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Hitchcock and Lynch, 2001.
Comparing the impact that Alfred Hitchcock had on David Lynch's film, "Lost Highway".
1,926 words (approx. 7.7 pages), 4 sources, MLA, £ 43.95
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Abstract
This paper shows how "Lost Highway" can be seen as a cinematic mixture of the concepts used by Alfred Hitchcock in "Notorious" and "Strangers on a Train". Lynch's original presentation of those concepts shows that Hitchcock's influence did not stifle his own creativity. It explains how "Lost Highway" contains Hitchcock's trademarks, such as the wrong man theme and doubles. It also shows Hitchcock's directorial influence on David Lynch and the use of symbols by both directors. The examples provided are backed up by film quotes, music references, and quotes from a notable book on Hitchcock, Donald Spoto's "The Art of Alfred Hitchcock".
From the Paper
"There are some directors that make great movies, and then, there are some directors who create amazing lasting cinema features. The latter do not only achieve fame in their lifetime, but are often immortalized by their own pieces as well as by the imitation of their styles and ideas. This imitation is, of course, not just a reproduction of what the original director did. The imitation, when done correctly, becomes another great piece of cinema unto itself; one such imitation is David Lynch's Lost Highway. Although Lost Highway can be seen as a cinematic mixture of the concepts used by Alfred Hitchcock in Notorious and Strangers on the Train, Lynch's original presentation of those concepts shows that Hitchcock's influence did not stifle his own creativity."
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Lynching in Virginia, 2002.
This paper discusses the misconceptions and the history of lynching in Virginia.
1,335 words (approx. 5.3 pages), 13 sources, MLA, £ 31.95
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Abstract
The paper discusses the literature about lynching in Virginia. This paper explains that the history of lynching in Virginia is almost entirely a series of misrepresentation and misconceptions; and even today, decades after the last official lynching, it is difficult to find accurate and truthful information regarding this most ignoble tradition. The author continues that nonetheless several items of consensus emerge: Lynching originated in Virginia, Virginia actually historically has the lowest rate of lynching and lynching continues to this day in isolated cases.
From the Paper
"The history of lynching in Virginia begins, as mentioned above, with Col. Lynch. He and his comrades, ?responded to unsettled times by making their own rules for confronting Tories and criminal elements...? Due to their distance from formalized courts, these early Americans felt free to form informal courts in the esteemed Col.?s front yard, try, and punish offenders. Contrary to popular misconception, lynching is not and never has been synonymous with hanging. Most early Virginian lynchings consisted of whippings or similar punishments, and in many rural areas, such a definition continued for over a century. In addition, historical lynchings that did result in death were not always hangings either. Lynching tradition does not necessitate hanging by any means. Other popular methods included shooting, torture of various sorts, skinning, burning (alive or dead), beheading, evisceration and other ghastly methods. Regardless of method, ?lynching is a criminal practice which is peculiar to the United States.? "
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Anti-Lynching and Ida B. Wells, 2004.
This paper discusses Ida B. Wells, one of the few black activists who, during the Reconstruction period, took action against the Lynch Law.
965 words (approx. 3.9 pages), 1 source, MLA, £ 24.95
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Abstract
This paper explains that Lynch Laws and lynching activities lead to the death of tens of hundreds of black men, most of whom were completely innocent. The author points out that Wells used data published by the "Chicago Tribune" showing how many innocent people were lynched each year as a means to make authorities take notice of the atrocities that were being committed under the shelter of Lynch Law. The paper states that the anti-lynching campaign of Ida Wells occupies a very important place in our history because this crusade made people understand the issues connected with racial segregation and discrimination.
From the Paper
"She maintained that not all white women were raped; there had been cases in which white women actually had consensual sex with black men, as they liked their company. This was probably the most outrageous comment that anyone had ever made in favor of black men but Wells probably believed in attacking the attackers instead of defending the victims. This attacking approach did work as people started taking notice of the problems associated with Lynch Law. The greatest favor she did to the black race was that she brought forth some ugly incidents of lynching, which most newspapers never published. She presented many such cases in her famous pamphlets now available in book-form titled ?Southern Horrors and other writings: The anti-lynching campaign?."
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Alfred Hitchcock, 2004.
An analysis of the life and works of film director, Alfred Hitchcock.
1,202 words (approx. 4.8 pages), 6 sources, MLA, £ 29.95
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Abstract
This paper discusses the "king" of melodramatic films, Alfred Hitchcock. The paper contends that Hitchcock was (and remains) the originator and master of a kind of mystery thriller that no one has been able to duplicate. The paper presents a biography of Hitchcock's film career and a brief synopsis of several of his films. The paper explores Hitchcock's recurrent theme of an innocent protagonist being falsely accused for a crime.
