| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "ACTOR BORIS KARLOFF": |
|
|
Actor Boris Karloff, 2004.
This paper discusses the life of actor Boris Karloff.
1,720 words (approx. 6.9 pages), 5 sources, MLA, £ 38.95
»
Click here to show/hide summary
Abstract
This paper explains that Boris Karloff, one of the most notable names in 20th century, cinematic horror, is best known for bringing Mary Shelly's "Frankenstein" monster to life in the 1931 black-and-white horror film by Universal Studios. The author points out that Karloff did not consider "type casting" to be a curse and thought himself fortunate that audiences and studios had recognized and appreciated his talent for certain parts. The paper lists other major films: "The Mask of Fu Manchu," which required extensive make-up and heavy dialogue; "The Raven," with Bela Lugosi playing another villain with serious deformities; "The Bride of Frankenstein," considered to be the best of the Frankenstein series; and "Son of Frankenstein," the final Frankenstein film starring Karloff as the Monster, although he would actually make appearances in later Frankenstein films.
From the Paper
"Boris Karloff was not the given name of the famous actor. Born in London, England, his given name was actually far more British than stage-friendly; William Henry Pratt was born on November 23, 1887. He was the youngest of eight children, and it was actually his older brothers that would raise him. His father actually died when he was a young infant. Karloff's father had been a public official in India, and the family expected that the child would follow a similar path and take the place of the father in the family. One of his older brothers, the longest surviving Sir John Pratt, was himself a diplomat. For his early school days, he attended Merchant Taylor's School at Uppingham, a prestigious institution. For higher education, he would attend London University, where he specialized in Chinese customs in the Consular Service program."
| |
|
"Doctor Zhivago" (Boris Pasternak), 1992.
Examines the spiritual aspects of the novel and the main character, themes of death and resurrection, symbolic unity of life and spirit.
2,025 words (approx. 8.1 pages), 2 sources, £ 49.95
»
Click here to show/hide summary
From the Paper
"This study will examine Boris Pasternak's Doctor Zhivago, focusing on the spiritual aspects of the novel and particularly of the character of Yuri Zhivago. The study will consider the theme of death and resurrection as it reflects upon the symbolic nature of the novel and the spiritual philosophy of Yuri as an artist and as a man. The thesis of the study will be that Zhivago's entire novel is a spiritual universe unto itself, with the author's having depicted characters who, whatever their individual flaws, together form a symbolic unity of life and spirit.
This thesis is supported by the argument of Angela Livingstone in Pasternak: Doctor Zhivago. Of the main characters, Livingstone writes that " . . . Yuri, Lara and (through his influence) Vedenyapin [Uncle Nikolai] constitute at ..."
| |
|
"Doctor Zhivago" by Boris Pasternak, 1993.
An analysis of the novel's views on the Russian Revolution, Bolshevism, history and religion and human condition as expressed by Yurii and Zhivago.
2,700 words (approx. 10.8 pages), 1 source, £ 66.95
»
Click here to show/hide summary
From the Paper
"Boris Pasternak's Doctor Zhivago challenged a number of socialist tenets in political, social, and literary terms, and it was banned in the Soviet Union as a consequence for 30 years. Politically, the novel questions the reality of the Soviet system as it developed, finding that the promise of the Bolsheviks was dissipated in the early years as changes were made in the social and political beliefs they had offered. In literary terms, the novel breaks away from the prevailing school of social realism, which in itself had been turned into a deliberate political statement and almost a political requirement for socialist-accepted writing. The novel intentionally deals with the early years of the Soviet system rather than with the Stalinist years. Pasternak had lived through both eras, but in this novel he was only challenging the way the Bolsheviks had abandoned their..."
| |
|
Can Animation Replace Real Actors?, 2005.
A look at the concern in the movie industry that digital animation will eventually eliminate the need for real actors.
2,031 words (approx. 8.1 pages), 9 sources, MLA, £ 44.95
»
Click here to show/hide summary
Abstract
This paper begins with a look at the history of animation, focusing special attention on the history of computer animation. The paper explains the advances in technology that have helped improve computer animation techniques and then takes a look at some of the ethical questions that have developed regarding the use of computer animation. The paper then discusses one of the primary concerns, the fear that this type of animation will replace real actors, and explains why actors really have no reason to feel threatened by computer animation.
