| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "HERO ZHANG YIMOU": |
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"Hero" by Zhang Yimou, 2008.
A review of cinematography and martial arts stylization brought forth by director Zhang Yimou in the film, "Hero."
706 words (approx. 2.8 pages), 2 sources, APA, £ 17.95
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Abstract
This paper analyzes the film, "Hero" directed by Zhang Yimou. It describes the plot structure of the film and discusses the cinematography and martial arts stylization brought forth by Zhang Yimou. The paper concludes that the film offers a high level of martial arts entertainment that rises far above other films that have come forth in this genre in the past decade.
From the Paper
"In conclusion, Hero, by director Zhang Yimou, offers a high level of martial arts entertainment that rises far above other films that have come forth in this genre in the past decade. Although Yimou had not put a great deal of innovation into the normative "assassin's" plot in this genre he invariably provides a deeper visual representation by showing more details and interactive special effects in the fighting scenes. Jet Li and the other martial artists in the film are high caliber martial artists that provide incredibly mythic choreographed acrobatics and fighting scenes that rise far above the competition. Hero is a film that demands more storytelling innovation, but certainly, the martial arts and special effects in the film make greater advances in this style of Asian filmmaking."
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Films of Zhang Yimou, 1997.
Analyzes Chinese cinema as portrayed by Zhang Yimou. Looks at political influences - Mao and the Cultural Revolution on the movies. Examines propaganda vs. art, themes, imagery, setting, characters, focusing on director's 1994 film "To Live", using Fanta
4,275 words (approx. 17.1 pages), 6 sources, £ 92.95
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From the Paper
" INTRODUCTION
Zhang Yimou is seen as the leading film director in China today not only because of the quality of his work but because so many of his films have made it to screens in the West. One of his recent works is To Live, released in 1994. This film portrays the mode of life prevailing in China from the 1940s through the era of the Cultural Revolution, and it thus covers the period from the Communist success in the Chinese Revolution to the period when the leadership believed the purity of the revolution was endangered and so was in need of a purging of certain counter-revolutionary elements in Chinese society. Zhang achieves a sense of continuity in his body of work by using similar storylines to explore various themes and by using many of the same actors over and over again, creating the image of a.."
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Classical Heroes in Star Wars, 2008.
An analysis of the influence of Greek mythological heroes, Perseus and Heracles, on Alan Dean Foster's "Star Wars" heroes, Luke and Anakin Skywalker.
1,935 words (approx. 7.7 pages), 5 sources, MLA, £ 42.95
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Abstract
This paper examines how the journeys and triumphs of Luke and Anakin Skywalker, the main protagonists of Dean Foster's "Star Wars", can easily be depicted and compared to the heroic events of the mythological Greek hero. The paper maintains that the six episodes of "Star Wars" can be directly correlated to stories of Greek myth. In particular, the paper posits that Luke and Anakin are clearly analogous to the heroes Perseus and Heracles. It also adds that, as Jung identifies specific archetypes that are prevalent in a heroic journey, Anakin and Luke easily fit each pattern of the classic hero in the modern movie series. To conclude, the paper draws a parallel between the sci-fi and classical heroes in that each hero, being half-human, half-god, has the ultimate burden of confronting their own mortality.
From the Paper
"The journeys of Luke Skywalker, Darth Vader (Anakin Skywalker), and even their associates repeat the heroic pattern and archetypal events and heroes of Greek Mythology. Just like Perseus, Anakin shares similar the heroic traits. Both have the distinction of an unusual birth from virgin mothers though Perseus was born from parthenogenesis involving Zeus. Attempts were made to kill each of them at a young age. Similar to the way Perseus was raised by the fisherman Dictys, Anakin was spirited away to be an apprentice to Obi-Wan. As he began to grow strong with the force, Obi-Wan and the Jedi knights became skeptical of his strengths. Similar to the way the Gods did not believe Perseus was powerful enough because he is half human, Obi-Wan is concerned Anakin is not fully prepared in being a Jedi because he is too arrogant."
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The Journey of Heroes, 2002.
This paper uses Joseph Campbell's "The Hero's Adventure" to examine the idea that we are all heros.
900 words (approx. 3.6 pages), 1 source, MLA, £ 21.95
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Abstract
This paper examines the conception of heros, or heroism as detailed in Joseph Campbell's essay,"The Hero's Adventure." The author discusses that each person defines a hero differently, and that it can be someone who has made a difference in our own personal lives, a famous person from history that has influenced many people, or the individual, themself. The author feels that many heroes are people who have come from humble beginnings and overcome many obstacles to succeed in their lives. The examples given in the paper are Ghandi, Jesus and the leaders of Ancient Greece. The paper also discusses the role of movies and television in promoting the role and definition of the 'hero' as the good guy who has triumphed over evil and adversity to save the day. Also discussed in the paper is how we are all heroes, as we all have overcome challenges and difficulties such as illness, death and trauma in our own lives.
