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"Shoulder Arms", 2008.
An analysis of the reasons for the success of Charlie Chaplin's political satire, "Shoulder Arms."
857 words (approx. 3.4 pages), 3 sources, APA, £ 19.95
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Abstract
This paper reviews Charlie Chaplin's 1918 film entitled "Shoulder Arms." It describes the plot and style of the film and discusses the reasons why Chaplin's war comedy was so commercially and critically acclaimed. The paper discusses Chaplin's depictions in the film and how they were used to create a political satire that was revolutionary for the time period.
From the Paper
"In conclusion, it can be said that the reason Chaplin's revolutionary war comedy was so commercially and critically acclaimed was that it successfully used comedy to convey a political message. The film said two things at the same time. On the one hand, it was a funny movie that people could laugh at as a deadly war began to wind down. On the other hand, it was a film that spoke of the ridiculousness of war and the idea that heroes are found in war. The result is that Chaplin created a film that spoke loudly, especially when one considers the fact that it was a silent film."
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"Roaring Lions", 2008.
An analysis of Rastafarianism as a social movement through a review of the film "Roaring Lions".
1,552 words (approx. 6.2 pages), 5 sources, MLA, £ 31.95
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Abstract
The purpose of this paper is to introduce and analyze the documentary film "Roaring Lions" which chronicles the origins of the Rastafarian indigenous social movement in the Caribbean. It looks at how Rastafarianism is much more than reggae music and the tunes of Bob Marley, although those cultural items have introduced many people to Rastafarianism around the world. It contends that Rastafarianism is a social movement working to become an accepted religion in Jamaica and other Caribbean nations.
From the Paper
"Essentially, the Rastafarian movement began in the 1930s, when Jamaicans discovered the black emperor of Ethiopia, Haile Selassie I. One Rastafarian in "Roaring Lion" says, "In Jamaica, we always worshipped a white Christ, and a white king, and a white queen" ("Roaring Lion"), which helps the viewer understand how a black king would be such a strong, magnetic draw for these people. They raised Selassie to the status of God, (they call him "Jah") and believe he is part of a Holy Trinity foreseen in the Bible and destined to return to Earth. This movement, like many indigenous social movements, began in the poor communities of working and peasant blacks, and it has spread throughout the Caribbean and far beyond, to be embraced by people all over the world. "
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The Ideology of Film Dubbing in Spain, 2008.
A review of the history, philosophy and importance of the film dubbing industry in Spain.
14,157 words (approx. 56.6 pages), 58 sources, MLA, £ 157.95
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Abstract
This paper discusses the history of film dubbing in Spain since globalization of the film industry. It analyzes the intricacies of how film dubbing works and discusses the philosophy behind the process of exchanging dialogue in one language for dialogue in another. The paper also analyzes why translations in film are so important to the interpretation of culture and how it is portrayed.
Table of Contents:
Introduction
Political History
Ideologies
Ideological Analysis
Thick Description
Text Analysis
Translation
Application of Theory to Practice
Conclusion
Addendum
From the Paper
"If these three films are conceived of as "inwardly directed," this conception would be wrong, for they are composing non-conversational, progressively threaded scenes in sequences that are meant to instruct, reach a dramatic goal or demonstrate an idea. They are taking a thousand scenes and, with them, are moving toward one goal. This film is not trying to say a thousand things, even if it uses a thousand scenes.
"Secondly, these three films are unalike. The campaign film is unlike the lecture film and the entertaining film is not going to try to convert or instruct the viewer. One does not entertain people by campaigning or lecturing. One is trying to entertain, move the audience to emotion, to remind them of something, or to amuse them. When the film is finished, it will not make any difference to what people have already decided, politically, spiritually or any other way. The film is not meant to teach, but to entertain."
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Women in Film, 2008.
An examination of the portrayal of women in films during the 1940s and 1950s.
6,910 words (approx. 27.6 pages), 15 sources, MLA, £ 98.95
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Abstract
This paper explains that the way women are depicted in film generally reflects how women are viewed in the society, which produced the film. The women in the 1940 films were empowered because of woman who worked in a factory during the war; however, the 1950s film depicted a return to a more domestic image of women, though challenged by the sex bomb. The author points out that these film images of women contributed to the unrest and dissatisfaction that led to the development of the women's liberation movement in the 1960s. The paper analyzes in detail 1940s films "The Philadelphia Story", Mildred Pierce", "Now, Voyager" and "Double Indemnity " and 1950s films "The African Queen", "Heaven Knows, Mr. Allison", "The Girl Can't Help It" and "Some Like It Hot".
