| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "TOPIC MUSIC DANCE INDIAN FILMS": |
|
|
Topic Music and Dance in Indian Films, 2002.
An overview of the Indian film industry with focus on music and dance in these movies.
2,388 words (approx. 9.6 pages), 11 sources, MLA, £ 51.95
»
Click here to show/hide summary
Abstract
This paper examines the importance of music and dance in the extremely successful film industry in India. It explains that because Indian films are made predominantly for semi-literate audiences, they contain numerous action scenes (fights), elaborate song and dance sequences, a fair dose of slapstick comedy and an obligatory love story. This paper discusses why this industry is so successful and the role music and dance play in its success.
From the Paper
"In its historical development, India's film industry paralleled that of the West. Dadasaheb Phalke's Raja Harishchandra, the first silent film for popular consumption, appeared in 1913; Alam Ara, the first "talkie," was released in 1931. But the Indian cinema derived its unique flavor from the older Indian musical theater-particularly from the Urdu poetic dramas of the late nineteenth century. The influence of this tradition ensured that Indian movies would favor mythological or legendary-historical stories, that their dialogue would carry an Urdu flavor even in languages other than Urdu, and that every film would be a musical."
| |
|
The Roots of Indian Music and Dance, 2001.
A look at the history of Indian music and dance.
3,985 words (approx. 15.9 pages), 9 sources, £ 75.95
»
Click here to show/hide summary
Abstract
A look at the origins of Indian culture with emphasis on Indian music and dance. The author examines the roots of music and dance from legends, myths and ancient scripts and provides an understanding of the historical foundation of Indian music and dance.
From the Paper
"The history of Indian music and dance is one of the oldest unbroken artistic traditions in the world. It is said that the origins of this system go back to the Vedas, the ancient scripts of the Hindus. Numerous legends have grown up concerning the origins and development of Indian classical music and dance. Such legends illustrate the importance both that music and dance have had in defining Indian culture, especially from a religious perspective. This investigation is meant to explore the historical foundation of Indian music to ascertain a better understanding of the classical form."
| |
|
Mask Dance in Indian Culture, 2004.
An analysis of the mask dance in Indian culture.
1,369 words (approx. 5.5 pages), 2 sources, MLA, £ 31.95
»
Click here to show/hide summary
Abstract
This paper discusses the Indian culture's mask dance. The paper explains that the nation of India has a long history associated with dance as a form of communication and expression. The paper contends that dances are more than just a fusion of choreographic movements; dance in India represents a way of telling tales of historical events, passion, romance, and even tales of treachery and woe.
From the Paper
"Dance in the culture has always represented some of the more inner reflections regarding the country's combination of historical turbulence mixed with the nation's religious and inner peace oriented factions such as Hinduism. "The Arts of India are the illustration of the religious life of the Hindus. Like their faith, the arts have been preserved for the past three thousand years, from change and decay, from foreign invasions, and from the fury of the nature. We owe its preservation to the future generations. For, it exemplifies how life can indeed revolve around the arts." (Kamat, 2004) In other words, dance in Indian culture is seen as more than just a fusion of detailed and non-meaningful movements; it is more a system for delivering aspects of the culture to the masses."
| |
|
Music and Dance in Russia and Japan, 2002.
Music and dance/drama compared and contrasted between the western-influenced Russia, and the eastern ancient Japan.
1,534 words (approx. 6.1 pages), 4 sources, MLA, £ 35.95
»
Click here to show/hide summary
Abstract
This paper shows how music has been combined with drama and dance throughout history and across cultures. The writers takes Tchaikovsky's western-influenced ballets and compares them to the very dissimilar traditional Japanese Kabuki music. Some similarities are drawn that show how different cultures appreciate and embody the inherent drama in music. The paper includes backgrounds of Tchaikovsky, Japanese Kabuki in an historical setting, as well as full descriptions of the music. The last paragraph compares/contrasts the two, while drawing overarching conclusions about the universality of music.
