| Papers [323-336] of 2770 :: [Page 24 of 198] | | Go to page : <— 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 —> | |
|
|
Gibson's "Passion of the Christ", 2006.
An analysis of Mel Gibson's controversial film, "Passion of the Christ".
4,366 words (approx. 17.5 pages), 5 sources, MLA, £ 64.95
»
Click here to show/hide summary
Abstract
This paper summarizes and analyzes Mel Gibson's movie "Passion of the Christ", explaining the film's theological, historical and artistic elements. The paper also explains that, while each of these elements are already controversial by themselves, in combination made the film even more prone to controversy.
From the Paper
"In the earlier category are moments like that in which Jesus falls and then speaks to his mother telling her that he will make "all things new." This quote is out of context, coming from considerably later in the Bible. The point is not that Jesus actually made all things new at this historical moment, but rather than Gibson wishes the audience to know that the purpose of this suffering is to bring about a state of newness and grace -- and not having time to make a film of the entire history of Christianity, he moves this vital point into the narrative, making it prophetic rather than active."
| |
|
The Forces of Nature, 2006.
This paper analyzes the power of nature in Robert Zemeckis' film "Cast Away" and Stephen Crane's novel "The Open Boat."
1,015 words (approx. 4.1 pages), 2 sources, MLA, £ 19.95
»
Click here to show/hide summary
Abstract
The writer of this paper examines the plots and main characters in both works while detailing the various similarities. Both stories revolve around the struggle to survive, both within and against nature, which becomes a dominant character in both respective tales. The writer contends that Crane's novel is naturalistic, as it describes circumstances where man learns the true power of nature. The same holds true for "Cast Away," which focuses on one man's survival against the elements of nature. This paper explores how both the main characters in each story are at first angry and defiant towards nature, yet within time, both become respectful and resigned to its forces. This paper discusses the powerful magnitude of the ocean in both works, while also detailing the fact that nature pays no attention to time, which seems to go by with agonizing slowness.
From the Paper
"In both works, time, of which nature pays no heed, goes by with agonizing slowness. Nature, after all, is indifferent to any of humanity's temporal, spatial, or physical needs, and reminds characters in these works of this often. The ordeal of "The Open Boat" is shorter than that of Cast Away, only one night as opposed to four years, but to the trapped men on the open sea, it feels interminable. They spend the night merely enduring their fate, guessing if someone has seen them from shore. In Cast Away, Chuck, in his pre-island life at FedEx, often told fellow employees, "Time is our enemy." Once alone on the island, however, it becomes Chuck's enemy (but eventually, his friend) in whole new ways. In both works, nature takes command of time, indifferent to human needs. Chuck initially spends his days just learning to survive."
| |
|
Organized Crime and the Catholic Church, 2006.
This paper analyzes the link between the Catholic Church and organized crime, as depicted in Francis Ford Coppola's film "Godfather III," as well as in real life.
2,646 words (approx. 10.6 pages), 4 sources, MLA, £ 44.95
»
Click here to show/hide summary
Abstract
This paper examines how actual events surrounding the Vatican gave director Francis Ford Coppola the creative license to fictionalize a series of conspiracy theories involving the mafia and the church. This paper explores and details the events of the Roberto Calvi case. Calvi's case, of an Italian businessman and banker, who was involved with the Vatican, was found hanged in 1982, is similar to one of the sub-plots in Coppola's film. The writer presents published material which suggests Calvi may have been killed, in order to stop him from revealing certain secrets about Italy's political and religious establishments. This paper also discusses other events from the film, which were played out in real life, including one involving the death of Pope John Paul I.
From the Paper
"The book contains a photo of the Pope taken reportedly three hours before his death, speaking "jovially" with a Cardinal, not looking like a man about to succumb. The official Vatican reason given for his death was a "possible myocardial infarction," according to press accounts of the Vatican announcement of Pope John Paul I's death. "Possible" myocardial infarction? And why, interestingly, was there no autopsy? These are all issues and questions that obviously played into Coppola's hands as he set out to produce the third in the Godfather trilogy.
