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The 'Buddy Picture' Genre, 2006.
A look at the homosexual and the homosocial relationships in the film genre of the 'buddy picture'.
2,082 words (approx. 8.3 pages), 4 sources, MLA, £ 38.95
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Abstract
This paper discusses how according to Michael Davis, American popular culture has always reflected a common "insecurity" about masculinity "at the global and local level." The paper further discusses how the films "Brokeback Mountain" and "High Fidelity," reflect this anxiety. The paper classifies both these films as 'buddy films'.
From the Paper
"In classifying both of these films as "buddy film" genres, it is important to remember exactly what a film genre is constituted by--film genres are usually defined by various formulaic structures (such as the outsider nature of the protagonists, alone tending sheep on a mountain, or alone in their superior musical tastes in a bubble-gum pop music listening world) and identifiable types of characters (such as the inarticulate man, the boisterous 'kid') who behave in recognizable patterns. Genres also have standard relationships, such as male bonding in active friendships forged over saving the world or saving music. Genres also often make use of various forms of syntax, such as the frequent joking typical of buddy films that conceal real emotion, rather than displays emotion, unlike the language deployed between men and women. Also, genres deploy similar filmic techniques such as the buddy film's use of communication through action, and make use of conventions, such as the use of the road or a physical problem as a medium for getting to know one another (Dirk, 2006) "
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"The Scarlet Letter", 2007.
An analysis of Roland Joffe's movie "The Scarlet Letter".
953 words (approx. 3.8 pages), 2 sources, MLA, £ 19.95
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Abstract
This paper analyzes "The Scarlet Letter" from a sociological perspective. It discusses societal labeling which is a community's need to self-consciously create deviant persons or outsiders to uphold its own sense of order. The author also uses differential association and learnt behavior, to further dissect the film. Symbolic interactionalism, society's need to create meaning through symbolic devices, is another sociological perspective emphasized.
From the Paper
"Although symbolic interactionalism may be the most persuasive theory to analyze and explain the plot of the film, it does not address the fact that Hester's behavior, however normal a transgression, and however understandable given the unhappiness of her marriage, is still a kind of 'deviance,' or an example that something is wrong, and would be regarded as such, even in contemporary America. Thus, while it may take into factors outside of the immediate confines of the film, the best explanation of all may in fact be structural strain theory, discussed at length in Chapter 6 by James M. Henslin in Essentials of Sociology. On the surface, the rural Puritan community may seem like a classically organic society, with clear rules and norms."
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The Romantic Male, 2007.
An analysis of the concept of the romantic male as portrayed in the media.
751 words (approx. 3.0 pages), 4 sources, MLA, £ 15.95
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Abstract
This paper discusses the concept of the romantic male from various perspectives. It presents different definitions and descriptions of male personality and behavior, in terms of their masculinity and romanticism. However, more than just looking into romanticism and masculinity as concepts relevant to the concept of the romantic male, this paper also assesses romantic males as portrayed and interpreted in films.
From the Paper
"The second typology is the "hero" or "warrior" male, most popularly depicted in films and literary texts. The warrior/hero is the male individual who is "physically and socially competent." The warrior/hero is physically tall, muscular, handsome, strong, large, tanned, masculine, and energetic, while socially, he is "sexually bold, calm, confident, and intelligent...no hero was described as being a gentle, sensitive fellow (except with respect to his feelings for and actions toward the heroine)" (Salmon and Symons, 2004). The warrior/hero is considered the romantic male because he is able to "transform" or shift his characteristics in accordance to the person he relates to: he becomes strong and brave when antagonism or conflict is present, and becomes sensitive and gentle when faced with a female individual (Jones, 2006). This character shift makes the female feel special, thus connoting the male's intention to ensure relational longevity between him and the female."
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'As Good as It Gets', 2006.
A review of the 1997 film, 'As Good as It Gets'.
905 words (approx. 3.6 pages), 0 sources, MLA, £ 18.95
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Abstract
This paper discusses the film 'As Good as It Gets' starring Helen Hunt and Jack Nicholson. The paper critiques the film from a personal perspective. The paper concludes by letting us know that 'As Good as It Gets' is a film that you just cant help liking despite it's various flaws.