From the Paper
"Visual representation of ideas, history, and stories has been an important part of human culture since prehistoric times, when cave paintings and other primitive drawings were used to record and relive events. As human culture developed, so did the visual arts, and primitive cave paintings gave way to more complex drawings, paintings, and engravings that told stories ranging from epic mythological tales to a simple moment from daily life. While a talented artist has always been able to bring drawings ?to life? and have a sense of movement in the work, actual animation has its roots in the 1800s. Devices such as the zoetrope, also known as the ?wheel of life,? were simple and used a cylinder with slits in the sides to make the drawings inside appear to move when a person peered through the sides as it spun."
| |
|
Actor Whoopi Goldberg, 2005.
This paper is a contextualization of the life and contributions of actor Whoopi Goldberg.
3,460 words (approx. 13.8 pages), 14 sources, APA, £ 67.95
»
Click here to show/hide summary
Abstract
This paper explains that Whoopi Goldberg (real name, Caryn Elaine Johnson) grew up in a New York housing project, became a single, teenage mother and dropped out of high school because she was convinced that she was not able to understand basic lessons. (Later she found out that she had dyslexia.) The author points out that, in 1983, Goldberg's career took off when director Mike Nichols attended her show at the New York's Dance Theater Workshop and immediately signed her for a one-woman Broadway show; Steven Spielberg chose her to play the lead in "The Color Purple" for which she received an Oscar nomination and a Golden Globe Award. The paper concludes that Goldberg represents a true pioneer in the motion picture industry not only because of her groundbreaking roles, which place her at the forefront of the black female actors in America today, but also because Goldberg's portrayal of white actors created an environment that breaks down social barriers while tacitly acknowledging and reinforcing others.
Table of Contents
Introduction
Review and Discussion
Background and Overview
Analysis of Selected Goldberg Roles
Conclusion
From the Paper
"Goldberg endured the unendurable for several months ("I had this caseworker who was nasty as hell"), which makes her reaction to her initial success more understandable. Even though she's won a Grammy, a Golden Globe Award and received an Emmy nomination, Goldberg reports that absolutely nothing in her life has come close to the sense of accomplishment that she felt when, after five years on public assistance, she was able to support herself through acting: "The greatest thing I ever was able to do was give a welfare check back. I brought it back to the welfare department and said, 'Here. I don't need this anymore.""
| |
|
A Career as an Actor, 2005.
This paper discusses a career in the field of the dramatic arts as an actor.
675 words (approx. 2.7 pages), 3 sources, £ 18.95
»
Click here to show/hide summary
Abstract
This is a paper that concerns a career as an actor. The paper discusses aspects of the actor's career such as auditions and casting, researching the play and character, understanding character and motivation, learning lines and blocking. The writer also looks at working with directors and stage managers, costumes, rehearsals, makeup and the madness of opening night.
From the Paper
"Many people think they would like it if they were a famous actor, either on Broadway or in the movies. They are excited by the idea of being admired by millions of screaming fans, getting paid lots of money to hang out and maybe even get to do a love scene with other big celebrities. But acting is not all just about fame and fortune; it's a lot of work. Stage actors have to spend weeks or months in preparation for their two hours or less under the lights in auditioning, researching the play and understanding their character, learning their lines and blocking, rehearsing with the other cast members, getting into costumes and makeup, coping with nerves and stage fright, and dealing with directors and stage managers."
| |
|
Child Actors, 2002.
Examines the negative aspects of being a child actor, including abuse, failure, and substance addiction.
1,400 words (approx. 5.6 pages), 6 sources, £ 36.95
»
Click here to show/hide summary
Abstract
Used, abused, and confused by the grinding, unforgiving machinery of celebrity, the aging TV child actor, from Ricky Nelson to Brandon Cruz, from Patty Duke to Dana Plato, has always been more susceptible to the "crash-and-burn" than your average, not-so-cute-and-cuddly-anymore youngster. But what about Gary Coleman? What is he supposed to do? Disappear? And there it is: The Gary Coleman Paradox, the Former Child Star Dilemma. When their time is up, when their shows are canceled, we want them to go away. But they can't. Reruns assure otherwise; our TV-burned memories assure otherwise. We don't need to see another second of another "Diff'rent Strokes" to know that Gary Coleman is pint-size Arnold Jackson Drummond from Harlem. Now and forever. He can't go away. They can't go away. And, for that, we make them pay. If it was impossible for the TV kids of the 1950s and '60s to know the traps that lay ahead, it was impossible for the TV kids who followed them not to know.
| |
|
Marston's "Malevole" and Jonson's "Volpone" as Actors, 2000.
