| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "JOHN FORD S SEARCHERS": |
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John Ford?s ?The Searchers?, 2002.
The paper analyzes John Ford?s movie ?The Searchers? (1956) by using the ideas of feminist film theorist Laura Mulvey from her famous essay, ?Visual Pleasure and Narrative Cinema?.
1,815 words (approx. 7.3 pages), 2 sources, MLA, £ 40.95
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Abstract
The paper explains Mulvey believes that the dichotomy between narrative and spectacle echoes the division between men and women such that men control and forward narrative and women exist as spectacle or objects of visual pleasure at which to look. The author points out many examples where John Ford?s ?The Searchers? sometimes simultaneous adherence to and subversion of Mulvey?s observation and theory. The author finds that the film itself suggests the link between the pleasure of sight and power.
From the Paper
"In examining the film with Mulvey?s structure in mind, what are we to make of the fact that the female characters in the film are infrequently spectacles? Mulvey writes that, ?Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen.? Although the whole movie is about Ethan Edwards? obsession with avenging the rape and murders of female kin, as well as rescuing one of them, the camera barely lingers on the women. Their relevance is not as visual objects of pleasure either for the camera?s masculine gaze or for the male characters (which presents a stark contrast to the work of Hitchcock that Mulvey dissects as empirical evidence for the structure she describes)."
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John Ford's Film "The Searchers", 2005.
This paper discusses the masculine hero of the American West as presented in John Ford's classic film "The Searchers".
1,060 words (approx. 4.2 pages), 0 sources, £ 25.95
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Abstract
This paper explains that the John Ford classic western "The Searchers" focuses on the relationships and motivations of Ethan Edwards, played by John Wayne known for his super-masculine characters, and Martin, a young, part-Cherokee man, who is accompanying Ethan. The author points out that this relationship between surrogate father and son shaped the young man's view of what manhood truly encompasses. The paper stress that the use of this relationship in the film allows the trait of masculinity to be witnessed through its early development and permits the viewer to decide the positive and negative aspects of masculinity's eventual, albeit extreme, culmination.
From the Paper
"Eventually, Ethan comes to fully surpass his brother Aaron as patriarch of the household. The family comes to see him as the protector, or "man of the house." When a posse arrives hunting for what appear to be cattle rustlers, Ethan forbids his brother to go along, shouldering the responsibility himself. As he leaves, Aaron's wife embraces Ethan, for which she receives a kiss on the forehead. At this instance they undeniably appear to be man and wife. Later, when the family senses danger of an attack, Ben, the young man of the house, says, "I wish Uncle Ethan was here," despite the fact his father is present and holding a gun. By the traditional ideals of masculinity, being the head of a household is a cornerstone of being considered a man, so Ethan's usurping of his brother's position suggests his natural prowess at playing the masculine role."
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John Ford, 1990.
Discusses John Ford from the perspective of auteur theory. Focuses on how Ford worked with a regular coterie of writers and analyzes the films "Stagecoach", "Searchers", "She Wore a Yellow Ribbon", Fort "Apache", "The Quiet Man" and others.
2,250 words (approx. 9.0 pages), 3 sources, £ 54.95
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From the Paper
"The auteur theory developed by French film critics beginning in the 1950s is partly a convenient way of categorizing and analyzing films, collecting titles as the body of work of the director. More than this, though, the theory holds that it is the director more than anyone else who is responsible for the completed film, since he or she is the one who determines visual style and other matters in the course of production. The theory finds that the director expresses meaning through visual style and that analyzing the visual style of a given director reveals consistent thematic concerns, similarities in character development, and other repeated and recognizable signs of a single intelligence at work. At the same time, though, film remains a collaborative medium, and it would seem that directors would be influenced by their..."
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"Hippolytus" ( Euripides ), "King Lear" ( Shakespeare ) and " 'tis Pity She's A Whore" ( John Ford ), 1999.
Compares the treatment of the themes of illegitimacy and incest in three plays, focusing on "Hippolytus".
2,925 words (approx. 11.7 pages), 3 sources, £ 71.95
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Abstract
This study will explore the themes ofillegitimacy/legitimacy and incest in three plays, Euripides's Hippolytus, Shakespeare's King Lear, and John Ford's 'Tis Pity She's a Whore.