From the Paper
"Since its birth, music has never been segregated out as ?pure music? as the modern term now implies, with no implications attached to the sounds themselves. More often than not, there is always some sort of abstract connection made to the music, whether it is an evocation of a program, a tool for communication, a symbol of power, or a means of connecting with the spirit or the supernatural. Often, music will be used to tell a story, because of its ability to create atmosphere, manipulate moods, and even imitate concrete sounds. This ability leads to the creation of music in many categories?namely music with drama, and programmatic music. Drama and music have been combined since ancient times, in the form of accompaniment or incidental music to theatrical works, or as in Western Europe, operas and ballets. Wagner himself termed his operas ?music dramas?, but his was definitely not the first, nor the last great marriage of the two arts. For instance, since before the seventeenth century in Japan, an art combining music, acting and dance called Kabuki has flourished. Kabuki stems from other Japanese forms called Noh and Bunraku, but whereas these two forms combine music and drama of sorts, Kabuki is by far the most lavish, and is a combination of these other two forms. Besides exhibiting far greater orchestral forces, there is also a strong emphasis on the dance. Likewise, across the continent at about the same time an art of schooled dance began in the courts in France, culminating to what we now know as ballet. Ballet itself was often found in segments of operas, and in the eighteenth and nineteenth century it became fashionable to create full-length story ballets, consisting of purely music and dancers telling a story. A prime example of the apotheosis of the ballet genre would be Tchaikovsky?s popular ballets, Swan Lake, The Sleeping Beauty, and The Nutcracker. Thus, the idea of music supporting dramatic action can be evidenced in both Japanese Kabuki, and Tchaikovsky?s ballets, although both display as many striking differences as similarities."
| |
|
Dance and Music in Islam, 2006.
A discussion regarding the important role that dance and music play in Islam.
894 words (approx. 3.6 pages), 3 sources, APA, £ 21.95
»
Click here to show/hide summary
Abstract
This paper takes a look at Islam's view on dance and music. According to the paper, although there are many groups within Islam that profess that music and dancing are forbidden, it is clear that the Qu'ran itself does not explicitly prohibit these activities. The paper goes on to say that several avenues of worship within Islam have developed into the practice of reaching God through dance or music. The paper focuses specifically on the Quwalli and the Mevelevi Order, also known as The Whirling Dervishes.
From the Paper
"More intentionally musical is the Sufic tradition of the Quwalli. Quwali means "word," and can be thought of as the physical and auditory manifestation of the divine voice. As with the Quri, the Quwallis use their voice as a tool of worship, but they move into the world of interpretation and individual expression of the words themselves. They can be likened to the Gospel singers of the Western world in this respect, though this may be a misleading comparison since the Sufi practice, from which the Quwalli find their beginnings and roots, is far more steeped in history and tradition and could be considered a more "serious" endeavor. Quwallis use the music of their voices to worship foremost, and to communicate and encourage their listeners to worship with them is a secondary concern."
| |
|
The Film: "The Sound Of Music", 1991.
This paper reviews the film "The Sound of Music", directed by Robert Wise, starred Julie Andrews and Christopher Plummer: Theme, imagery, shot composition, camera techniques, editing, sound, acting and directing of the 1965 film.
900 words (approx. 3.6 pages), 1 source, £ 21.95
»
Click here to show/hide summary
From the Paper
""The Sound of Music" was directed by Robert Wise, and it starred Julie Andrews and Christopher Plummer. The movie won the Academy Award in 1965 for Best Picture. By examining the key theme of the Von Trapp family being re-integrated through the healing force of love (as seen in the Julie Andrews character), it is possible to see why the film has such a satisfying momentum.
This theme is brought out in eight different areas: The director uses each area to develop Plummer's character as the head of the Von Trapp family, who finds new love in Andrews' governess. This theme is set against the backdrop of the advent of World War II, the Nazis' entry into Austria, and the Von Trapps' escape from the German evil.
1. There is recurring imagery that suggests that Father Von ... "
| |
|
Jung's Archetypes in the film "Dances with Wolves", 1999.