This paper explores the relation between Jonson's "Volpone" and Marston's "The Malcontent" in reference to the propensity of characters to "mask" their true selves.
1,520 words (approx. 6.1 pages), 2 sources, £ 34.95
»
Click here to show/hide summary
Abstract
This paper explores the relation between Jonson's "Volpone" and Marston's "The Malcontent" in reference to the propensity of characters to "mask" their true selves. An exploration of the motivations behind this masking is undertaken as a means of understanding the symbolism of false selves.
| |
|
Russian Literature, 2008.
An analysis of the poem "The Bronze Horseman", the drama "Boris Godunov" and the tale of "Boris and Gleb" by Alexandr Pushkin.
1,923 words (approx. 7.7 pages), 0 sources, £ 42.95
»
Click here to show/hide summary
Abstract
The paper provides a synopsis of Alexandr Pushkin's poem "The Bronze Horseman", the drama "Boris Godunov" and the tale of "Boris and Gleb". The paper describes the profoundly Christian morals of "Boris and Gleb" which defined early middle ages Russia, the political tribulations behind the accession to the throne in imperialistic Russia of the 17th century depicted in "Boris Godunov" and the social consequences of Russian expansionism as suggested through metaphors in "The Bronze Horseman". The paper also shows how each of these three literary works are valuable pieces of literature as well as testimonials of their eras.
From the Paper
"Before writing plays, Pushkin was an accomplished poet. But then he discovered Shakespeare and his manner of writing changed forever. Although his plays were revolutionary, the state of the theater during Pushkin's time was not favorable to his writings mainly because people went to the theater to see old-fashioned historical tragedies and the French vaudeville that was penetrating the Russian theater scene. Moreover, the theater lacked good Russian plays on Russian themes despite the fact that the Russian theater was never short of good playwrights. "
| |
|
Glasnost and Democratization, 2004.
An analysis of Mikhail Gorbachev's Glasnost and democratization under Boris Yeltsin.
2,518 words (approx. 10.1 pages), 10 sources, APA, £ 52.95
»
Click here to show/hide summary
Abstract
The end of the Cold War found Mikhail Gorbachev and Boris Yeltsin seeking solutions for problems that needed to be solved. Their attempts to reform the socialist state are reviewed in this paper, followed by a summary of the research in the conclusion.
Outline
Introduction
Review and Discussion
Background and Overview
Gorbachev's Glasnost
Yeltsin and Democratization
Analysis
Conclusion
From the Paper
"In many ways, Mikhail Gorbachev came to power during a period in Soviet history where things had been going downhill for some time, and the Old Guard was dying off; however, the primary catalyst for reform during Gorbachev period of glasnost, or "openness," was one of economics. For example, in their book, Glasnost, Perestroika and the Socialist Community, Bukowski and Walsh (1990) report that, "The impetus for reform in the Soviet Union came from a number of directions, but the factor of fundamental importance was the economic one. Gorbachev's economic reforms are meant to revitalize a stagnant Soviet economy that has been growing at only about 2 percent annually for a decade. The reasons for the slowdown are partly internal and structural, and partly external." "
| |
|
Russia's Move to Democracy, 2001.
A look at the move to democracy in Russia lead by Boris Yeltsin.
2,400 words (approx. 9.6 pages), 8 sources, APA, £ 50.95
»
Click here to show/hide summary
Abstract
This paper suggests that because of the creation of certain institutions of government, Russia is institutionally closer to democracy than it was ten years ago. Its newly structured (some would say deconstructed) economy has generated enough new wealth that its populace will not accept a return to a command economy. But its ability to create a functional democracy that will honor a people's social and civil rights is just as tenuous as it was in 1991 when Boris Yeltsin came to power.
From the Paper
"According to the Columbia Encyclopedia, 6th edition, a democracy is a "a philosophy that insists on the right and the capacity of a people, acting either directly or through representatives, to control their institutions for their own purposes. Such a philosophy places a high value on the equality of individuals and would free people as far as possible from restraints not self-imposed. It insists that necessary restraints be imposed only by the consent of the majority and that they conform to the principle of equality." Given this definition of democracy, is Russia any closer to a fully functioning, democratic system of government than it was ten years ago when Boris Yeltsin assumed the presidency?"
| |
|
Russian Literature, 2005.
An analysis of the influence of the work of Alexander Solzhenitsyn and Boris Pasternak.