From the Paper
"This study will explore the themes ofillegitimacy/legitimacy and incest in three plays, Euripides's Hippolytus, Shakespeare's King Lear, and John Ford's 'Tis Pity She's a Whore. The study will focus on Hippolytus and the several illegitimate children in that play, followed by comparisons of that play with the latter two. The argument of the study will be that the issues of illegitimacy and incest have more to do with love rather than sex, or even with morality, and, therefore, investigation of those issues will focus on the roles which illegitimacy and incest play in the expression of love and in the obstacles to love.
Hippolytus is the illegitimate son of Theseus, but an obsessively virtuous man who incurs the wrath of Aphrodite because of his rejection of her and his alliance with Artemis, a ..."
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D.W. Griffith, John Ford, Orson Welles, Alfred Hitchcock and Ingmar Bergman, 1999.
Examines these five directors' major films, contributions to cinema, innovations, styles and techniques.
3,825 words (approx. 15.3 pages), 9 sources, £ 93.95
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Abstract
"This paper is a discussion of the works of five of the greatest directors in international cinema. D. W. Griffith, John Ford, Orson Welles, Alfred Hitchcock, and Ingmar Bergman have each had enormous influence in their art because of their individual vision and striking approach to filmmaking.
From the Paper
"This paper is a discussion of the works of five of the greatest directors in international cinema. D. W. Griffith, John Ford, Orson Welles, Alfred Hitchcock, and Ingmar Bergman have each had enormous influence in their art because of their individual vision and striking approach to filmmaking. Their visual concerns have been dramatically different, but the commitment of each has led them to create powerful, effective films that continue to affect the work of filmmakers in every genre and every nation today. All five have made significant contributions toward turning filmmaking into an art, while developing different aspects of cinema and varying genres, and all five can be considered great artists.
David Wark Griffith was born in Kentucky on January 22, 1875. He began his career as an actor in small touring ..."
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Films of John Ford, 2003.
Analyzes themes and style in Ford's films.
2,250 words (approx. 9.0 pages), 7 sources, £ 54.95
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Abstract
Focuses on three films: "The Grapes of Wrath", "My Darling Clementine", and "Rio Grande". Discusses the common issue of family, including personal and greater families. Describes the similar use of traditional American music, stark black-and-white images, and sparse dialog.
From the Paper
"his paper analyzes John Ford's themes and styles in three of his most distinctive films, The Grapes of Wrath, My Darling Clementine, and Rio Grande. These three all focus on different aspects of one issue that reoccurs throughout his films, the issue of..."
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Ford and Post-Ford, 2002.
The Federal state's approach to the welfare state in the Fordist and post-Fordist periods in Canada.
1,400 words (approx. 5.6 pages), 4 sources, £ 36.95
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Abstract
This paper discusses the federal state's approach to the welfare state during the Fordist and post-Fordist periods. It shows how the state intervened and regulated the economy from the end of the Second World War to the 1980s, when deficit mania led to a dismantling of the overseeing state. This led to cutbacks in all social programs.
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John Dewey and John Locke On Experience, 1999.
Compares their views on nature and the meaning of human experience. Discusses ideas, perception, knowledge, scientific inquiry and mind-body relationship.
1,350 words (approx. 5.4 pages), 2 sources, £ 32.95
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From the Paper
"Differing notions of experience divide philosophers John Dewey and John Locke. The views of both have meaning in terms of such human endeavors as scientific inquiry and relate to scientific meaning.
Locke's view of experience sees the world as preexisting and the mind as learning from experience. Locke believes that the mind at birth is a tabula rasa, a blank slate, and it is only through experience that knowledge is gained. Any knowledge possessed by the individual would be knowledge gained through experience. In the beginning, however, the individual has no experience. In the Garden of Eden, when Eve has experience of reaching for the extended red apple, it is a new one, the outcome of which will teach her a lesson she could not have gained otherwise. She has been told not to perform this action, and yet ..."
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John Cheever and John Updike, 1994.
A description and comparison of their short stories including narration, style and views on American society.