From the Paper
"Hitchcock started in the movie industry, age 19, when he was hired to design titles at the Famous Players- Lasky London studios. He learned scripting, editing and art direction, and rose to become assistant director by 1922. That year, he directed his first (and unfinished) film, "No. 13, or Mrs. Peabody". It was three years later that he directed and completed his film "The Pleasure Garden", an Anglo-German production filmed in Munich. "This experience, plus a sting at Germany's UFA studios as an assistant director, help account for the Expressionistic character of his films, both in their visual schemes and thematic concerns.""
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Lynching in Literature, 2002.
A look at the concept of lynching as referred to in American literature.
2,934 words (approx. 11.7 pages), 2 sources, MLA, £ 61.95
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Abstract
Lynching was certainly the cruelest form of racial segregation and discrimination; mob violence was used as a weapon against black men to crush their spirits. After the Civil War, most black men found themselves in a very ugly situation, as lynch law was frequently against them, which resulted in tens of hundreds of deaths. Ida Wells was one of those few courageous black writers and activists who spoke about the horrors of lynching and started an anti-lynching campaign. The paper studies the causes of lynching and nature of anti-lynching campaign in the light of Wells?s three pamphlets, which were later published in a book form titled, ?Southern Horrors and Other Writings? by editor Jacqueline Royster.
From the Paper
"Lynching refers to use of mob violence against any person with or without a reason. In the days after the Civil War and during the period of Reconstruction, slavery became even more intense than it was ever before. This is because Southerners were now being forced to grant Black Americans their due rights, something that they were absolutely not willing to do. In the days before the Civil War, slavery was prevalent and no one openly objected to it or talked about civil rights of black people. Slaveholders assumed they were superior to their slaves and felt no one could take this right away from them. But as soon as people started discussing civil rights for blacks in public especially the Northerners and some members of the salve community, Southerners became even more austere as they feared loss of their superiority."
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Alfred Hitchcock: A Master of Duality, 2002.
An analysis of two Hitchcock films, "Vertigo" and "Psycho".
1,121 words (approx. 4.5 pages), 0 sources, £ 27.95
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Abstract
This paper discusses the films, "Vertigo" and "Psycho" by Alfred Hitchcock portraying Hitchcock's penchant for duality. The writer explains how Hitchcock makes clear that the essence of suspense is the permanent struggle between the obvious and what could be. The paper illustrates the duality evident in "Vertigo" - the struggle between life and death; and that in "Psycho" - the evaluation of openness and mystery.
From the Paper
"For many, the name Alfred Hitchcock conjures hazy and disconnected memories of Cary Grant and Ingrid Bergman in Rio, Tippi Hedren being chased by killer birds, or Jimmy Stewart in a wheelchair; but for others?those that are somewhat more experienced with the work of Hitchcock?the utterance of his moniker means much more. Indeed, many consider Hitchcock to be not only one of the most prolific and entertaining filmmakers, but also one of the most profound. A recurring?and certainly intriguing?motif that holds together his body of work is his incessant interest and portrayal of duality: the conflicting, yet in some ways similar, nature of life. That is to say, Hitchcock (and no other, on as prestigious a level) was able to brilliantly compare, reduce, and then reevaluate polar opposites that every human encounters. Love or hate, man or woman, privacy or voyeurism, and dishonesty or fidelity were just some of the many themes he unraveled in the stories and aesthetics of his films. Two such films?with particular interest as each illustrates by movement, mise-en-scen, and narrative strategy, Hitchcock?s penchant for duality?are Vertigo, in which he juxtaposes the archetypal struggle between life and death, and Psycho, where he dabbles in the much more complex evaluation of openness and mystery."
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Alfred Hitchcock, 2006.
An analysis of 'The Man Who Knew Too Much' by Alfred Hitchcock.
1,125 words (approx. 4.5 pages), 2 sources, £ 31.95
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Abstract
This paper reviews Alfred Hitchcock's film 'The Man Who Knew Too Much'. According to the paper, it was first released in the United Kingdom in December of 1934. It was not released to American audiences until March of the following year. It was filmed at Lime Grove Studios in London England and filming began after Hitchcock completed his direction of Waltzes From Vienna in 1933. Producers, Michael Balcon and Ivor Montagu had the script prepared before Hitchcock agreed to take on the direction of the film. The paper further discusses how Hitchcock was said to have been given free reign over the direction of the film, although he was also given a small budget to complete the task. The cast for the film was recommended from varying sources. This included Peter Lorre, who was a German actor presented to Hitchcock through Sidney Bernstein.
From the Paper
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Alfred Hitchcock's "Psycho", 2007.
