| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "CRAFT FILM": |
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"The Craft ", 2002.
A review of the movie, "The Craft", focusing on the central theme of forbidden knowledge.
2,115 words (approx. 8.5 pages), 5 sources, MLA, £ 45.95
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Abstract
This paper discusses the film, "The Craft", and explores the argument that the quest for knowledge beyond what is natural, inevitably leads to disaster. Arguments to disprove this theory are introduced, showing that modern thought may be more likely to condone our pushing the boundaries of knowledge than older, more conservative schools of belief. The paper examines the religious, sexual, natural, psychological and political aspects of searching for forbidden knowledge or power, as it relates to the film?s Gothic tradition.
From the Paper
"Certainly, the first part of Bonac?s statement is an accurate depiction of the four girls? decision to attempt to invoke Manon. Sarah, the newcomer, is ignorant of her inherent powers; the others understand their potential for witchcraft but lack the necessary power (the ?fourth? corner). Their wishes are innocent and harmless enough: the bullied Rachelle wants Laura to leave her alone, scarred Bonnie wishes for beauty, and Sarah hopes for Chris?s love. Nancy wishes initially for ?a smaller butt?, and Sarah is told by Bonnie that Nancy really wishes she were not ?white trash? (this latter wish being understandable when we see her home situation). However, finally she wishes for Manon to possess her, to ?fill? her."
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Film: ?Much Ado about Nothing?, 2005.
This paper analyzes the problems of transforming Shakespeare to film, especially character portrayal, as demonstrated in Kenneth Branagh's 1993 film adaptation of William Shakespeare's "Much Ado about Nothing".
2,490 words (approx. 10.0 pages), 6 sources, MLA, £ 51.95
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Abstract
This paper explains that Kenneth Branagh's adaptation of Willam Shakespeare's "Much Ado about Nothing" is an enchanting world filled with believable drama and mostly solid acting; moreover, Branagh was extremely successful in allowing contemporary audiences an aperture by which to understand Shakespeare by weaving the original text into the film in such a way that it becomes both intelligible and unobtrusive. The author points out that the sacrifices in Branagh's adaptation is the play's subtle theme of appearance versus reality; wherein, whether through his addition of new material for the screen or his partial omissions of Shakespeare's text, Branagh has eliminated all of the mystery and ambiguity that Shakespeare crafted into his characters. The paper analyzes the portrayal of the characters Benedick, Beatrice, Claudio and Branagh.
From the Paper
"Branagh's Don Pedro, however, lacks this ambiguity. Another creative liberty with Shakespeare's text is the addition of Denzel Washington's ever-stylish and ever-fearless persona to Don Pedro. As the veteran American actor is cast for the role, he seems slightly out of place. His attitude is always cautious and carefree; the actor easily brings his effortless delivery and commanding persona to the role. This is not always a good thing, however: when Don Pedro offers his hand in marriage to Beatrice, Washington says his lines coolly and nonchalantly, and the delivery offers no possibility that Don Pedro might seek Beatrice for himself. Branagh also diffuses the mystery behind Pedro's wooing of Hero through his directorial choices. When Don Pedro and Claudio walk through the garden, they address each other as equals, wear the same clothing, and talk openly."
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Film: Jacques Tourneur's "I Walked with a Zombie", 2007.
This paper analyzes a specific scene from Jacques Tourneur's 1943 classic film "I Walked with a Zombie".
1,365 words (approx. 5.5 pages), 1 source, MLA, £ 31.95
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Abstract
This paper examines the love triangle with a zombie and two brothers, in Jacques Tourneur's film "I Walked with a Zombie", as delineated in the scene in which the maid Alma brings Betsy her breakfast in bed. The author points out that this scene demonstrates the way this film is deliberately and carefully crafted. The paper utilizes Roland Barthes' model of textual analysis, which determine the meanings of a specific text, to dissect this interaction and interpret the ways in which it ties the characters of Betsy and Jessica together. The author states that Barthes's approach to analysis still leaves important questions unanswered. The paper concludes that no system can take into account the infinite ways in which an adroit author can manipulate his or her text, subverting it, twisting it and then simply ignoring parts of it completely.