The Pope was about to investigate the banking scandal, when he died on September 29, 1978. He was found by Sister Vincenza, at about 4:45 a.m., and according to Yallop's book. She was allegedly "forced to keep silent by the Secretariat of State, Cardinal Villot, who imposed a vow of silence upon her to cover up the whole affair," the reviewer continued."
| |
|
?Grumpier Old Men? and Self-Care, 2006.
Applies a theory of self-care on the characters in this movie.
1,132 words (approx. 4.5 pages), 2 sources, MLA, £ 22.95
»
Click here to show/hide summary
Abstract
This paper presents a detailed examination of self-care for a movie family, as seen in "Grumpier Old Men" and applied to Dorothea Orem's self-care framework concept. The writer explores the movie characters and compares them against theory to explain what the characters do for their self initiated activities and care.
From the Paper
"The movie Grumpier Old Men is a perfect silver screen production for the purpose of analyzing the theory as it relates to family because the family includes young adults, middle aged adults and senior citizens. One of the theory's most fundamental concepts relates to self care and self initialized activities. The two main characters, Max and John are senior citizens who have been fighting with each other for more than three decades. In the movie, John is married and people in the family believe that Max is missing out by not being married too."
| |
|
A Jungian Analysis, 2006.
This paper examines analytical psychologist Carl Jung's personality theory and its relevance to the plot of Michel Gondry's 2004 film, "Eternal Sunshine of the Spotless Mind."
1,993 words (approx. 8.0 pages), 5 sources, MLA, £ 35.95
»
Click here to show/hide summary
Abstract
This paper analyzes the plot of Gondry's film, while detailing the relationship and romance between the main characters of Clementine and Joel. The writer of this paper focuses on Carl Jung's personality theory, which explains how and why people fall in love and what links two people together. Jung's personality theory includes the idea that there exists a personal unconscious and a collective unconscious, which has the power to influence others. The writer of this paper contends and explains how the two characters in the film and what they experience, proves Jung's personality theory in action. In the film, Clementine's unconscious needs have drawn her to Joel, yet when things begin to turn sour, she makes a conscious decision to leave him. The events of the film show that despite having Joel consciously removed from Clementine's mind, the unconscious need for him remains. This is the process that Jung describes when he refers to people being driven to making unconscious decisions, beyond their control.
From the Paper
"Jung uses several examples of how the collective unconscious influences people. One of the most significant is the existence of love at first sight. According to Jung, there is a female aspect in the collective unconscious for males, and a male aspect in the collective unconscious for females. These are known as anima and animus, respectively. Litt explains how love links to the anima and the animus saying that "love results from identifying the 'ideal' woman with his own underlying anima, while for a woman, love may be generated by seeing a man as the personification of her anima." This explains how love at first sight occurs. Since the individuals have no conscious awareness of their anima and animus, they cannot see any logical reasons to consider the other person as their other half."
| |
|
The Oscars, 2006.
Argues that the Academy Awards is not the glamorous event that it once was.
1,181 words (approx. 4.7 pages), 7 sources, MLA, £ 22.95
»
Click here to show/hide summary
Abstract
Traditionally, the Oscars have been seen as an awards show not to be missed. Receiving an Oscar used to mean that the actor or director was at the top of his or her form and that there was no one better. However, there have been concerns of late that some of what the Oscars provide is simply a show - Hollywood glitz and glamour, but no actual test of talent and work that has gone into a project. Some of this undoubtedly comes from four different areas of the Oscars - the host, the clothes, the freebies and what happens behind the scenes. All four of them are discussed in this paper in an effort to show that the Oscars have strayed far away from what they used to be, which was a wholesome if somewhat glamorous show and into the realm of 'reality TV.'