A review of Alfred Hitchcock's famous film "Psycho."
1,100 words (approx. 4.4 pages), 5 sources, MLA, £ 27.95
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Abstract
This paper analyzes Alfred Hitchcock's masterpiece of suspense, the film "Psycho." The reviewer describes the innovations, taboos and transgressions that Hitchcock explored in this film. Additionally, the paper discusses the emotional states of fear and horror that the film inspired, and how Hitchcock enticed his audience by giving them just enough information to lure them into the world of the protagonist, Norman. The paper also discusses how Hitchcock promoted his film prior to its release. The reviewer concludes that in "Psycho," Alfred Hitchcock lured his audience into the forbidden, made them uncomfortable but at the same time made them enjoy the brief experience of unspoken transgressions as seen in the film.
From the Paper
" When Norman purposely gives Marion the key to room number 1 so he can watch her through a peephole in the office, Hitchcock is enticing the audience with another transgression, voyeurism. The audience is forced into this secret world, forced to participate in Norman's forbidden thrill as he watches her undress. Such scenes resulted in much criticism. For example, a letter to the New York Times claimed that Psycho was "deliberately calculated to stimulate the jaded appetites of the middle-aged and arouse the worst latent instincts of teen-agers," suggesting that the transgressions depicted might be contagious (Hendershot). "
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The Merrill Lynch Investigation, 2005.
This paper explores the investigation of the involvement of Merrill Lynch in the Enron affair.
775 words (approx. 3.1 pages), 9 sources, APA, £ 19.95
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Abstract
This paper explains that the Justice Department, the Senate and the Securities and Exchange Commission conducted investigations into Merrill Lynch's participation in deals to help mask the true financial condition of Enron; Merrill Lynch denied any wrong-doing and said that its dealings with Enron were proper and legal. The author points out that an allegation against Merrill Lynch was the purchase of three barges from Enron; investigators claimed that Merrill Lynch did not buy these barges as a legitimate investment but purchased them to secure future business from Enron. The paper reports that Merrill Lynch said that it is not unusual for employees of brokerage firms to invest in companies that they do business with and that other large brokerage houses have made similar investments.
Table of Contents
Discussion
Nigerian Barge Deal
Departure of Analyst
Other Dealings
From the Paper
"The second allegation concerning Merrill Lynch's dealings with Enron concerns the sudden departure of analyst John Olson from the brokerage firm in August, 1998. Mr. Olson was the Merrill Lynch analyst who followed Enron. In 1997, he had downgraded Enron stock to a "neutral" rating. Documents from Merrill Lynch indicate that Andrew Fastow, then Chief Financial Officer for Enron, told Merrill Lynch executives that he was unhappy with Merrill Lynch's poor rating for Enron stock and that as a result, Merrill Lynch would not be allowed to participate in a lucrative Enron stock offering. Sources close to the investigation say that Mr. Olson was then forced to resign. Merrill Lynch denies this charge, and Mr. Olson, now working for another firm, declined to comment."
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Character Perspectives in Hitchcock Films, 2006.
This paper illustrates Alfred Hitchcock's techniques of allowing the audience to be part of his films.
1,125 words (approx. 4.5 pages), 2 sources, £ 31.95
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Abstract
The paper discusses how in the films "Psycho," "North By Northwest," and "Rear Window," Alfred Hitchcock uses the action of the camera to invite the audience to take part in the voyeuristic activities of the characters. In "Psycho" and in "Rear Window" Hitchcock invites the audience into very specific moments in which the main characters observe others in the films without their knowledge. The paper depicts how these voyeuristic moments were a trademark of Hitchcock films that provided a moment in time for the audience to be part of the film and view action that called the audience in as second party voyeurs lead by Hitchcock himself.
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Lynching in Virginia, 2005.
Traces the history of lynching in the State of Virginia.
927 words (approx. 3.7 pages), 3 sources, MLA, £ 22.95
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Abstract
The history of lynching in the state of Virginia is still surrounded by many misconceptions. Even though is has been decades since the last of the official lynchings took place, it is still difficult to find reliable and accurate information that accurately represents what went on during that period in history. This paper examines the history of lynching in Virginia from around the 1830's till an anti-lynching bill was passed in 1928.
From the Paper
"It does appear, however, that the lynching practice did originate in Virginia with Col. Charles Lynch and some of his associates (Brundage, 1993). It is not known whether the activities that took place under this gentleman account for the naming of the town of Lynchburg, Virginia, or not. Even though the practice of lynching originated in that state, Virginia has the lowest rate of all ex-confederate states for lynchings that can be historically verified. Evidence also indicates that lynching in the state of Virginia has not officially existed since the 1920s but it does continue even today in many isolated cases."