An application of Jung's various archetypes to the personality of Lt. John Dunbar in the film "Dances With Wolves", in order to follow him on his journey of individuation.
2,325 words (approx. 9.3 pages), 6 sources, £ 49.95
»
Click here to show/hide summary
From the Paper
"The opening Civil War battlefield scene, in this movie, gives the first insight into one of Dunbar's personality Archetypes. He has been so severely, rounded, facing possible amputation of his foot, that he wants to die. Dunbar finds himself in a desperate situation that he has little control over causing him to experience feelings of misery and impotence. With great agony, he finds his way back to the front lines and makes a suicidal ride in front of the Confederate soldiers. "
| |
|
The Power of Music in Film, 2004.
A comparative analysis of the film scores from "Crouching Tiger, Hidden Dragon? and ?Iron Monkey".
2,680 words (approx. 10.7 pages), 4 sources, MLA, £ 56.95
»
Click here to show/hide summary
Abstract
This paper discusses how a well-constructed musical score transports us to the reality of the film and allows us to understand the world through the eyes of the characters, while never letting us abandon our own perspective. Through an analysis of the scores of the films, ?Crouching Tiger, Hidden Dragon? and ?Iron Monkey?, it looks at the full effect of the power of an intelligent and challenging musical score. It also shows how, more than any other element of a film, the music that enters into us and that we carry away with us allows us to merge our inner reality with the subjective vision of the filmmaker.
From the Paper
"The ?Iron Monkey? score, on the other hand, is less effective at connecting the audience to a particular time and place but generally more effective at connecting us to the main character of the film. This is not a criticism of either film, for ?Iron Monkey? is less about a particular individual and more about an era while the reverse is true of ?Crouching Tiger, Hidden Dragon?(which is about the couple at the center of the story but also about their effacement as well). In each case the score reflects this focus."
| |
|
Piracy in Film & Music, 1996.
Theft of copyrighted entertainment material. Looks at methods, bootlegging, copyright history, limitations, fair use & parody, court decisions, international issues, GATT and case study of China's infringements.
9,000 words (approx. 36.0 pages), 28 sources, £ 94.95
»
Click here to show/hide summary
From the Paper
"Piracy, Bootlegging, and the Entertainment Industry
This paper will discuss the issue of piracy in the entertainment industry. The focus of this paper will be upon the international aspects of this problem. The first part of the paper will examine the various types of piracy in the film and music industries. The second part of the paper will discuss the protection of copyright under United States law. This section of the paper will include a discussion of the fair use exception with regard to parody. The third part of the paper will look at the international aspects of the piracy problem. This section will discuss the international agreements which have been drafted and signed in response to the problem. The last part of the paper will look at the situation in China as an illustration of the continuing problem. This section will examine Chinese law concern.."
| |
|
Music, Culture and Hip Hop Dance, 2007.
This paper examines hip hop dance and its place in music and culture.
861 words (approx. 3.4 pages), 3 sources, APA, £ 21.95
»
Click here to show/hide summary
Abstract
This qualitative study seeks to examine the hip-hop dance form ethnologically and from the anthropological view, through administration of a survey/questionnaire and a review of peer-reviewed literature. This study finds that hip-hop is interwoven throughout the very fabric of modern media, music and art and is an integral expression in societal interaction and expression. Hip-hop is modern and yet primitive and will be around for many years to come.
Table of Contents
Abstract
Objective
Introduction
Research Questions
Research Instruments
Data Collection
Data Analysis
Literature Review
Discussion
Conclusions
Bibliography
From the Paper
"The respondents to the data collection instrument (survey-questionnaire) were asked what was it that influenced them in listening to hip-hop music. The answers given were affirmations that imitation in society is alive and well in the present day. Because the hip-hop radio stations were readily available, the respondents state that this exposure was key in their music influences at an early age. When asked what influenced the respondents in their preference of the hip-hop dance form the answers given in unison stating that MTV was an influence and stating that imitation was the beginning of this dance form adoption by the respondents."
| |
|
Indian Givers: How the Indians of the Americas Transformed the World., 2008.