1,125 words (approx. 4.5 pages), 3 sources, £ 27.95
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From the Paper
"John Cheever and John Updike have both been cited as writers of American suburbia, and indeed they do delve into that area of American life in their works. The writers are very different in their style, tone, and the subject matter they tackle, however, and should not be mistaken for one another by any careful reader. They come from different generations as well, and yet Cheever's suburbia, holds the promise of a new form of the American dream, but, is treated by the author as the thing that destroys it. Updike's suburbia is treated more as a simple fact of modern life, although his characters find it difficult living up to the expectations of suburban life. An examination of several stories by each writer can show some of the ways each approaches their subject matter, their stylistic concerns, and their differences as writers."
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?The Searchers?, 2004.
Discusses issues of personality conflict in John Ford's movie.
2,388 words (approx. 9.6 pages), 1 source, MLA, £ 50.95
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Abstract
John Ford?s "The Searchers" is based on a very simple, straightforward story of a man?s search for his niece, who has been abducted by Indians. This paper shows that what makes the film a great masterpiece is that it succeeds in exploring the conflicting emotions within a human being that result in moral dilemmas and a personality full of contradictions within the ambit of such a simple plot. The film accomplishes this through unraveling the character of Ethan Edwards, its central protagonist, as its story progresses.
From the Paper
"Ethan?s conflicting emotions vis-?-vis family ties is further expressed through a visually poignant scene the same night of his homecoming, which frames Ethan alone on the porch with just the family dog for company. Expressionism is used here to suggest Ethan?s immediate feelings with his face carrying a sad reflective look, exemplified by his watching Aaron take Martha into their bedroom and closing the door for the night. This scene too uses the visual metaphor of the doorframe to signify that Ethan is a loner, an outsider to his own family. The meaning in this shot is inherent in its very composition as Ethan is shown looking back into the house through the doorframe and is made doubly meaningful in Aaron?s action of shutting their bedroom door, thereby effectively shutting out both Ethan and the night."
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"October Light" ( John Gardner ), "The Floating Opera" ( John Barth ) & "The Counterlife" ( Philip Roth ), 1994.
Compares protagonists & the way three novels deal with reality, life, death & suicide.
1,800 words (approx. 7.2 pages), 3 sources, £ 43.95
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From the Paper
"This study will describe and compare the main characters in John Gardner's October Light, John Barth's The Floating Opera, and Philip Roth's The Counterlife. The study will consider the ways the protagonists in these novels deal with reality, life, death and suicide. Essentially, the study will argue that, despite the differences in the lifestyles, philosophies, and personalities of the three protagonists, they are finally quite comparable in terms of the ways they relate to life and death. The differences remain, but at heart each of the main characters have a cynical, skeptical, absurd, or otherwise generally negative attitude toward reality and life, and each of them are struggling in various ways to arrive at some perspective which would allow them to, at the very least, be more accepting of life and death."
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English Drama, 2004.
This paper discusses the plays of John Ford, Thomas Heywood and John Webster.
904 words (approx. 3.6 pages), 3 sources, MLA, £ 21.95
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Abstract
The paper explains how the plays of John Ford ("'Tis Pity She's A Whore"), Thomas Heywood ("A Woman Killed With Kindness") and John Webster ("The Duchess of Malfi") show that the evolution of English drama evolved in a similar pattern to the religious and social injunctions of society.
From the Paper
"The religious and social injunctions during the eras when "Tis Pity She's A Whore," "A Woman Killed By Kindness" and "The Duchess of Malfi" were ones that greatly restricted female expression and clearly and rigidly defined roles for them deemed appropriate by the Church and social institutions. During Elizabethan England, patriarchy reached its pinnacle. Men maintained enormous control over women due to religious and social injunctions that permitted such control."
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| Essay # 24496 |
temporarily unavailable
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"The Golden Meane", 2002.
Examines the role of stoic consolation in the "The Golden Meane" by John Ford.
1,900 words (approx. 7.6 pages), 6 sources, £ 49.95
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Abstract
This paper examines John Ford's "The Golden Meane" and assesses its place in the canon of renaissance stoicism. The author discusses the role of stoic consolation in the work, and compares Ford's position to contemporaries such as Bacon and Donne.
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