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Alfred Hitchcock, 2005.
An analysis of the impact of Alfred Hitchcock's films on British documentary realism.
1,100 words (approx. 4.4 pages), 6 sources, MLA, £ 27.95
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Abstract
This paper examines how Alfred Hitchcock's films often showed the influence of national film movements such as German Expressionism, Soviet Expressive Realism and the British Realist Documentary. It looks at how "The Lodger" (1926), and "Sabotage" (1936) provide examples of these movements from the first three periods of Hitchcock's work. In these films, Hitchcock showed his powerful mastery of the forms, and often moved them to new and deeply disturbing and moving levels. It is through his combination of techniques and themes taken from these often complex and difficult film movements that Hitchcock establishes himself as one of the most creative and influential directors of our time.
From the Paper
"During the 1920s, German film gave rise to a type of cinema that mirrored many of the conventions and styles of the expressionism art movement of the same time. This German movement "sought to express - often critically - the very essence of post-war life, its moods and concerns" (Mogg). The techniques that were used within the expressionism art movement often came from melodrama and the works of author Charles Dickens, such as Great Expectations, Oliver Twist, and A Christmas Carol. The techniques of the expressionism movement included an emphasis on irrational behavior that were often expressed through the actions of mobs and crowds (Mogg)."
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Alfred Hitchcock, 2006.
This in-depth paper analyzes the film techniques of one of America's greatest filmmakers and directors, Alfred Hitchcock.
3,058 words (approx. 12.2 pages), 6 sources, MLA, £ 63.95
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Abstract
This paper details Hitchcock's unique talent for drawing the audience into his characters' thoughts, actions and emotions. This paper focuses primarily on three of the director's films, "Rear Window," "Notorious" and "Vertigo." The writer of this paper delves into Hitchcock's use of the subjective approach which when done correctly lets the viewing audience see into the minds of the characters on the screen. The writer contends and explains how Hitchcock's subjective storytelling and proper camera angles allow the viewer to see the point of view of the characters. This paper analyzes the director's use of subjective cinema which presents an idea in the mind of the character without the need for dialogue while at the same time using a point-of-view shot camera sequence resulting in a build-up of suspense. This paper contends that Hitchcock's use of the subjective approach is a powerful method of filmmaking, even more so than the actual acting. This paper details how the subjective approach along with specific camera angles in "Vertigo" allow the viewers to identify with the protagonist Scottie while the cinematography gives the audience a true sense of the dizziness and fear of falling felt by the character.
From the Paper
"The poison scene with its sequences of Alicia knowing what is happening is another example of the subjective techniques used by Hitchcock. As noted above, the audience has information that even the protagonist does not have. At the start of the scene, the audience knows that Alicia is being poisoned by Sebastian and his mother, because they know she is working for the Americans. The scene also shows the different type of actual camera shots: The establishing shot opens the sequence, frequently an exterior and sets the scene. The long shot (LS), which shows all or most of a fairly large subject (for example, a person) and usually much of the surroundings and extreme long shot where the camera is at its furthest distance from the subject, emphasizing the background."
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Hitchcock and Techniques, 2008.
This paper looks at movie maker Alfred Hitchcock's techniques and achievements.
2,609 words (approx. 10.4 pages), 8 sources, MLA, £ 55.95
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Abstract
In this article, the writer notes that Alfred Hitchcock is one of America's most revered directors and creative talents. He left behind him some of the most memorable movie thrillers in history and defined an entire genre of artistic direction. The writer points out that since he started work in films in 1919, Hitchcock directed more than fifty feature length films in a career that lasted almost six decades. From the silent movie genre to the color era, he was always one of the foremost creative talents and directors the world had ever seen. In this analysis, the writer looks into Hitchcock's life and his major influences. Further, the writer looks at the techniques that Hitchcock helped to pioneer into one of Hollywood's most established genres, thrillers and suspense.
From the Paper
" Hitchcock explains that his early childhood and exposure to cinema were his greatest influences. As a child, his overbearing mother would constantly make him wait on her, and this became his inspiration for exploring the relationship between family members and dysfunctional families as evidenced in Psycho. Furthermore, much of his work was influenced by the expressionist techniques that he witnessed firsthand in Germany while making his first film. German expressionism would blend with much of Hitchcock's work to become part of the signature experience of Hitchcocian cinema. German filmmakers, because of the lack of funds in the post-world war I era, could not compete with large productions from the United States. Therefore, they developed a style of using symbolism and "mise en scene" to add mood and deeper meaning to their movie. Hitchcock was inspired by this technique and style to incorporate deeper meaning and shades of meaning within his movies. This can be evidenced by long drawn out scenes that focus on objects, such as staircases rather than specific dialogue or action. "
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