| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "AMERICAN FILM INDUSTRY": |
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The American Film Industry, 2006.
This paper examines the portrayal of Latinos and Asian Americans in the American film industry during the 1930s-1950s.
1,800 words (approx. 7.2 pages), 3 sources, £ 49.95
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Abstract
The paper portrays how the United States in the twentieth century was characterized by a degree of political and social upheaval, which effected an equivalent response of the mass media to such turmoil. The paper describes how over the period spanning 1930-1960, Americans reeled in response to World War II, flocking to the cinema against a backdrop of major political and economic change, which in turn colored the cultural trends of the period.
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American Film Industry, 2003.
A discussion on the contributing factors of the development of the US film industry.
690 words (approx. 2.8 pages), 4 sources, MLA, £ 16.95
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Abstract
This paper discusses three factors contributing to the development of the American film industry since 1970 The factors mentioned are the blockbuster film, corporate mergers and the surge in demand for filmed entertainment.
From the Paper
"The American film industry has undergone considerable change from the 70s to the present. During the 70s audiences were offered independent films that were successful at the box office and which reflected the changing political and cultural environment ..."
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British Film Industry, 2008.
This paper provides a critique of the processes of British film in
respect to the influence of American film.
1,783 words (approx. 7.1 pages), 5 sources, MLA, £ 39.95
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Abstract
In this article, the writer maintains that the British film industry often frames itself in respect to its counterpart, the American film industry. The writer notes that movies made in the United States typically gross larger sums than British films, a point that has long motivated the British film industry to identify American movie-making as a more profitable model. The writer argues, however, that the emulation of American films by British studios has typically fallen short of projections: the British film-going audience, which hungrily devours American blockbusters, is surprisingly hesitant to engage in films that are made in Britain and utilize American-style plots, cinematography, acting, and special effects.
Outline:
Introduction
British Film Media
Issues of Consideration in British Film
British Film and American Film
Summary
From the Paper
"When this process occurs, the value of a film made by a British film studio is challenged. The outcome is problematic, as the film itself may contribute to the British film industry as a composition with significant artistic merit, but the lack of financial incentives indicates that there is a strong potential for the film to get "lost" in the cinematic archives. Films that have permanency within an audience are not necessarily those with the greatest intrinsic merit but are instead those that have had backing through a strong studio and have created a market identity through advertising, widespread distribution, and so on. A film that communicates a strong message or has profound artistic composition will not necessarily become a permanent achievement in the film industry, and for most investors and studios an obscure picture might as well have never been made."
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Native American films, 2006.
A review of Native American film history and its influence on the American film industry.
1,350 words (approx. 5.4 pages), 5 sources, £ 36.95
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Abstract
This film study brings forth a brief history of Native American filmmaking in the last one hundred years. According to the paper, the early teens of the 20th century brought forth James Young Deer, but after World War I, white Americans in power soon sought to diminish the role of Native Americans in leadership positions, such as director. The slow and often racist agenda for native Americans took a secondary role to western that exploited Indians as obstacles for Manifest Destiny.
From the Paper
"This film study will analyze the Native American film history and how it had influenced the major film industry of America. For the past one hundred years, Native Americans have played a part in helping to shape the creation of screenplays, directorial approaches, and other elements in the American filmmaking process. By learning of the various directors and actors in this genre, one can realize the major impact Native Americans had on Hollywood. In essence, this study will bring forth an analysis of the history of Native American filmmaking, and its influences on American filmmaking within the past one hundred years. The first half of the 20th century was a difficult tie for Native Americans, as they were mostly left out of filmmaking within the major industry markets."
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Director Pedro Almodovar and the Spanish Film Industry, 2002.
This paper shows the influence of director Pedro Almodovar on the Spanish film industry and how his films helped pave the way for other Spanish directors to find an audience outside of Spain and to reestablish the viability of the Spanish film industry.
3,100 words (approx. 12.4 pages), 8 sources, £ 62.95
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Abstract
The paper introduces the topic with a look at Robert Phillip Kolker's "The Altering Eye", which considers some of the economic and social forces that apply in different countries to shape their film. It then examines the life and work of director Pedro Almodovar as an example of these theories at work in Spain. It suggests that Almodovar's success was dependent on the social and political changes in Spain, namely the end of the fascist era and a move toward democracy.
From the Paper
"Film is an international medium in spite of language differences, and different countries come to the fore at different times to make a mark both artistic and economic on the world cinema. After world War II, Italian neo-realism burst onto the scene, followed in the early 1960s by the French New Wave. In the 1970s it was a combination of films from Australia and films from West Germany, the latter led by Rainer Werner Fassbinder. More recently, Spain has become a contributor to the screens of the world, with the leading filmmaker of the time being Pedro Almodovar, in some ways an unlikely leader given his penchant for bizarre sexual themes, iconoclastic attitudes, and searing satiric humor."
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Relationship between American Films and American Ideas, 2000.
Examines the relationship between the establishment of American films and American Ideas.