From the Paper
"Lastly, the Cultural Code is a loose concept that acknowledges the importance of common cultural knowledge in understanding texts. As mentioned above, again the cultural code is most relevant in this sequence in relation to class and race. A knowledge of Western racial history enables viewers to understand that, as privileged members of the racial upper class, both Betsy and Jessica enjoy a similar social status that places them above Alma. To illustrate, it would be surprising to see Alma wait on Betsy if she too were black, which itself would be surprising since blacks at the time of the film were generally denied the opportunities necessary to enter the medical field in the first place."
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Madame Bovary as Film and Novel, 2008.
This paper discusses 'Madame Bovary' as a novel by Gustave Flaubert and as a film by director Vincent Minelli.
1,260 words (approx. 5.0 pages), 3 sources, MLA, £ 28.95
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Abstract
In this article, the writer discusses that in trying to bring 'Madame Bovary' to the screen, director Vincent Minelli had the problem that much of the story depended on Gustave Flaubert's brilliant narrative. In a novel, Flaubert's crafted sentences had held readers' attention for decades, but a translation into film seemed an insurmountable obstacle. The writer notes that Minelli found a device, by which he could have a narrator, a character playing Flaubert, introduce the movie, and at various time move the plot along. To do this, Minelli opens not with the novel itself, but with the trial of Gustave Flaubert on charges of presenting a morally degenerate woman as his heroine, thereby threatening to corrupt the morals of all of France. The writer maintains that as a novel, Madame Bovary remains a standard of the literary canon, one of the premier examples of realistic fiction, and effectively a benchmark against which much of modern realistic fiction is judged. The writer concludes that the movie is regarded as creditable, however it is not considered one of the great cinematic classics. A modern viewer sees the artificiality and yearns for more realistic movement in this movie version of a realistic novel.
From the Paper
" Trying to defend the movie, Flaubert paints a reasonable picture of the farm to which Charles Flaubert, a young doctor, has come one rainy night to attend to the broken leg of Emma Roualt. After he has set the patient's leg, he and Emma meet, and they are smitten with one another, he because she is a beautiful young woman, and he because she imbues him with a host of romantic ideals that he simply does not have. By his own confession, he is a rather simple, hard-working country doctor, but she declares him to be the most handsome and dashing man in the world."
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The Arts and Crafts and De Stijl Movements, 2008.
An analysis of how the Arts and Crafts and the De Stijl movements influenced contemporary British and Dutch architecture and design.
8,115 words (approx. 32.5 pages), 26 sources, MLA, £ 119.95
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Abstract
This paper compares the Arts and Crafts and the De Stijl movements. It analyzes the features of each architectural movement individually and then compares the features between them. The paper then assesses their influence on contemporary British and Dutch architecture and design. The paper provides specific examples, with pictures of how the movements influence architecture today.
Table of Contents:
Objective
The Arts And Crafts Movement
The De Stijl Movement
Contemporary British and Dutch Architecture and Design
Three Development Routes in Dutch Urban Design
Summary And Conclusion
From the Paper
"The Dutch, as compared to other countries where demand is generally met by producing generic housing that is mass-produced allow the designers a chance to design housing units upon graduation from school in part because the designers are trained to ensue upon immediate work after leaving school. The Deflt University of Technology emphasizes knowledge of a technical nature and the architects have the know-how to begin building early in their career. The reasons that Dutch designers are so successful is the results of "a situation in which construction of housing has become so systematized that it has created a well-oiled machine to support the experimentation young designers embrace." (Tisma, Bijlsma, and Dammers, 2007) Furthermore, 'Concrete shells and standard window assemblies can be deconstructed and reassembled in new ways, and even the gridded landscape in which new housing estates appear give the architects a field within which they can experiment. In a sense the whole Dutch building trade subsidizes experimentation by collectivizing individual homes into large-scale systems within which architects can create innovative forms." (p. 286) One example of the new housing estate in the Netherlands is named Hageneiland and is located just east of The Hague. This property was designed by MDRDV and was completed in 2001. This property is comprised by 119 primarily rental units. The arrangement of the housing stood a row of houses that were poured into concrete frames along the road with small front and backyards. However two units were left standing closer to the road and moved a few back and so forth which created a small village of structures since the front was not closed. This results in more interaction between neighbors going to and front their homes. Each group of units is covered in one material: (1) red tile; (2) blue metal; (3) concrete panels; and so forth."