Table of Contents:
Introduction
The Forties
The Fifties
Conclusion
From the Paper
"Elizabeth Mulvey describes the view prevalent of the woman as being woman as icon, and Tracy clearly does represent an iconic image to every male in the film and to many of the woman as well. She is the goddess to Dexter, Connor, and her fiancee, though in different ways and with differing degrees of acceptance. To her father, she is a failed woman, a woman who will never be a true woman until she changes her way of relating to men and her way of being looked at and being displayed."
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Film Making in Brazil, 2008.
A survey of Latin American schools of cinematic tradition.
20,053 words (approx. 80.2 pages), 13 sources, MLA, £ 157.95
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Abstract
This paper focuses on research done on the evolution of Brazilian cinema, a survey of its schools of traditions, and the themes that comprised those traditions. The research looks at the filmmakers, the actors, the political events and environments that served as the foundation and background against which filmmaking history occurred in Brazil..
Outline:
Introduction
The Film Makers
From the Paper
"The nationalization of the industry by the Brazilian government in an effort to both support film as an economic venture, and to influence it in a way that manipulated the industry towards supporting the sitting government accomplished the first, but not the latter. In fact, Brazilian filmmakers, using allegorical treatments, used film to inspire revolution against the government that the filmmaker found flawed. The result was the artistic expression of the filmmaker's political and social views, but as is so often the case with those limited expressions, they did not run concurrent with the greater overall interest of the rest of the population. They did, however, serve to inspire revolution and the distinct or abruptness that is evident in Brazilian cinema throughout its history is reflective of the abrupt changes in political forces, especially two military coup de tats."
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Fairy Tales, 2008.
A review of the fairy tale "Beauty and the Beast" by Gabrielle-Suzanne Barbot de Villeneuve and its various adaptations.
984 words (approx. 3.9 pages), 3 sources, APA, £ 21.95
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Abstract
The paper relates the story of the fairy tale, "Beauty and the Beast", and highlights the fact that it is unique in that it contains societal elements not commonly found in fairy tales. The paper relates how the original tale of "Beauty and the Beast" by Gabrielle-Suzanne Barbot de Villeneuve has been adapted through time and has been made into several film versions with the basic story and an adapted plot.
From the Paper
"The first print version of the story surfaced in 1740 by author Gabrielle-Suzanne Barbot de Villeneuve. However, the tale and variations of it was popular throughout Europe prior to its first print publication. The tale generally involves a story about a rich merchant who lives with his four daughters, one being named Beauty. Due to certain circumstances, the father looses his wealth and his daughters are forced to live in the rural country. One day the father becomes lost in the forest and takes shelter in the Beast's palace. The next day, as he is leaving, he plucks a rose for Beauty. The Beast sees this act and accuses the father of stealing from him, denouncing him as a simple thief and ordering him to die. The Beast gives him amnesty so long as one of his daughters comes to suffer in his place. Thus, Beauty goes to the Beast's castle and is made the mistress of the magical place. Eventually the two marry and the Beast is transformed into a handsome prince and Beauty's family comes to live with them."
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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, £ 119.95
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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."
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Film Review: "Enough", 2008.
A summary and review of Michael Apted's film, "Enough".
1,050 words (approx. 4.2 pages), 3 sources, APA, £ 22.95
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Abstract
This paper explains that the film "Enough" is a story about domestic violence. The paper summarizes the plot of the movie and discusses the movie's message that abusive actions should never be tolerated by women and children. The paper concludes that, although the film's portrayal of domestic violence is realistic, it offers a negative approach to dealing with the problem. The movie conveys the message that, because the abuser will never stop, the abused cannot rely on police protection or shelters but are better off by running away and preparing for an attack on the perpetrator.
From the Paper
"Neglect is when parents fail to ensure a child's health and well-being and may result from not providing a child with appropriate shelter, schooling, clothing, medical care, or protection from hazards. Meanwhile, psychological abuse is a pattern of intentional verbal or behavioral actions or lack of actions that convey to a child the message that he or she is worthless, flawed, unloved, unwanted, endangered, or only of value to meet someone else's needs."
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Post Modern Narrative Films, 2008.
Looks at the post modern narrative film using David Fincher's "Fight Club" (1999) Park Chan-wook "Oldboy" (2003) as examples.