From the Paper
"The hero?s journey is essentially a cycle of going and returning, and for most people this involves a journey within our self, in order to conquer our personal faults and self-doubts. Just as with the heroes of history and fiction, everyone faces trials and challenges throughout their lives. These challenges are often difficult, such as the illness or death of a loved one, the trauma of being the victim of an accident or of crime, or the loss of a job. Others, such as moving home, starting school, or changing jobs, are situations that can be stressful and require us to adapt and reevaluate our priorities. These events and situations require the individual to show the same ?heroic? qualities of courage, bravery, persistence, and self-discipline, that fictional and historical heroes exhibit in their mythical, hero?s adventures."
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"Qui Ju", 2002.
An analysis of the film "Qui Ju", directed Zhang Yimou.
1,485 words (approx. 5.9 pages), 3 sources, MLA, £ 33.95
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Abstract
A brief review of the movie, from which the story is adopted from the Chen Yuanbin?s novel ?The Wan Family's Lawsuit?. The name of the film refers to the female lead that is named ?Qui Ju? - a female protagonist who fights her way in search of justice ? with zeal and unending aspiration to get her voice heard.
From the Paper
"Viewers come to know since the beginning, that this movie is about some sort of ?women-power? ? first the mnemonic name and secondly, the opening shot shows Ju and her sister-in-law pushing a cart in which lies her hurt husband. This initial scene puts Ju in the limelight and her husband in a passive role ? not much importance is given to his character in the movie ahead as well (Stone). The dominant role of Ju is further reinforced by showing a submissive sister-in-law ? always ready to do whatever is told to her by Ju. Few words about the plot now - the husband is being taken for an examination to establish amount of damage done to his masculinity after he had a low blow from the village chief. Here, we see strong message of sexual role being propagated through this incident. Ju is worried that the groin injury could leave her husband impotent and this (current) pregnancy could then well be the last one for her ? putting and end to her intimate relationship with her husband."
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"Raise the Red Lantern", 2002.
The paper provides a review of the 1991 Chinese film "Raise the Red Lantern" by Zhang Yimou and compares and contrasts the 1920s Chinese society depicted in the movie to American society of the same era.
2,290 words (approx. 9.2 pages), 0 sources, APA, £ 48.95
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Abstract
The paper analyzes the role of women in turn of the century Chinese culture and reveals the emphasis on ritual and custom in Chinese culture.
The paper looks at the story depicted in the film, which focuses on nineteen-year old Songlian (played by Li Gong), who is cajoled into marrying a wealthy householder to become his fourth wife. It also compares the practice of polygamy and concubines, a religious practice which is alien to the American viewer. The paper examines the difficulties surrounding the film's initial release in China because the film seemed to contain anti-government innuendo.
From the Paper
"It is Zhang Yimou?s choice to use the concubines as windows into this facet of 1920?s Chinese culture. The film is full of reminders of the shocking misogyny ingrained in Chinese culture. An American viewer might initially scorn Chinese culture based on this insight, but a closer analysis reveals striking similarities between Chinese and American societies. Especially in the 1920s, women accepted their subordinate roles in society. Until the year 1920, American women had no say in politics. They did not work nor attend college, unless it meant meeting a man to marry. American family life seems devoid of rituals when compared to the family shown in Raise the Red Lantern, but in fact, American families are indeed structured and ritualized. However, arranged marriage, polygamy, and more brutal mistreatment of women are singular to the Chinese culture depicted in the film."
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The Hero in America, 1991.
This paper discusses the changing concept of the hero and the American fascination for tearing heroes down and compares and contrasts the public conceptions of military heroes US Grant & Norman Schwartzkopf.
675 words (approx. 2.7 pages), 2 sources, £ 15.95
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From the Paper
"The concept of the hero has changed out of necessity. We live in an age of full disclosure, when every wart and blemish is scrutinized and featured in the newspaper and on television. A hero is hard to develop under that glare of publicity, a glare that a century or so ago did not exist. In addition, we shift what we celebrate as heroic in some degree. In the past we celebrated brave deeds, and today we celebrate prowess on the football or basketball field, a kind of hero-worship strongly criticized as misplaced by many commentators. However, there are certain categories which seem to recur whether we like it or not, and one of these is the military hero. We might wish we lived in a world where it was not necessary to have military heroes, but such a world does not yet exist. A century ago a leader like Ulysses S. Grant was celebrated as a hero for his achievements in the ... "
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The Tragic Greek Hero, 2005.
This paper discusses the tragic hero in Greek mythology by comparing Sophocles' character Oedipus with other Greek heroes---Hercules, Odysseus and Achilles.
