| Papers [267-280] of 2770 :: [Page 20 of 198] | | Go to page : <— 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 —> | |
|
|
A Study of "The Simpsons", 2007.
This paper offers an ethnography research study of "The Simpsons," focusing on episode 1X05, "Bart the General."
1,164 words (approx. 4.7 pages), 3 sources, MLA, £ 23.95
»
Click here to show/hide summary
Abstract
The paper relates that one of the longest running series in television history is the animated series, "The Simpsons." The paper reveals that there are some important cultural issues under consideration in virtually every episode. The paper provides an ethnographic analysis, including an analysis of the verbal and nonverbal communication styles used in a selected episode and the cultural artifacts that emerge in the process. The paper discusses what types of new knowledge can be inferred from this episode and describes the culture that is expressed in the viewer's interaction. The paper concludes that this series provides a wealth of insightful and timely information that can be used to develop an accurate analysis of what is really important to many Americans and what cultural implications are involved for certain types of behaviors.
Outline:
Introduction
Review and Discussion
Conclusion
From the Paper
"In this regard, Japp and Meister (2002) report that, "On April 19, 1987, America was introduced to the Simpsons, the title family of the first animated prime-time television series since the 1960s" (p. 63). Unlike the unrealistic versions of the American family portrayed in earlier series such as, "Ozzie and Harriet" and "Father Knows Best," "The Simpsons" captures the essence of family life for many Americans today. In fact, described by its creator and executive producer, Matt Groening, as "a celebration of the American family at its wildest" (Steiger, 1999, p. 1, cited in Japp & Meister, 2002, p. 63), "The Simpsons" provided American audiences with a critical view of mainstream social and cultural norms of the day."
| |
|
White-Collar Crimes, 2007.
This paper discusses the movie "Wall Street" which portrays classic cases of business crimes and greed.
1,633 words (approx. 6.5 pages), 7 sources, MLA, £ 31.95
»
Click here to show/hide summary
Abstract
The paper explains that the term white-collar crime generally encompasses a variety of nonviolent crimes usually committed in commercial situations for financial gain. The paper then discusses the movie "Wall Street", pointing out that it depicted at least five types of white-collar crimes: bribery, insider training, kickback, money laundering and securities fraud. The paper further explains that the fundamental lesson learned in "Wall Street" is that crime does not pay. Sooner or later it will catch up with anyone doing the deed. The paper shows how the portrayal of good people and bad people in "Wall Street" is a resolute example of the battle between good and evil ongoing in society since time immemorial.
From the Paper
"Wall Street portrayed classic cases of white-collar crimes, "coined in 1939 during a speech given by Edwin Sutherland to the American Sociological Society. Sutherland defined the term as 'crime committed by a person of respectability and high social status in the course of his occupation.' Although there has been some debate as to what qualifies as a white-collar crime, the term today generally encompasses a variety of nonviolent crimes usually committed in commercial situations for financial gain. (Bruce, 2006)""
| |
|
The Black Death, 2007.
A discussion of the details for a planned film about the Black Death.
1,071 words (approx. 4.3 pages), 8 sources, MLA, £ 22.95
»
Click here to show/hide summary
Abstract
This paper discusses the historical period encompassing the Black Death. The paper provides a historical background and presents documentation describing the events of the Black Death and those surrounding it. The paper then goes on to make suggestions for a film depicting the Black Death, focusing on location, cast, plot and costumes.
Table of Contents:
Historical Background and Documentation
Location and Settings
Cast
Plot
Costumes
Potential Market
From the Paper
"The effects were terrible, considering the demographic, economic and political aspect. Demographically speaking, The Black Death dramatically reduced the population level in Europe (Stearns, ch 20). From the perspective of the economy, there was a loss in labor force and thus the society structure began to change, giving skilled workers a more important role. Peasants rebelled against any oppressor, culminating with The Jacquerie in 1358, the Peasants' Revolt in England in 1381, the Catalonian Rebellion in 1395. On another level, cities were hit by the stop of construction projects, devastation and chaos. (The Black Death: Economic). Politically speaking, the plague also affected the royal houses, such as the queens of Aragon and France, the son of the Byzantine emperor, and King Alfonso XI of Castile who was the only reigning monarch to die of the plague (The Black Death: Economic). At a local level, there was a massive disruption in the organization system, including legal and political disarray."
| |
|
Film: "Good Night and Good Luck" (2006), 2007.
This paper is a a visual analysis of the film "Good Night and Good Luck" (2006).