From the Paper
"Even with these brilliant actors giving their best performances, there was something odd about the reluctant romance between Hunt and Nicholson. Either it was the stiffness that Nicholson exhibited being Nicholson of course or there was something wrong with the way they had come together, I cant really say but the romance was something that didn't sit well with me. I liked the movie more for its simply brilliant script, crisp dialogue and an interesting storyline that bring the lives of three characters together in a way that engulfs the viewer completely. The script had incidentally been penned by James J. Brooks and Mark Andrus who have had to their credit seven to grossing romantic comedy scripts since 1978."
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Film: "12 Angry Men", 2007.
This paper analyzes the film "12 Angry Men" by applying Lee Bolman and Terrance Deal's four frames theory.
5,345 words (approx. 21.4 pages), 6 sources, APA, £ 77.95
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Abstract
This paper explains that the application of Bolman and Deal's theory of frames to the analysis of "12 Angry Men" reveals that frames could be used to understand group dynamics and help re-shape group dynamics. The paper also asserts that frames could not only be used to change group interactions, but could also help achieve different outcomes, without requiring changes in personnel or available resources. The author points out that one of the more interesting aspects of the movie is that it demonstrates an interrelationship between the personal frames of leaders and the political frame of this jury. The paper relates that a crucial part of frame analysis, which is that people do not always understand their own frames of reference, is shown in "12 Angry Men".
From the Paper
"The third frame in Bolman & Deal's four-frame model is the political frame. Bolman and Deal compare the political frame to the jungle. The political frame's core concepts are power, conflict, competition, organizational politics. The leaders in political frames are seen as advocates and they bring power or the perception of power to the frame. The organizational ethic in the political frame is justice. Juror number three in "12 Angry Men" is a great example of a person working from within the political frame."
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Media Violence and "The Color Purple", 2007.
A look at the effect of violence through media with a focus on the depiction of family violence in the movie "The Color Purple".
1,255 words (approx. 5.0 pages), 3 sources, MLA, £ 24.95
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Abstract
This paper examines how the movie "The Color Purple," is a prime example of the numerous facets of family violence. It discusses how the entire movie is a depiction of various levels and types of family violence together with spousal abuse, adultery, lies and deceptions. It discusses how movies continually influence one's life and how the whether the impact is positive or negative is determined by what we watch and what we perceive through viewing those movies. The paper also discusses how violence on television has continued to cause problems in common households, by giving young children ideas of how to attempt more perfect crimes, or crazy wacky stunts, abuse and neglect.
From the Paper
"Javier, Herron & Primavera report on studies completed in their article that support the negative impact on behavior that television has had as well as how it continues to increase in severity. They report that the findings from the field and correlational studies provide a distinct and important perspective on the issue. According to these findings, aggressive content on television could have a paradoxical impact on the viewer depending upon his/her intrinsic characteristics. For instance, boys who watched only nonviolent television programs were generally more aggressive than those who watched violent television programs, although violent programs were more popular than the nonviolent programs. "
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'Twelve O'Clock High', 2006.
A review of the classic World War II movie from 1949, 'Twelve O'Clock High' by Darryl F. Zanuck.
1,615 words (approx. 6.5 pages), 1 source, MLA, £ 30.95
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Abstract
This paper takes a look at the film 'Twelve O'Clock High' by Darryl F. Zanuck. The paper discusses this film as one that depicts different leadership styles and management theories. The paper further discusses how the film, through its lead character of General Frank Savage, played by Gregory Peck, accurately shows how a transformational character can be a dynamic force on those around him.