1,015 words (approx. 4.1 pages), 3 sources, APA, £ 24.95
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Abstract
This paper explains that a tragic hero, which was created by the ancient Greeks and defined by the philosopher Aristotle, is a hero who is otherwise perfect except for a fatal flaw, that eventually results in his demise. The author points out that the typical tragic hero is a complex and well-developed character, as is Sophocles' "Oedipus the King ", who is a textbook tragic hero that draws out the three responses from the audience--attachment, fear and pity. The paper relates that Oedipus' demise is unlike the demise of other typical heroes, like Hercules or Odysseus, because Oedipus' story does not end with his death but rather with blindness and his expulsion from the human community.
From the Paper
"The complexity of Oedipus' "harmartia" is an important element of his heroism.The Greek term "harmartia" means "tragic flaw." However, the tragic flaw, in Greek mythology, is more of a mistake than an innate flaw. Aristotle stated that all tragic heroes suffer a "harmartia." This human weakness allows the audience to relate to the hero and feel sorry for him. Oedipus' flaw is his lack of knowledge about his own identity. Because he is not responsible for this flaw, the audience feels sorry for him and fears for him because they know there is nothing he can do to change his fate."
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Women Heroes, 2008.
This paper looks at women heroes portrayed on television, focusing on the series "Heroes' directed by Tim Kring.
1,053 words (approx. 4.2 pages), 1 source, MLA, £ 24.95
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Abstract
In this article, the writer discusses whether women are really the heroes of current television shows. The writer then discusses the show 'Heroes' in which the heroine composedly proceeds towards her destiny of saving the world. The writer maintains that just because there are now some bona fide women heroes, this does not mean that the post feminists are correct, and feminism is now redundant. The writer concludes that when television regularly features heroes who accurately portray and reflect the diversity of real women in the world and when the real world lets women be fully developed people, then we can say it is safe to put away our feminist movement membership cards.
From the Paper
"It is surely a good thing that as women step up to put on the mantle of heroes, they bring their humanity with them. In the case of Claire, it is easy to imagine her having a mature, emotionally balanced relationship, once she is a little older. And contrary to those who vilify the rambunctious women of Sex in the City for having (admittedly many) relationships, I would suggest that having relationships with other adults is a sign of maturity and a well-rounded personality - not of being an emotionally-stunted, man-hungry slut! In addition, anyone who thinks that the women in Sex in the City are passive victims of the patriarchy should pause a moment to contrast Carrie's lifestyle, and the choices available to her, with those of another writer - Jane Austen. "
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Hamlet and Orestes: Contrasting Heroes, 2002.
Examines the characteristics of the heroes in William Shakespeare's "Hamlet" and Aeschylus' ?The Libation Bearers?.
1,919 words (approx. 7.7 pages), 2 sources, MLA, £ 42.95
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Abstract
The hero of the revenge tragedy is known for having certain characteristics. These include that the hero is compelled to act by certain forces, that the existing authorities are unwilling or incapable of satisfying the hero's craving for justice, that the hero has a detailed and devious plan they are determined to carry out and that there is a moment of declaration where the avenger tells the victim why they are going to be killed. "Hamlet" (William Shakespeare) and "The Libation Bearers" (Aeschylus) are two revenge tragedies, with the heroes of each Hamlet and Orestes. Since Hamlet and Orestes are both revenge heroes, it would be suggested that they are similar characters and they would each meet the criteria of the revenge hero. However, a close look at the two plays in this paper show that Hamlet and Orestes are very different characters. Orestes meets the fours criteria of the classic revenge hero, while Hamlet pushes all the boundaries of what would be expected and either only partially meets, or does not meet, the four criteria at all. To illustrate the differences, Hamlet and Orestes are compared, based on the four characteristics identified.
From the Paper
"The second characteristic of the classic revenge tragedy hero is that the existing authorities are unwilling or incapable of satisfying the hero's craving for justice. In both plays, the authorities are unwilling to right the situation, meaning that it is left to the hero to right it. Hamlet's and Orestes's circumstances are the same on this point. However, the two heroes differ in that Orestes has a craving to right the situation and Hamlet does not. The circumstances in both plays are very similar. In Hamlet, Claudius has killed the king and assumed the role of king. This puts Claudius in the role of power and since Claudius is at the highest level, the authorities cannot right the situation. This creates a need for someone to right the situation and Hamlet is assigned to this task. Seeking revenge is then a way to avenge Claudius's murder, as well as to restore harmony. In The Libation Bearers Orestes's mother Clytaemnestra has murdered her husband and Orestes's father, King Agamemnon. Clytaemnestra has obtained the highest seat of power, just as Claudius did. With Clytaemnestra at the highest level, the authorities cannot right the situation. The task of righting the situations falls to Orestes, with this necessary both to revenge his father's murder and to restore harmony."