2,580 words (approx. 10.3 pages), 1 source, MLA, £ 45.95
»
Click here to show/hide summary
Abstract
This paper explains that the film "Good Night and Good Luck" is a social commentary and biography of 1950s era CBS television newsman Edward R. Murrow (1908-1965), and the period of the "McCarthy Years". The author points out that the transitions between film shots and real footage was made excellent because both the entire film and the real footage are in black and white and almost always the people inside the CBS studio itself are seen looking at television monitors where this footage is playing. The paper relates that the film was effective visually as a depiction of the 1950s because it was shot it entirely in black and white (as there was no color television in the 1950s), the 1950s-era costumes, the prevalence of cigarette smoke inside the workplace, the 1950s jazz instrumental and vocal music and the overall stark, "no frills" atmosphere of this era and setting.
Table of Contents:
Introduction: A Background History of the Film
Beginning Credits
Lead-in Shots, Techniques, and Attraction of Audience Interest Sequencing of Scenes and Episodes from a Visual Standpoint
Color Scheme and Motifs
Costume Design. Music: How Does Music Support the Visuals? Recurring Visual Motifs and Symbols
A Scene with Only a Little Dialog Dependent on Visuals
The Most Memorable Scene
Camera work: Close ups? Distance shots? Unusual Angles?
Closing Scenes
Observations
From the Paper
"The credits at the beginning of "Good Night and Good Luck" appear, interspersed with various lead-in shots of newsmen dressed in 1950's era tuxedos and smoking cigarettes, along with a few women in evening dress, waiting for a speech by Edward R. Murrow. The credits are not given all at once, but rather, mixed in, at evenly-timed short intervals, among the opening shots. The opening credits are not extensive, but mention only the director, producer, and a few others. When these few credits are over, then, wed are already involved in the lead in action of the movie, ..."
| |
|
"Chinatown" and "On the Waterfront", 2006.
A comparison between Roman Polanski's film 'Chinatown' and Elia Kazan's film 'On the Waterfront' focusing on the role of the male protagonist in each.
960 words (approx. 3.8 pages), 5 sources, MLA, £ 20.95
»
Click here to show/hide summary
Abstract
This paper reviews and compares the male protagonists of Roman Polanski's 'Chinatown' (1974) and Elia Kazan's 'On the Waterfront' (1954). The paper discusses their evolved understandings of themselves in relation to their community.
From the Paper
"While Roman Polanski's main character J.J. Gittes, as a detached, objective, and dispassionate private detective becomes involved, against his better judgment, with some members of the surrounding community as he works his case in Chinatown, Terry Malloy, on the other hand, in Elia Kazan's film On the Waterfront (1954), is, as a poor waterfront lackey on the docks of New York, integrally connected with, and related, in terms of both blood shared hardship, to members of his waterfront community right from the start. Further, Malloy himself, unlike the main character J.J. Gittes in Roman Polanski's Chinatown (1974) is someone directly oppressed by the corrupt municipal power structure that controls his working life. used, In that sense, then, Malloy's own hardship and suffering is his community's hardship and suffering as well. J.J. Gittes, on the other hand, is (although Gittes does, little by little, become emotionally involved with other characters due to the many injustices and victimization he sees) more detached."
| |
|
"King Kong" - the Movie, 2007.
This review of "King Kong" explores human - animal relationships in the film.
1,107 words (approx. 4.4 pages), 0 sources, £ 22.95
»
Click here to show/hide summary
Abstract
This paper introduces, discusses, and analyzes Peter Jackson's film "King Kong". Specifically it discusses human/animal relationships in the film, which the author views as the key to the plot and theme of the movie. The author also uses Anna's relationship with Kong as an example of finding the good in others.
From the Paper
"At home on the Skull Island Kong is a fearsome creature. He is also the dominant animal on the island and has control over all the other beasts, and the humans, too. They all acquiesce to him and worship him. Thus, in his own environment he is truly "king," and so, he cannot cope with being caged and gawked at by onlookers. He is no longer in control of anything, and this sets the stage for all the human and animal relationships in the film. By removing Kong from his native environment, the loose the "beast" so to speak and they pave the way for the inevitable conclusion. Kong does not belong in the city any more than the filmmakers belong in the jungles of Skull Island. Bringing his back to captivity places them in control over the beast, and of course, he will do anything he can to survive and return to his home. He is not a domestic animal, and he should not be expected to adapt. He is not adaptable, he has always made others adapt to his wishes and demands. "
| |
|
Leadership Styles, 2007.
This paper examines various forms of leadership and their functions.
