotic powers, which is depicted as the ultimate power over the bourgeois, violence and the fragile qualities of love. The film's background is also incredibly surrealistic, and for the time is was created this would be incredibly frightening."
| |
|
1960s Liberalism, 2007.
A discussion on liberalism in the 1960s, focusing on the Civil Rights Movement.
2,100 words (approx. 8.4 pages), 4 sources, APA, £ 46.95
»
Click here to show/hide summary
Abstract
The paper examines how modern liberalism reached a peak in the 1960s United States, when the Great Society program, initiated by President Johnson, resulted in a number of significant reforms. The paper discusses these reforms, particularly in the areas of civil rights and social welfare. The paper analyzes how, since the mid-1970s, however, there has been a definitive move away from liberalism and towards conservatism in the American society. The essay discusses reasons for this change.
Outline:
Introduction
The Philosophy of the 1960s' Liberalism & its Objectives
Accomplishments of 1960s Liberalism
Reasons for the Conservative Backlash
Conclusion
References
From the Paper
"In the recent history of the United States, liberalism had its heyday in the 1960s when the Civil Rights Movement and feelings against social injustice in the American society culminated in the 'Great Society' program of LBJ that set the ambitious goals of eliminating poverty and racial injustice by launching major initiatives in the areas of education, health, urban problems, transportation, consumer protection, and the environment. Other spin-offs of the liberal era were the flowering of movement for Women's Liberation and the gay rights. From the mid-seventies onward, however, liberalism has gradually been overshadowed by a growing conservative tide in the US society to an extent that many observers have pronounced it 'dead and buried.'"
| |
|
Italian Cinema, 2002.
A look at modern Italian cinema through the review of the style of three different directors, De Sica, Fellini and Tornatore.
1,650 words (approx. 6.6 pages), 4 sources, £ 44.95
»
Click here to show/hide summary
Abstract
This paper will explore three phases in modern Italian cinema as represented by the work of three directors. As will be seen, De Sica's neorealism, Fellini's auteur cinema and Tornatore's modern sentimental revisioning represent a complex progression in the concerns and aesthetics of Italian cinema.
|
|
|