3,366 words (approx. 13.5 pages), 0 sources, £ 66.95
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Abstract
This essay examines the relationship between the establishment of American films and American Ideas. It features the works of John Ford ("Birth of a Nation") and "The Iron Horse". In addition, the writer tackles the issue of the promotion of the American ideal in Europe and how this influenced immigration.
From the Paper
"This new and exciting medium offered a new method of presenting ideas. While there were many movies concentrated around melodrama and the vaudeville tradition, the opportunity was there for film-makers to present their own vision of America. This relationship between film-makers and American history was compounded by the similarity of their development. As with America, film making began in the east. The major studios were to be found in New York with Chicago and its suburbs also being colonised by production companies. At first locating in the east had advantages. It was the centre of American civilisation and had access to labour and supplies and as such was perfect for studio based film making. However, at this time all but the most affluent studios were without adequate lighting systems and relied upon good light to film. This was a problem in the north and east due to seasonal changes in light conditions."
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Canadian Film Industry, 2006.
A review of the independent Canadian film industry.
5,625 words (approx. 22.5 pages), 10 sources, £ 154.95
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Abstract
This paper reviews the Canadian film industry, one that is said to be a composite of three different unique bodies that have combined to create a dynamic film environment; albeit not a uniquely Canadian one. The paper goes on to discuss how while the indigenous Canadian film industry is still extant it might be described as moribund at best. If not for governmental support for the indigenous film industry, independent Canadian film making might already be extinct. The Canadian film industry is relatively healthy overall but the figures indicate strictly indigenous Canadian films, outside of one or two major production houses, may suffer revenue and market difficulties in the years ahead.
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Japan's Film Industry, 2006.
A paper discussing the history of the Japanese film industry.
3,515 words (approx. 14.1 pages), 12 sources, MLA, £ 68.95
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Abstract
This paper traces the history of the Japanese film industry beginning with its early success and subsequent failure in the face of competition from American films. The paper looks at famous Japanese film directors and their films and describes the techniques and styles used by the directors as well as their impact on the Japanese film industry. The paper also looks at more recent films produced by Japan's film industry that have received accolades and financial success in the Japanese and Western markets.
From the Paper
"Although Japan is the world's second biggest movie market, analysts in film and business claim that the country's film industry is dying or dead. In the early 1960s, nearly two-thirds of the films that were popular in Japan were made in that country, while today the same percentage of films that are showing in Japan are made overseas. [1] Critics claim that the industry is not commercial enough to appeal to a broader range of viewers outside of Japan. Critics also claim that television and video games have ruined the Japanese love for their cinema, whose history is more than a century old."
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The Canadian Film Industry, 2007.
This paper discusses the difficulties faced by the the Canadian film industry.
3,842 words (approx. 15.4 pages), 9 sources, MLA, £ 73.95
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Abstract
The paper presents a brief history of the Canadian film industry and discusses how the English branch of Canadian cinematography continues to lack in distribution on the domestic market. The paper attempts to explain why it has been so difficult for the national industry to develop. The paper looks at various causes and examines the lack of connection Canadians have with their cultural heritage. The paper suggests that perhaps each individual's efforts to reconsider his national identity will lead to an appreciation of the indigenous film industry.
Outline:
A Brief History of the Canadian Film Industry
An Attempt to Explain the Paradox
From the Paper
"When talking about movies, most people's mental representation consist of the sign from the Hollywood Hills, the well known Hollywood's Walk of Fame or the glamorous Oscar ceremony which allows them to recognize their favorite actors or actresses. But how many realize that the roots of celebrities who are given the red-carpet treatment aren't exclusively American? For instance, how many cinephiles who have been touched by the story of Titanic, the renowned film that won 11 Oscars in 1998, know that its director James Cameron has Canadian origins? Furthermore, how many moviegoers have found out that contemporary cineplexes representing one of their favorite leisure destinations were invented by a Canadian?"
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Early American Film History, 2008.
An overview of the history of the American film industry from the late 1890s to the 1920s.
1,848 words (approx. 7.4 pages), 7 sources, MLA, £ 41.95
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Abstract
This paper discusses how American cinema from 1896 and thereafter really has its roots in Thomas Edison's early inventions relating to film projectors. The paper then takes a look at the development of early film and cinematography throughout the 1880s and 1890s, starting from the invention of the kinetophonograph. It also tracks the history of films beginning with the first motion picture called "Monkeyshines", filmed in 1891, through the building of the first film studio and movie theaters. In addition, the paper discusses how, by the 1920s, American film and cinematography seemed to mature as an industry and how the technology had advanced to such a degree that producers and directors could shift their attention from the technology to the actual making of a film and directing of the storylines.
From the Paper
"The development of cinema into an art form in its early years is inextricably related to the development and advances associated with the film technology itself. Eventually the dominance of the East coast film companies which had advanced various film projection technologies in tandem with film production such as Edison's own Edison Company and the American Mutoscope Company among others, gave way to film production companies which began to concentrate solely on film production rather than on the technology development as well as film production. This shift in focus from the film projector itself to actual film production began in earnest in the US with the work of Edwin Porter who is known as the father of the story film (Bordwell 57)."