1,259 words (approx. 5.0 pages), 1 source, MLA, £ 25.95
»
Click here to show/hide summary
Abstract
The paper examines the film "Hoosiers," which shows that different leadership styles are effective in different situations. The paper discusses how the main character, Dale, employs the authoritarian style of leadership throughout most of the film. The paper shows that despite the fact that it initially fuels the flames of the already-existing hostility of both the team and community, it is ultimately the best style to use in these circumstances. The paper discusses the style of leadership suitable for supervising criminals, which would be authoritative or authoritarian that could be changed if prisoners show themselves trustworthy to a degree appropriate for taking responsibility. The paper relates that in supervising a team of officers, it is probably best to use the authoritarian style initially, but this can vary as appropriate to each individual situation.
From the Paper
"Dale initially uses an authoritarian leadership style, bordering on the autocratic. This is the result of the extreme hostility that both the townspeople and the players display towards him. The authoritarian style is necessary in order to establish Dale's position as an authority in his field. Although it does little to endear the coach to those who make themselves his enemies, this leadership style proves effective in terms of results: under Norman's leadership, the team wins the 1952 Indiana State Championship."
| |
|
Women in Mafia Movies, 2006.
A discussion regarding the role of women in three movies with a mafia theme.
1,132 words (approx. 4.5 pages), 4 sources, APA, £ 23.95
»
Click here to show/hide summary
Abstract
This paper examines how Mafia movies portray women. Through an examination of movies such as 'Prizzi's Honor', 'The Godfather' and 'Casino', this paper explores how gangster films both uphold and challenge the traditional roles of women in Italian American societies.
From the Paper
"Women who were not sexual objects are then the "good wives" and the mothers. The movie Casino implies, for example, that one of the reasons why Ginger is a bad mother is due to her desire to be ogled. A woman who revels in her sexuality clearly cannot fulfill the mother role. In The Godfather, Mama Corleone was the best characterization of the mother figure - a nurturing woman who was therefore worthy of the respect of her sons. Even the portrayal of the role of Kay changed from The Godfather I to its sequel, The Godfather II. In the first movie, Kay was the girlfriend who was the outsider. They had a few tender moments together, but nothing overtly sexual. In the second movie, Kay's character is pregnant, and even the few playful scenes from the first movie were no longer depicted."
| |
|
Shakespeare's "A Midsummer's Night Dream", 2007.
This paper compares and contrasts Shakespear's original version of "A Midsummer's Night Dream" with the film version.
990 words (approx. 4.0 pages), 2 sources, MLA, £ 20.95
»
Click here to show/hide summary
Abstract
The paper discusses how both the film and the original version of William Shakespeare's romantic comedy "A Midsummer's Night Dream" use the same words to tell a tale of temporarily thwarted young love. Yet, there are many differences the paper illustrates. The paper explains that because the film uses visual images to illustrate the words of the Shakespearean play and makes use of selective cutting to emphasize certain scenes over others, the film offers a more selective view of dreams and dreaming as opposed to the play that is viewed in its complete and uncut form.
From the Paper
"The nature of cinema allows the director of "A Midsummer's Night Dream" to make the fairies, such as Titania, Oberon, and Puck seem much more fantastical in contrast to the earth-bound mortals. The fairies float; strange, beautiful lights surround them. Yet in this rendition, they lose some of the earthier, humorous, and more interesting mortal qualities in contrast to the warring fairy characters in the play."
| |
|
British Cinema, 2007.
This paper discusses the unimpressive history of film in Great Britain.
1,009 words (approx. 4.0 pages), 8 sources, MLA, £ 20.95
»
Click here to show/hide summary
Abstract
The paper portrays how, despite considerable recent inroads into the film industry by other nations and by the independent film movement, 'Hollywood' and 'America' remain synonymous in many movie-going minds with the cinemas and movies. The paper discusses the contributions of the British film industry and why America remains the leader. The paper describes a pattern of establishing success in England and then moving onto better-funded Hollywood that has remained up until this day, for both actors and directors. The paper concludes that although protectionism from the government may not be the answer, better funding may be the only way for England to compete on equal terms with America's cinema industry.
From the Paper
"Although Great Britain produced many films during the early days of silent film shorts, the 1920s British film indusry experienced a recession caused by the influx of superior United States comedies, as well as American business practices. The Cinemotograph Film Act of 1927, introduced to bolster the national film industry in Great Britian, required that UK cinemas show a certain percentage of British films for a duration of ten years."
| |
|
Sociology and Film, 2007.
An application of different sociological perspectives to film.
1,078 words (approx. 4.3 pages), 1 source, MLA, £ 22.95
»
Click here to show/hide summary
Abstract
This paper examines various different sociological theories such as conflict theory, classical Marxist theory and functionalism and attempts to apply them to some classic movies such as "Rambo", "Rocky", "Star Wars" and "Pretty Woman".