From the Paper
"Previous hosts such as Billy Crystal were very family-oriented in most of the material that they presented, and many of the jokes that they used were somewhat tired, not on the cutting edge of what is appropriate or not, such as the jokes that Rock uses in most of the stand-up material he works with (Harwood, 2005). The idea of getting Chris Rock to host the Oscars came from the idea that most people were getting tired of seeing the same old thing and that the ratings for the show were beginning to slip. It was hoped that something fresh and new, such as Rock, would allow for a boost to the ratings and therefore put the Oscar show back on its feet once again."
| |
|
"A Beautiful Mind", 2005.
This paper discusses the story of Nobel Prize winner John Nash and his struggle with paranoid schizophrenia as told in Ron Howard's film "A Beautiful Mind".
1,630 words (approx. 6.5 pages), 1 source, MLA, £ 29.95
»
Click here to show/hide summary
Abstract
This paper explains that, in the film "A Beautiful Mind", despite suffering from severe paranoid schizophrenia, John Nash manages eventually to control effectively the symptoms of his schizophrenia without the use of medication. The author points out that he used his own a high level of communication competence to control this condition with the techniques of perception-checking and self-talk and was able to live a relatively normal life. The paper stresses that Nash never actually cures his schizophrenia; his symptoms continued and he still had delusions, but he learned to ignore the symptoms and identified his delusions as not being real via a perception-checking approach.
From the Paper
"The same strong communication competence is seen in Nash's external communications. In one way, it can seem that Nash has low communication competence. For example, he does not have good relationships with his classmates, his workmates, or his students. However, there are various signs that this is related more to a lack of social skills than an inability to communicate. This is seen towards the end of the film where Nash is seen tutoring and teaching students. In these interactions, it is seen that Nash is an effective communicator. At the same time, Nash can seem impatient and also seems to behave in unexpected ways. Again though, this is related to Nash's inability to understand social expectations and act based on these expectations."
| |
|
"The Apprentice", 2006.
This paper examines the hegemonic reinforcement of corporate values as depicted in various reality television shows, while focusing on Donald Trump's "The Apprentice."
1,106 words (approx. 4.4 pages), 2 sources, MLA, £ 21.95
»
Click here to show/hide summary
Abstract
This paper details the various reasons surrounding the immense success of Trump's "The Apprentice." This paper describes the general premise of the show, which revolves around a group of contestants all vying for the chance to be Donald Trump's chosen apprentice. The winner receives a six-figure job for one year, as well as national recognition for being a rising star in America's view of capitalism. The writer of this paper contends and explains why the show's successful at pro-hegemonic reinforcement which focuses primarily on capitalism in America. This paper also examines Trump's personal successes and failures in the corporate business world that don't seem to coincide with the image depicted on his own show.
From the Paper
"As for the payoff for the audience, a significant part likely remains unconscious, or at least covert. On an overt level, though, viewers feel "entertained" by the action at hand: that of bright, attractive, well-dressed, ambitious, industrious contestants scrambling to be the best. Second, again overtly the backdrop of who will be "fired" at the end of the show provides suspense. Third and more covertly, however, one may implicitly assume, without even thinking about it, that he or she is learning valuable lessons about corporate life, and may therefore become successful, or more successful, just by watching the show. What the show is really "teaching", however, is that corporate values, and corporations themselves, are good, beneficial, and admirable, and that a job within one is not just a good, but a glamorous career to which to aspire, especially if one can turn oneself into a "corporate winner" like some of those on TV."
| |
|
Digital Video Editing, 2006.
A production analysis of the film trailer for "A Touch of Evil -- The Strangest Vengeance Ever Planned!".
2,625 words (approx. 10.5 pages), 12 sources, MLA, £ 44.95
»
Click here to show/hide summary
Abstract
The editors of the trailer of the film "A Touch of Evil" were provided with thirteen minutes of film to be edited from the Orson Welles' masterpiece, "A Touch of Evil." This paper examines how using these thirteen minutes of film, the editors produced a one-and-a-half minute trailer using Adobe Premier Professional. The process is described followed by a summary of the project in the conclusion.