From the Paper
"Due to his ineffective leadership style, Davenport is removed from command of the 918th group and replaced by General Savage. Savage is Davenport's antithesis when it comes to leadership. The two officers are friends, yet Savage sees the weaknesses of the other's style and consciously makes the decision to be a different kind of leader. As Savage arrives on the base, he immediately makes it known to all that there is a new authority figure in command. Savage witnesses the sloppy discipline of the group in several ways in his first few minutes on base. The MP at the gate waves him through without checking his identification, a sergeant is out of uniform, and, even worse, officers are drunk and scattered. The base is in drastic need of a transformational leader which it gets in Savage. However, it is the process of establishing himself as that leader which proves to be challenging for Savage."
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'The Rainmaker', 2006.
A discussion regarding Francis Ford Coppola's film adaptation of the best selling novel 'The Rainmaker' by John Grisham.
1,450 words (approx. 5.8 pages), 1 source, MLA, £ 28.95
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Abstract
A review of Francis Ford Coppola's film adaptation of the best selling novel by John Grisham, 'The Rainmaker'. The paper discusses how the film explores several legal and ethical issues primarily associated with the evils of a huge and uncaring insurance company.
From the Paper
"Baylor even comments to Shifflet early in the film about the lack of ethics and loss of dignity that he is experiencing by drumming up business in hospitals from people injured in accidents. Another scene from the hospital continues the commentary on lawyers and their ethics. Baylor meets and hopes to represent a young woman, Kelly Riker, who has been beaten by her husband. As he tries to make her acquaintance and ingratiate himself as a lawyer, she challenges him by reminding him of the types of cases that lawyers sometimes take such as defending murderers, rapist, and child molesters. Baylor pauses a moment to reflect before declaring himself a civil lawyer as if to distance himself from the charges. However, Baylor understands the criticism and it stands to remind the audience of the position of lawyers in the society."
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"Brokeback Mountain", 2007.
A review of Ang Lee's movie "Brokeback Mountain".
1,850 words (approx. 7.4 pages), 0 sources, £ 34.95
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Abstract
"Brokeback Mountain", directed by Ang Lee, is an astounding story about two young men who meet and fall in love in the summer of 1963 while they are working as sheepherders on Brokeback Mountain, in the state of Wyoming. The paper provides an overview of this controversial, Academy award winning film about the lives and feelings of homosexuals which was released in 2005. It discusses the plot and the theme of sexuality that runs through the movie.
From the Paper
"The sadness that they feel is intense as they realize that the feelings that they do have for each other are loving feelings. Both men separate with tears in their eyes, but think in their mind that it is the best thing for the both of them because homosexuality is not accepted in society, especially a country society like Wyoming, where the movie takes place. The tears that the two men cry show the viewer that they really had an emotional relationship and it was not simply "sex"."
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"Million Dollar Baby", 2007.
An overview of the movie, "Million Dollar Baby", directed by Clint Eastwood.
1,212 words (approx. 4.8 pages), 0 sources, £ 24.95
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Abstract
This paper discusses the movie "Million Dollar Baby". It provides information on the characters and actors (Hillary Swank, Clint Eastwood and Morgan Freeman) and the use of lighting and other features throughout the movie. The paper concludes that despite the excellent performances, the movie was a slight disappointment.
From the Paper
"The music and the editing support the directing and the actors and contribute greatly to getting the message across. Sound editing excels at making punches sound like nearby explosions and one can almost feel and imagine their full blast. Image editing creates the suggestive fighting scenes and the play with dark/light sequencing. The music is soft, sustaining and complementing the emotional moments of the movie."
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Editing 'About a Boy', 2006.
A look at the editing techniques and skills used in the movie 'About a Boy'.
777 words (approx. 3.1 pages), 3 sources, MLA, £ 15.95
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Abstract
This paper discusses the techniques used to edit the movie 'About a Boy'. According to the paper, some of the more common techniques apparent in this movie are wipes, dissolve shots, shot/counter-shot, cross cuts, axial cuts, jump cuts, montages and freeze frames.
From the Paper
"Dissolve shots are also evident. The first is when we see a shot of Marcus's hamster, which fades out and then focuses on Marcus in the background. Dissolve shots are also used through the next few scenes of Marcus, not so much for transition, but for an emotional effect as well as to indicate a lapse of time.