From the Paper
"In all conflict theory, the dominant group, whether the monarch or as in Marx, the bourgeois, influences the discourse of popular culture so that a self-serving ideology is perpetuated and used to keep the masses in check. The most famous expression of this in Marx was that of religion, which Marx called the opiate of the masses. However, had Marx lived to see the spectacle of popular films such as "Rambo" and "Rocky" Marx would likely have called the modern cinema an even better vehicle of bourgeois ideology, and called movie popcorn an even better source of ideological opium than salvation. "
| |
|
The Real Saving Private Ryan, 2007.
This paper compares the film "Saving Private Ryan" to real events that took place during World War II.
1,091 words (approx. 4.4 pages), 5 sources, MLA, £ 22.95
»
Click here to show/hide summary
Abstract
In this article, the writer introduces, discusses and analyzes the topic of film and reality. Specifically, the paper compares the film "Saving Private Ryan" to the real events that inspired the story. The writer notes that many people might not know that Stephen Spielberg's film "Saving Private Ryan" is based at least in part on a real occurrence during World War II. The writer points out that the actual man rescued was Sergeant Frederick "Fritz" Niland, a member of the 101st Airborne and one of four brothers fighting during World War II. The writer discusses that "Saving Private Ryan" is a consummate war film that graphically points out the horror and brutality that is war. The writer also notes that it is a loving tribute to family and how important family is to the fabric of America. In addition, the writer claims that it is a story of courage - courageous men who fight for what is right and the rights of others to keep the world free. The writer concludes that living to tell the story is a great gift, and perhaps the greatest gift Fritz Niland gave to the world after his story became public.
From the Paper
"The premise for the story is pure fairy tale, and yet the graphic depictions of war make it one of the most historically accurate and difficult war films to view without wincing. It shows the senseless slaughter and destruction, and is not a film any viewer can soon forget. Therefore, while most of the situations and the characters are all fiction, there is much in the film that is real, frightening, and memorable. Spielberg knows how to tell a story masterfully, and he knew a good story when he found one. The real story of Fritz might not be the stuff of films, so Spielberg took real events and wove his own version of events around them to create something important and meaningful."
| |
|
Richard Addinsell, 2007.
This paper discusses the life and achievements of composer Richard Addinsell.
1,770 words (approx. 7.1 pages), 7 sources, MLA, £ 34.95
»
Click here to show/hide summary
Abstract
The paper relates that in the past few centuries, there have been countless classical composers whose music has inspired and encouraged populations around the globe. One such composer is Richard Addinsell, whose legendary works have provided entertainment for moviegoers and theater-attendants for generations. The paper reveals that he is credited for over 40 film scores and he successfully wrote music for nearly every genre in film, from historical documentaries to light hearted comedies. The paper details his personal history and his rise to fame. The paper concludes that his level of skill as well as his ability to orchestrate music flawlessly and seamlessly has made Richard Addinsell a composer to be remembered and revered for generations.
From the Paper
"Addinsell's music was primarily written for piano, either in solo or duet, as well as for orchestras or ensembles. Varying from passionate, somber pieces of tragedy to light-hearted pieces for comedy to slow moving waltzes, Addinsell's musical style is varied and versatile, which are the qualities that allowed his career to thrive in the film industry. Paid by the film studios for specific works, the funding from such endeavors allowed him to write music for less lucrative genres such as theater and radio. As a modern classical composer, Addinsell was able to combine the richness of piano with full orchestra accompaniment to provide thundering war marches, when required, or to use a simple single piano to show a softer, more subtle element of a film."
| |
|
Genetic Nightmares, 2007.
An examination of the film "Gattaca" by A. Niccol, 1997.
896 words (approx. 3.6 pages), 1 source, MLA, £ 18.95
»
Click here to show/hide summary
Abstract
The paper describes how the film "Gattaca" is a look into a possible future based on the concerns people have today about DNA testing, genetic engineering, privacy and similar issues. The paper discusses how the film raises a number of questions about what these trends might lead to in the near future and the film plays directly on fears that have been expressed by many people today. The world depicted in the film is centered on a huge corporation that monitors its employees closely and that makes decisions on the basis of genetics. The paper highlights the danger that a few scientific facts can become an excuse for unlimited social control.
From the Paper
"The main character is Vincent, who has found a way around the system and is passing as a man named Jerome. Every morning, he goes through a ritual to install the hair, skin cells, and urine of a crippled man named Jerome, a man who would have had a bright future if he had not been crippled in an accident. Jerome dreams of going into space, which is the business of Gattaca, and he is about to fulfill that dream unless he is uncovered and his true genetic make-up discovered. This might happen because the director of the project has been murdered, and the police investigation could discover the truth about Vincent's DNA."
|
|
|