Outline
Introduction
Review and Discussion
Background and Overview
"A Touch of Evil"
Steps to Trailer Production and Rationale
Conclusion
From the Paper
"The music in "A Touch of Evil" was written by none other than Henry Mancini. According to Nowell-Smith (1997), "The fate of jazz as film music strongly resembles that of classical music: it was taken over by established film composers like Henry Mancini, Lalo Schifrin, Dave Grusin, John Barry, and Michel Legrand, who took elements of its basic language and integrated them into a 'mod' style tailored to the flow of the film" (p. 563). The film is set in a fictional Mexican border town, "Los Robles" (described on a billboard at the edge of town as the "Paris of the Border" (Case, 1996); however, it was actually filmed in Venice, California because the place looked "convincingly run-down and decayed" (Plot Summary, 3)."
| |
|
"Troy": A Mythical Remake, 2006.
A review of the 2004 movie "Troy".
850 words (approx. 3.4 pages), 0 sources, £ 16.95
»
Click here to show/hide summary
Abstract
This paper reviews the mythic film "Troy" and compares it to Homer's "The Iliad", upon which it is loosely based. The paper discusses how the film bring to life mythical heroes and villains in a the great tale of love, war, loyalty, deception, honor, victory and defeat. The paper traces the love story between the beautiful Helen of Troy, who was originally the wife of King Menelaus of Sparta and Prince Paris of Troy, who secretly takes Helen home to Troy with him after visiting King Menelaus in Sparta. The paper also asserts that while the movie is not a verbatim account of the book, it is true to its essential nature as a long, vivid, colorful tale about war and peace, and about human pride and foibles.
From the Paper
"The factuality of the events told within the Iliad itself remains debatable. For instance, historians still do not know if there really was a great Trojan war of the sort described in the Iliad, , or, if so, if such a war was really about love, jealousy, and revenge, or perhaps more likely in actuality, about commerce. The Trojan War, if it happened at all, may have just used the excuse of Helen's and Paris's illicit love to restart the same tired conflict between Troy and Mycenae Greece, after a brief respite. Based on historical, anthropological, and other research, there was in fact some sort of Trojan-Greek conflict at this time. Therefore, he Trojan War, as we know it through the Iliad, was not simply a figment of a blind man's rich poetic imagination."
| |
|
The Fluctuating Weight of Renee Zellweger, 2006.
This paper analyzes the various reasons actress Renee Zellweger gained a significant amount of weight to play the title character in "Bridget Jones' Diary" and the potentially dangerous message this sends to young women.
1,120 words (approx. 4.5 pages), 2 sources, MLA, £ 21.95
»
Click here to show/hide summary
Abstract
This paper focuses on the intense media attention paid to Renee Zellweger during the filming of "Bridget Jones' Diary" and its sequel. This paper discusses how the tale of a woman who is obsessed with finding a man and even more obsessed with her fluctuating weight struck a chord with women around the world. This paper explores the reasons that the usually slender and American Zellweger was chosen to play the British heroine as well as the eating plan the actress followed in order to gain the weight for the film. The writer of this paper also examines the media's praise for Zellweger's weight gain and eventual loss as well as its negative impact on actresses, such as Kirstie Alley, who gain weight due to childbearing or other reasons. This paper discusses the dangerous message Hollywood is sending young women regarding what is deemed beautiful and perfect.
From the Paper
"But when Zellweger showed her newly slim physique to the world, despite her command performance as Jones, her weight loss was what drew raves, as high in quality as her acting in the role may have been. And although, Zellweger was eager to note that she hadn't shaken her alter ego off completely. "I'd be out in the cab and asking the guy in an English accent," she sighs, shaking her head. "[I say] 'brilliant, lovely,' all those things. 'Quite,' I say 'quite' a lot now ... " she was also eager to find a film to show off her return to slenderness. Her thin sculpted frame in her next release in "Chicago" assured the world that Zellweger was still capable of high glamour. Her weighty photos for one fashion magazine never made it to print, but newly slender, she graced the cover of Vogue. When an actress such as Kristie Alley, a former beauty queen, gains weight not for a role but because of age and childbearing, the world grows uncomfortable."
| |
|
"A Time to Kill", 2006.
Presents reasons why everyone should see this movie based on a John Grisham novel.