817 words (approx. 3.3 pages), 4 sources, MLA, £ 20.95
»
Click here to show/hide summary
Abstract
This paper examines how two particularly influential writers from 20th century Soviet Russia are Alexander Solzhenitsyn and Boris Pasternak. It looks at how each of these authors contributed both to literary movements of their time and to political disputes and policies. It explores how, although both men's works of literature were officially banned by the state at some point, the notions published within eventually influenced the political minds and philosophies that came to dominate Russia.
From the Paper
"Boris Pasternak took a unique view of literature by comparison to his predecessors in that he refused to overtly endorse or condemn the events of history-most significantly, the Bolshevik revolution. On one level, this made his writing non-threatening to the communist party, but on another, it made is omissions of undeniable patriotism highly questionable in the views of party authorities. "While opportunists celebrated five-year plans, Stalin's wisdom, and official enlightenment, Pasternak refused to see literature as a means of mass communications and to compose topical and functional verse." (Slonim, 218). This perspective parallels that of his central character in his most famous work, Dr. Zhivago."
| |
|
Larrisa?s Love Knot, 2003.
This paper analyzes the complex character of Larrisa Fyodorovna Guishar in Boris Pasternak's classic novel "Dr. Zhivago."
1,104 words (approx. 4.4 pages), 1 source, MLA, £ 26.95
»
Click here to show/hide summary
Abstract
The writer of this paper explores the character of Larissa Fyodorovna Guishar in Boris Pasternak's Russian novel "Dr. Zhivago." This paper considers Larissa's background, lifestyle and relationships while emphasizing the turmoil during the Russian revolution. Throughout the novel Larissa is portrayed as extremely irrational and potentially dangerous while at the same time reasonable and affectionate. Her role in the novel is to assist in developing the theme of the love between a man and a woman. This paper describes the plot of the novel while detailing the growing bond between Larissa and Dr. Yuri Zhivago.
From the Paper
"Larrisa, or Lara as she is usually called, is a graceful, intelligent, and beautiful woman. She was motivated to make the best marks at school in order to pay reduced fees, and had a fully formed figure at the age of 16. As a young girl she attracted the attention of her mother's friend Komarovsky, which lead to a strange relationship between the two. She seems like a victim to the rich, older Komarovsky but she does not resist his advances. The relationship they have is a secret and if Lara is uncomfortable with the situation, she certainly is not uncomfortable with the money and attention she receives. After finally breaking away from him, she plans to marry Pasha Antipov but finds herself tied up with Komarovsky again. When preparing to ask Komoravsky for money, she brings a loaded revolver planning to shoot him if he refuses but shoots another man instead."
| |
|
Sean Penn - Controversial Star, 2002.
Examining the turbulant life of actor and director Sean Penn and questioning whether he followed in his notorious actor-father Leo Penn's footsteps.
2,047 words (approx. 8.2 pages), 10 sources, APA, £ 44.95
»
Click here to show/hide summary
Abstract
This paper studies the life of Sean Penn, actor and later director. It first briefly describes his father's acting career and how it was cut short because of his "communist" activities in the 1960's and how he was black-listed. It continues to compare Sean Penn to his father, focusing on Penn's bad-boy image which is highlighted by his marriage to pop-star Madonna and a one-month jail stint for assault. It mentions many of the movies that Penn starred in or directed and shows how through all of these he continued to make political and controversial statements.
From the Paper
"It could be said that celebrity activism is a family affair for Sean Penn, celebrated Hollywood actor and director. Before Sean was even born his father, Leo Penn, who was an actor on Broadway and in films in the late 40s, used his celebrity to make social statements. Leo was blacklisted for a decade in the 1950s for refusing to give names to the House Un-American Activities Committee (HUAC) of those in the Hollywood community with communist ties.
Supposedly one of Sean's earlier memories is of his father taking him to the set of The Last Tycoon near to the family home. There the director, Elia Kazan, someone who had named names at the hearings, tried to say hello. But Leo, normally warm and friendly, walked straight past, a point of integrity his son could not fail to notice. Unlike many of the blacklisted actors of the time, Leo's entertainment career survived his political stance and he went on to make a name for himself behind the camera, in television rather than feature films. During his career, he directed than 400 hours of prime-time television programming, including episodes of Bonanza, Ben Casey, Starsky & Hutch, Magnum P.I., Columbo, Kojak, and St. Elsewhere. "
|
|
|