Most of the beginning of the film is made up of close-ups of small actions, so the first master shot we see is when Will drives away from this flat on his way to his sister's house to see her new baby, Imogene. This sets up the location of Will's flat as a small oasis, or island as Will likes to consider it, in the middle of dense civilization."
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The Cinematic Style of Steven Spielberg, 2007.
This paper discusses Steven Spielberg's particular style as a film director.
780 words (approx. 3.1 pages), 0 sources, £ 15.95
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Abstract
In this paper, the author compares Steven Spielberg's films "Saving Private Ryan" and "Munich." The basis for the comparison is Spielberg's personal cinematic style as a director. Spielberg is able to integrate the visual setting in both films as realistic, but not necessarily for sheer visual impact. Instead, he lets the scene tell the story. Additionally, the conclusions of both films allowed the viewer to resolve the themes of the movies themselves, another trademark of Spielberg.
From the Paper
" It was easier to immediately reject Saving Private Ryan because of its category than it was to reject Munich. At least Munich was interesting. Upon hearing the titles of both films, Munich (at least in this reviewer's case) was far more intriguing than Private Ryan. This critic's automatic rejection scenario was immediately initiated upon hearing of Private Ryan, while being intrigued by hearing of Munich."
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Leadership in "Gettysburg", 2007.
This paper discusses the leadership style of Colonel Joshua Chamberlain as depicted in the movie "Gettysburg".
766 words (approx. 3.1 pages), 1 source, APA, £ 15.95
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Abstract
In this article the writer studies the character of Colonel Joshua Chamberlain as portrayed in the movie "Gettysburg". The writer describes Chamberlain as an unlikely, scholarly and militarily untrained college professor-turned-soldier, who exhibits strong traits of authoritative leadership. The writer maintains that Chamberlain possesses excellent traits of leadership in war and that as the movie "Gettysburg" depicts, Colonel Joshua Chamberlain's leadership style was an authoritative one. The writer concludes that Chamberlain's personality, as Jeff Daniels plays him in "Gettysburg", is both reflective and more contemplative than those of any of the other principal military figures depicted in the movie. Further the writer notes that Chamberlain is also a man of action when he has to be and a very brilliant and successful one.
From the Paper
"It was Colonel Joshua Chamberlain's particular leadership genius at Round Top, in fact that, historically speaking, as well as within in the movie Gettysburg, arguably turned not only the Battle of Gettysburg, but the Civil War itself into a victory for the North, rather than for the South as it probably otherwise would have been. Chamberlain's most remarkable instance of leadership, nerve, and heroism, in the Battle of Gettysburg, and as shown within the movie Gettysburg, took place at Little Round Top. Chamberlain and his men had been sent there, by Colonel Strong Vincent, to defend Little Round Top's southern slope. But from there, nothing at all went as planned, and Chamberlain had to thing fast, and with enormous resourcefulness."
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'The Notebook', 2006.
A comparison of 'The Notebook', the novel by Nicholas Sparks and the movie screenplay by Nick Cassavetes.
3,314 words (approx. 13.3 pages), 4 sources, MLA, £ 55.95
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Abstract
This paper reviews the book and the screenplay of 'The Notebook' comparing the differences. The paper discusses the changes made from the novel to the screenplay and explains the reasons for these changes.
From the Paper
"The story is told in two lengthy sections, one as a wrap-around and the other as the body of the novel. In the wraparound, the story is told in the first person, directly by Noah, though he is not so identified until late in in the novel. For most of the novel, he is merely the unidentified man reading from a notebook, reading the story about Noah and Allie to the woman he wants to reach. The central portion is what he reads to her, and in that story, there is no clear resolution because the story only takes the couple to a point where Allie has to make a decision and faces her fiancee, Lon, at that moment. She has by this time written to Noah and seems to be telling him she loves him but perhaps that they will only have memories of each other, while she approaches Lon without knowing what she is going to say to him. The irony is clear in that this talk of memories is belied by the current day situation in which Allie has lost her memory entirely, while Noah tries to revive it by reading the same story each day."
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