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"The Craft": Film Analysis, 2006.
Applies concepts and theories of adolescent development to the character of Sarah in the movie "The Craft".
1,350 words (approx. 5.4 pages), 2 sources, £ 36.95
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Abstract
This paper focuses on the main character of Sarah from the movie, "The Craft", and how she exhibits contradictory traits and behaviors. The paper demonstrates the complex character of Sarah by examining five sets of developmental issues.
From the Paper
"The main changes in adolescent are cognitive, biological, and social. During adolescence, there are changes in thinking abilities and a transition to more adult social roles (Steinberg, 2005). Cognitive changes are especially important since adolescents think differently about themselves, relationships, and the world. These changes establish the context for adolescence. They also are part of the context of "The Craft", along with such social realities as extreme meanness and racism."
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Arts and Crafts Movement, 2006.
A look at how the arts and crafts movement impacted on interior design and designers.
2,475 words (approx. 9.9 pages), 2 sources, £ 66.95
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Abstract
This paper analyzes changes in interior design brought about because of the arts and crafts movement in the nineteenth century, noting that the movement made changes specifically in terms of the design of interiors, including the design of furniture. The movement was shaped by William Morris, best-known for the design of the Morris chair but also for being a leader in this artistic movement.
From the Paper
"The arts and crafts movement was a reaction to the opulence and weight of design in the Victorian era. This movement made changes specifically in terms of the design of interiors, including the design of furniture. The movement was shaped by William Morris, best-known for the design of the Morris chair but also for being a leader in this artistic movement. In the nineteenth century, the Industrial Revolution changed the nature of manufacturing and so also affected the nature of design. The Victorian style that prevailed in the nineteenth century featured heavily ornamented interiors containing many pieces of furniture, collections of ornamental objects, and surfaces covered with fringed cloths. "
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Medieval Towns: Crafts and Guilds, 2005.
A review of an article by Gervase Rosser about the economic and work culture dynamics of medieval communities.
2,373 words (approx. 9.5 pages), 6 sources, MLA, £ 49.95
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Abstract
This paper reviews Rosser's article about how medieval crafts and guilds functioned in a society in medieval England. The paper also talks about Rosser's effort to rebut many of the generalizations, myths, and factually incorrect views that are currently or previously held by scholars and historians of the medieval era.
The Emergence of Guilds and Their Impact on Workers and the Economy
The Rise of the Guilds in Social Power and Community Prominence
Were Guilds the Historical Framework for the Genesis and Evolution of Formal Organizations?
The Decline of the Crafts and Guilds
Weird Things about Medieval English Life and Times
Biographical Sketch of Gervase Rosser
From the Paper
"Rosser goes to enormous lengths to make clear why he is explaining the misconceptions and misunderstandings with reference to how life in the working world of Medieval England really took place. Rosser is a writer of obvious skill when it comes to deep scholarly thinking; he is a writer who more often than not takes the intellectual high road. But Rosser also apparently realizes that the reader may not be able to climb every step of the way with him on his scholarly ascent, so he takes brief moments to define his terms in more lay-friendly language."
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Arts and Crafts Movement, 1993.
A look at the philosophy of the architectural school of the late 19th century and the views of the proponents John Ruskin, Louis Sullivan and Augustus Welby Pugin.
1,350 words (approx. 5.4 pages), 5 sources, £ 32.95
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From the Paper
"Architecture and Morality
Architects Auguste Welby Pugin, John Ruskin, Louis Sullivan, and the protagonists of the Arts and Crafts Movement would have disagreed with the statement, "Architecture and morality have nothing in common." It is the purpose of this paper to explore the philosophies associated with these architects and the Arts and Crafts Movement and their relationship to the above statement.
The Arts and Crafts movement began as a mid-Victorian reaction to the ugliness and inequality caused by industrialization. It was a sacred search, a quest for a return to quiet beauty, simplicity, and honest craftsmanship (Anscombe, 1981, p. 7). Architecture was seen as a reflection of the health of the society. In the 1880s the designers who chose to..."
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Arts & Crafts & Bauhaus Movements, 1996.
Compares 19th Cent. British & 1920s German art schools. Looks at the origins, critiques of society & modernization, leadership, love of beauty & utility.