1,128 words (approx. 4.5 pages), 0 sources, MLA, £ 22.95
»
Click here to show/hide summary
Abstract
This paper presents a brief overview of the movie, "A Time to Kill" about the defence case of a black man who is accused of murdering the white rapists of his young daughter. The paper then explains why it is important that everyone make an effort to view the movie, if not only because of its strong social message.
From the Paper
"The ethical impact of this movie is relatively central to the work. The moral is not exactly straight forward. Of course the rednecks who did this terrible thing to a little girl deserved to die and her father did not deserve the death penalty for killing them. One moral is that rape and murder are both bad, but that crimes based on a sense of denied justice are more pure than those which are racist and sexist. Perhaps the most profound moral, though, is that racism and injustice in one area of life inevitably will lead to crime and destruction in others."
| |
|
Sidney Poitier, 2006.
This paper examines the life and career of African-American actor Sidney Poitier.
774 words (approx. 3.1 pages), 4 sources, MLA, £ 15.95
»
Click here to show/hide summary
Abstract
The writer of this paper details the prolific life of academy award winning actor, writer, diplomat, humanitarian and cultural icon Sidney Poitier. This paper discusses the actor's more controversial films, including "Cry, the Beloved Country," which addresses racism and apartheid in South Africa and "Blackboard Jungle," which deals with the issue of inner city education. This paper explores the actor's views and opinions on racism in Hollywood while also citing his refusal to work on films that do not employ an increased numbers of black talent. The writer contends and explains why Poitier continues to demonstrate a high level of integrity while also discussing his various appearances before congressional committees regarding racial discrimination in the film industry.
From the Paper
"During the 1950's, Poitier made some of the most important and controversial movies of the time. In "Cry, the Beloved Country," he addressed the issues of racial equality and apartheid in South Africa, in "Blackboard Jungle," he confronted the issues of inner city education, and in "The Defiant Ones," he portrayed one of two escaped prisoners who must overcome issues of race in their struggle for freedom. Poitier returned to the stage in 1959 to star as Walter Lee in Lorraine Hansberry's play, "A Raisin in the Sun." This play, the first by a black playwright to show on Broadway, was a moving reflection of black family life that had great popular appeal. Poitier's performance was such a critical success that he was asked to star in the movie adaptation in 1961."
| |
|
Michael Moore?s "Bowling for Columbine", 2006.
A review and analysis of the film "Bowling for Columbine" and its portrayal of gun violence.
900 words (approx. 3.6 pages), 2 sources, MLA, £ 17.95
»
Click here to show/hide summary
Abstract
This paper studies Michael Moore's award winning docudrama "Bowling for Columbine" (2002), which provided an eye-opening look at the social problem of violence in the United States, particularly violence with guns. The film focused on events leading up to the Columbine High School shootings. The paper demonstrates how, from a sociological perspective, Moore effectively showed that both social institutions (e.g., the community, the school) and social relationships (e.g., within the community, between students) played a role in the Columbine tragedy. The paper also lauds Moore for effectively presenting the causes and consequences of this recurring social problem (i.e. gun violence) in an effective manner.
From the Paper
"One portion of the film that I found extremely revealing was when Michael Moore went up to Canada with his film crew for this movie, and interviewed people up there, who seemed less afraid, and said they were less afraid, than Americans he had interviewed for the film earlier. These two sets of interviews illustrated the point, very convincingly, that America has far more general fear bred into its culture, in terms of anxieties people feel just living life, than does Canada. For that reason, Moore implies, many Americans feel they need guns simply to protect themselves against the frightening elements "out there", a feeling that then feeds on itself, with more fear and more gun ownership. In contrast, Canadians who were interviewed for the film do not even lock their front doors, and most do not own guns or feel any need to own guns. Moore convincingly explored, also, how the mythology of the Wild West (e.g., Western movies starring actors like John Wayne and Clint Eastwood) are so much a part of the American identity that Americans actually also identify with guns and gun ownership as if it were needed in order to feel safe."
|
|
|