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Heroes in Literature, 2002.
A compare and contrast essay of a modern tragic hero with a classical tragic hero.
650 words (approx. 2.6 pages), 2 sources, £ 17.95
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Abstract
This research paper compares the modern tragic hero of Tennessees Williams' famous play "The Glass Menagerie" with a classical tragic hero of Sophocle's "Oedipus The King". Moreover, the purpose of the research paper is also to highlight the differences between the two kinds of heroes by thorough analysis.
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Who is the Real Hero?, 2005.
This paper discusses how James Bond is different from the traditional American hero.
2,100 words (approx. 8.4 pages), 6 sources, MLA, £ 44.95
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Abstract
In this article, the writer discusses that Bond is quite different in certain aspects of being a hero such as secret identity, social life, moral values and general applicability from other heroes. The writer notes that American heroes are all similar in character, but the hero character, James Bond, works to conflict with these classical criteria. What connects him to the title hero just as Superman, Batman and Spiderman is his ability and drive to protect innocent people from evil. What sets him apart is his means of getting the job done. The writer maintains that Bond's significance is to show the realistic interpretation of the traditional American hero in our world today. Each hero achieves the same goal in saving innocent lives, Bond just embodies the grown up and realistic way of getting it done.
From the Paper
"No matter how many women he has, there is no attachment between James and his ladies. His relationship with them is strictly sexual. This goes back to the secret identity issue mentioned before in terms of the love life. Since James does not have any type of emotional attachment to his mistresses, he has no reason to create a secret identity in order to protect them from his enemies. The other characters largely care about the women in their lives, thus using a secret identity to keep them safe. Not having the problem of worrying about his lovers, Bond is able to use his real name. This idea of moral involvement is another aspect in which Bond contradicts the traditional American hero myth.
"In each of the three American hero stories, the character has something in their past that makes them who they are. This leads to a moral obligation felt by the hero to protect those who can't protect themselves."
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Francis Macomber as a Code Hero, 2006.
An analysis of the code hero in Ernest Hemingway's "The Short Happy Life of Francis Macomber".
769 words (approx. 3.1 pages), 1 source, MLA, £ 18.95
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Abstract
This paper examines how the main character, Francis Macomber, epitomizes a code hero in Ernest Hemingway's "The Short Happy Life of Francis Macomber". It explains how Ernest Hemingway developed his own personal view of a hero, also known as his code hero. The writer suggests that the traits in Hemingway's code hero that Macomber demonstrates are grace under pressure,and the ability to face death and overcome fear. The writer further discusses how the protagonist - Francis Macomber - grows and develops into a code hero by the end of the story.
From the Paper
"Critics consider Ernest Hemingway one of the most famous American writers with his simplistic writing style. He also developed his own personal view of a hero in his writings, also known as his code hero. Hemingway's view of a code hero is a man who lives his life with honor and courage but is surrounded by a painful and chaotic environment. In one of Hemingway's stories, "The Short Happy Life of Francis Macomber," the main character, Francis Macomber, exemplifies a code hero. Francis Macomber, at the start of the story, is far from a code hero as he is shown as a cowardly hunter. At the end of the story, he attains code hero as he portrays the qualifying attributes such as grace under pressure, facing death, and overcoming fear."
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Hero in Literature, 2003.
Discusses the idea of the hero throughout history using Homer's "The Odyssey," "The Epic of Gilgamesh" and Tarantino's "Pulp Fiction" as examples.
1,021 words (approx. 4.1 pages), 3 sources, MLA, £ 24.95
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Abstract
This paper discusses the concept of the hero in literature throughout time. The writer looks at the subject from a number of angles including: What makes a hero; the hero's sense of justice; Codes of conduct; and Patriarchal roles. Specifically the paper looks at two ancient texts "The Odyssey" and "The Epic of Gilgamesh" as well as Tarantino's "Pulp Fiction" as examples of such heroes.
From the Paper
"People have placed their ideas in and explained their culture through literature since the first recorded literary work. As societal beliefs have changed, literature has reflected these beliefs in the stories they tell. Despite the differences, many literary elements have remained virtually unchanged. The hero, for example, has been a major part in texts throughout history. Great early western texts such as The Epic of Gilgamesh (1200 BCE) and the Odyssey (800 BCE) were based entirely around the hero. And even today, films such as Quentin Tarantino?s Pulp Fiction, hailed as one of the greatest works of modern-day cinema, involves the hero in a more modernized role. Though the hero (or heroes) is not as easily seen as in other works of the past, the defining elements are there. The hero can be explained as a phenomenon in literature because similarities can be seen in writings from every historical period."
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