1,350 words (approx. 5.4 pages), 5 sources, £ 32.95
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From the Paper
"The Arts and Crafts Movement, that began in nineteenth-century Britain, and the Bauhaus movement, that started in Germany in the 1920s, had many goals in common. Both movements were interested in uniting all the arts and crafts and giving them equal dignity. Both movements were also deeply concerned with the role of the artist as worker and with the nature of work in general. Most importantly, both movements believed in beautiful design and well-made work as an enhancement of life. The importance of industrialized production and its aesthetic effects was a central question for both movements, but this was also the main point on which they disagreed. Both movements held that the industrialized production of goods had transformed the world. But, while the original Arts and Crafts movement largely rejected the machine age and all its productions, the Bauhaus.."
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"Paradise Lost": Crafting Characterizations, 2002.
An examination of Milton's "Paradise Lost" and his depiction of characters.
1,285 words (approx. 5.1 pages), 1 source, £ 29.95
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Abstract
This paper explores Milton?s use of flattery and condemnation and the role they play in the downfall of Adam and Eve and their subsequent decision to take responsibility for eating the forbidden fruit in his novel Paradise Lost. It also explores his characterization of Adam and Eve and how rich language and metaphor result in a stunning piece of work.
From the Paper
"Milton's Paradise Lost is studded with characters ranging from the devious Satan through to the humanistic, yet wise Eve. Given such a wide breadth of not only characters, but also location, Milton varies his language depending on cast, setting and poetic intention. This is evident when examining the use of flattery and condemnation both of which play large roles in the downfall of Adam and Eve and in their decision to take responsibility for the eating the forbidden fruit."
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Alfred Hitchcock's "Shadow of a Doubt", 2002.
Discussion of Alfred Hitchcock's attempt to force a perspective on viewers when he made "Shadow of a Doubt".
1,400 words (approx. 5.6 pages), 3 sources, £ 36.95
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Abstract
"Shadow of a Doubt" was a box office success and remains an outstanding example of Alfred Hitchcock's ability to craft a mystery film into a something which was more than mere cinema; it was also a serious psychological study. In order to achieve this, Hitchcock had to alter the way in which the viewer expected to see films.
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Milos Forman?s ?Amadeus?, 2002.
This paper analyzes the film ?Amadeus? (Milos Forman, 1984), which received numerous awards and generally favorable reviews, though it has been criticized for being historically inaccurate in a number of areas.
2,200 words (approx. 8.8 pages), 4 sources, MLA, £ 46.95
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Abstract
This paper states that the overall effect of the film ?Amadeus? is as a well-crafted and dramatic telling of an interesting story, which happens to be about historical figures. This paper explains that one of the reasons for much of the criticism of the historical accuracy in the film is because the idea that Salieri killed Mozart, while not a new one, has little basis in fact. The author points out that the way Forman directs the movie emphasizes the image of Mozart as a boorish young man with a terrible giggle who writes brilliant music effortlessly while chasing women and hanging out in bars.
From the Paper
"The opening scene in the film sets the tone for much of what follows. The first image is of a cold street scene at night, the street filled with snow, and as a Mozartian overture is heard, the voice of Salieri cries out from inside his apartment, "Mozart!" The attempted suicide of Salieri is counterpointed by the Mozart opera overture heard over it, and as Salieri is carried through the streets and the snow, he seems to see a grand ball from the past. We, then, see Salieri in the hellish asylum, though his own room is something of an oasis of calm and music amidst the general torment of the main halls. In this way, Salieri is presented as both part of the asylum and somehow apart from it, living more in the past than in the present. Salieri's plight is made evident as he plays his own tune and finds that his audience does not remember it, which is precisely what he feared -- Mozart's pieces would be remembered, and his would not."
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"Citizen Kane", 2003.
Discusses the timeless quality of the 1940 film.
4,500 words (approx. 18.0 pages), 4 sources, £ 92.95
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Abstract
Discusses the film's status as a masterpiece, the new filmic techniques used by director Orson Welles in his film debut, his understanding of the art and craft of filmmaking, and the wide variety of cinematic devices and tricks.
From the Paper
"The film Citizen Kane (Orson Welles, 1941) has been hailed as a masterpiece and is often cited as one of the best films if not the best film ever made. The film has been much imitated, but much of it was totally fresh and new when the film was first ..."
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