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The Canadian Feature Film Industry, 2005.
This paper discusses the Canadian feature film industry, looking at its structure and problems while making suggestions of how to strengthen the industry.
1,125 words (approx. 4.5 pages), 5 sources, £ 30.95
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Abstract
This paper examines the structure of the Canadian film industry, some of its problems, and possible solutions that can make it a stronger, more vibrant industry. As this paper reveals, the Canadian film industry has historically been dominated by government agencies - the NFB and Telefilm. While not without their strong points, this paper suggests that these agencies should be eschewed in favour of more support from the private sector for Canadian film.
From the Paper
"The Canadian film industry is, very quietly, an important part of the Canadian arts scene. The following paper examines the structure and operation of the Canadian film industry - chiefly by examining the structure and operation of the Canadian Film Board and Telefilm Canada - the challenges and/or problems that have and will continue to confront the Canadian film industry, and some possible action that can be taken to address these concerns."
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The British Film Industry and Thatcherism, 2005.
This in-depth paper examines the British film industry during the 1980s while also focusing on the political climate in England during this same period in which the country was led by Prime Minister Margaret Thatcher.
4,954 words (approx. 19.8 pages), 21 sources, APA, £ 86.95
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Abstract
This well-researched paper delves into the history of Britain's film industry which, according to the writer of this paper, was considered second rate in comparison to other countries including Germany, France and the U.S. This paper discusses the film industry's apparent lack of focus primarily during the 1980s, which was a direct result due to the political climate during this particular era. The writer reviews and analyzes British author John Hill's book "British Cinema in the 1980s" which provides in-depth insight to this specific topic. The writer contends and explains why British filmmakers were essentially apathetic and uncaring about Thatcherism and went on to challenge many of the country's values. This paper examines the impact of various films made in England during the 1980s including "Gandhi," "Room With a View" and "Chariots of Fire." This paper also focuses on the cultural conflicts between the older and younger generations in England which greatly impacted the types of films that were produced during at that time. The writer stresses that during the 1980s the older generation stuck by the traditional and old fashioned Victorian morality system which still exists today while the younger generation chose to adhere to a more free-flowing Edwardian type value system.
From the Paper
"There were several opportunistic policies that had been passed, and there was also a growing lack of satisfaction in manual labor. Therefore, it was very evident that in Britain, even at the end of the 1960's and the beginning of the 1970's, there was indeed a large amount of class differences in English society, and society in general was divided into there major classes, which were the upper classes, the middle classes, and the working classes. The divisions were in fact brought about by the differences in wealth, power, and the types of work, the ideologies, the status, and the opportunities that were available. At the same time, this period saw a vast change in the people's attitudes towards traditions, old values, taboos, customs, and the all-pervasive parochialism, and this was the very attitude that was reflected in all the New Age films that were made during that time."
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Regulation and Censorship in the Film Industry, 2006.
Examines the history of regulation and censorship of the film industry in America and the reasons many in society wanted the industry regulated.
5,107 words (approx. 20.4 pages), 11 sources, MLA, £ 88.95
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Abstract
Through an examination of the history of film in America, this paper looks at the censorship and regulation of the film industry and argues that the need for regulation was forced upon the industry (and still is, in a way) for no other reason than that conservative elements of America felt that what the average American could see should be censored. The paper further argues that this regulation was not merely to prevent bawdiness, lewdness, or unsuitable physical actions that stimulated sexual feelings, but also to regulate the politicization of the movies.
From the Paper
"Following the end of the War, while many film makers now turned to a rather "new" sophistication, there was also a very serious anti-Communist note in some movies. While the real "Red Scare" occurred in the 1950s, in 1919, for example, there was real concern that the newly Communist Russia might actually invade the U.S. "Conservative films such as The New Moon (1919) disparaged communists and communism with scenes of perfidious Bolshevik officers attacking vulnerable young women....In The Penalty...audiences saw 10,00 disgruntled foreign workers, armed with rifles and pistols, waiting to open fire on police and take over the city of San Francisco." (Ross 136). Politicians applauded these films, even though they often misrepresented actual events. This included several truly anti-Semitic films, which, under extreme political pressure, were forced to change character names and some dialogue. "Pressure from the Yiddish press and Governor Al Smith forced the producers of The Volcano to alter its blatantly anti-Semitic plot. The hero's name was changed from Garland to Nathan Levison and the hook-nosed villain was given the line: 'I am not Jew. I am a Bolshevik.!'" (Ross 141)."
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Film Industry, 2006.
Provides a discussion of the film industry across five categories.
920 words (approx. 3.7 pages), 7 sources, APA, £ 21.95
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Abstract
This paper provides a brief discussion of the film industry across the following five categories: economic, political-legal, technological, and ecological, including examples of films that demonstrate how each of these areas impacts the industry.
From the Paper
"The outlook for revenues from feature film production are rosy. With global annual film production of films with annual revenues exceeding ..."
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