1,115 words (approx. 4.5 pages), 0 sources, £ 24.95
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Abstract
This paper explains that D. W. Griffith's techniques in "The Birth of a Nation", in which the narrative aspects are emphasized over the spectacle elements, are still evident in post modern films. The paper then looks at the movies "Fight Club" and "Oldboy" as examples if narrative films that employ a strong and interesting narrative in combination with a visual storyline and action, which supports the plot. The paper also relates that narrative over spectacle films are difficult to make because it is easier to lose the viewer to either the spectacle or narrative element. The author concludes that these two films are successful because they bring together the techniques of directorial skill, an interesting storyline, and fine acting ability.
Table of Contents:
Introduction
Case Studies
Conclusion
From the Paper
"The director cuts to inside the room where Dae-su is held prisoner, and the mise-en-scene is the hotel look, desk, bed, bath and toilet. This is where Dae-su's narrative picks up, as he is held captive for a total of 13 years. During this time, the scenes are limited to the room where Dae-su is held; his life revolves around the props in the room, and the food that is slid under the door.
"Television becomes the largest part of Dae-su's life, and on television he learns that his wife has been murdered and he is suspected as the murder".
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How Camp Culture Changed "The Sound of Music", 2008.
This paper discusses the unique stylistic elements of "The Sound of Music" cinematography and genre, as well as its subject matter.
1,450 words (approx. 5.8 pages), 8 sources, MLA, £ 30.95
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Abstract
This article analyzes the success of the musical film "The Sound of Music" from its introduction in 1965 to its high popularity in modern times. The author concludes that the continued popularity of the film has been largely determined by a small and enthusiastically devout alternative audience's demands, rather than by the sustained appeal of the factors which made for its dramatic commercial success in 1965.
From the Paper
"According to Rohrer's BBC News article, Joe Heaney (arts editor of the Gay Times) believes that "Maria's transformation is key to the story's enduring popularity" (Heaney, cited in Rohrer "BBC News Magazine"). Heaney adds that the film is "about someone who is a complete outsider, she has been living in a convent and is very afraid to live in the real world and yet she is able to conquer her fears" (Heany, cited in Rohrer "BBC News Magazine"). "
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Three Films about Education, 2008.
This paper examines how three films, "Dead Poet Society", "Renaissance Man" and "Dangerous Minds", reflect the American belief in individualism.
1,415 words (approx. 5.7 pages), 3 sources, APA, £ 29.95
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Abstract
This paper explains that the Hollywood films "Dead Poets Society" (1989), "Renaissance Man" (1994) and "Dangerous Minds" (1995) represent distinct educational environments with different cultures in different eras. The author points out that, despite these differences, a common assumption of all three films is that education, whether in the 1950s or in the 1990s and in any society, is radically flawed. The paper argues that, while this assumption may be shaped primarily by the narrative need of all films for a dramatic "protagonist" whose intervention propels the plot, the fact that all three films depict cultures of teaching to be flawed and excessively institutionalized is reflective of the American belief in individualism.
From the Paper
"As such, it is not surprising to note a very similar structural motif in "Renaissance Man". The flawed educational institution in this film is the U.S. army, which is shown to have failed in teaching a group of recruits who are placed in the charge of outside teacher Bill Rago. This is evident in the scene when the teacher learns of the nickname his students have been given: "The whole fort calls us Double Ds. Dumb as dog shit." In many ways, the educational strategies in "Renaissance Man" are a midpoint between "Dead Poets Society" and "Dangerous Minds".
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"Citizen Kane", 2008.
An analysis of the techniques used in the film "Citizen Kane" by Orson Welles
1,128 words (approx. 4.5 pages), 5 sources, MLA, £ 24.95
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Abstract
The paper discusses the film "Citizen Kane" by Orson Welles and analyzes its style and structure. The paper shows how the various elements used in telling this story contribute to its symbolism while centering on the mystery of the nature of Kane's character.
From the Paper
"Citizen Kane is a rich film in which one can find a wide variety of American values reflected or subverted in the actions of Kane and others in the film. The film also reflects a sense of the history of this country in the first four decades of this century, a period of change in the economic and political realms embodied in the changes in Charles Foster Kane himself. He begins as an idealist in the American mold, a man who wants his newspaper not merely to report the news but to provide a forum for the truth. However, this entails the accumulation of a good deal of power, and the growth of this power becomes a rationale for trying not merely to report the news but to make it."
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"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, £ 21.95
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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."
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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, £ 46.95
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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:"
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