A Critique of Jack Weatherford's "Indian Givers: How the Indians of the Americas Transformed the World."
1,495 words (approx. 6.0 pages), 1 source, MLA, £ 34.95
»
Click here to show/hide summary
Abstract
The paper discusses that the term 'Indian giver' has come to be a synonym for someone who gives something, only to take it back. The paper further explains that it was the Indians who were forced to give to the Europeans--their knowledge about farming and fishing in the Americas and ultimately their land. The paper discusses that in Jack Weatherford's book, "Indian Givers: How the Indians of the Americas Transformed the World," the exchange between Europeans and Native Americans was an unequal one, with Europeans taking of the positive benefits of the New World, while the Indians were doing all of the giving. The paper concludes that unwittingly, the Indians found themselves the recipient of the evils of European civilization, like slavery, and a disrespectful attitude to the land.
From the Paper
"According to Weatherford, the early post-Columbian contact of the Europeans with the native populace actually enabled the Industrial Revolution to change Europe, and ultimately the world. "Had Europe and America not come together through Columbus or some other connection, the industrial revolution would never have happened in the way we know it," because Europeans would never have gained access to the metals of the New World, or to Indian mines (Weatherford 57). This contact also generated the money economy of Europe and fueled a shift to a European economy based upon real, hard, convertible currency. Metal-based currency also was critical in fueling industrialism and world trade. By beginning the book with tales of South American encounters with Europe, which were particularly brutal and unequal from the beginning of the Indian-European relationship, Weatherford initiates a tragic tone, explaining how enslaved South American Indians mining gold and silver in Potosi supplied the precious metals for most of the European coins that generated wealth for the Old World at the expense of the liberty of the New World."
| |
|
Negative Impact of Popular Music and Music Videos, 2003.
Investigates the negative impact of popular music and music videos on youth in the United States today.
3,623 words (approx. 14.5 pages), 10 sources, APA, £ 70.95
»
Click here to show/hide summary
Abstract
The music industry spends enormous amounts of money to create music videos that will make a profit, and the one ingredient they have consistently found that helps sell their products is violence; this violence is usually directed toward women. The AAP notes that there is a paucity of research concerning the impact of such gratuitous violence on children and adolescents. To this end, this paper demonstrates this relationship through a critical review of the literature, followed by a summary of the research and recommendations in the conclusion.
From the Paper
"The definitions concerning what constitutes entertainment and what is protected by the 1st Amendment do not necessarily address the underlying problems of violence in the media and sometimes only serve to merely contribute to the statistical haze that surrounds an already complex situation. The recent appearance of national leaders on MTV attests to the importance and power of music videos in shaping the nation?s conscience. Further, while many non-black observers feel that rap music is just ?so much noise generated by angry black youths,? rap music or simply ?rap,? is in actuality a reflection of the current affairs within the communities in which it is performed. Rap is a ?genre of rhythm-and-blues music that consists of rhythmic vocals declaimed over musical accompaniment. The accompaniment generally consists of electronic drum beats combined with samples (digitally isolated sound bites) from other musical recordings? (Bowman, 2003). From this perspective, rap is an extension of the Black Power movement of the 1960s, and has embodied the essence of the young black culture. The first rap recording was made in 1979 and the genre rose to prominence in the United States in the mid-1980s. Although the term rap is often used interchangeably with hip-hop, the latter term encompasses the subculture that rap music is simply one part of. The term hip-hop derives from one of the earliest phrases used in rap, and can be found on the seminal recording ?Rapper?s Delight? (1979) by Sugarhill Gang. In addition to rap music, the hip-hop subculture also comprises other forms of expression, including dance methodologies, art, vocabulary (in the form of slang) and fashion affectations. Despite these contributions to the popular culture, many observers suggest a connection between the music and personification of violence evinced in music videos and rap as a factor contributing to the incidence of violence by young people in the United State today."
| |
|
The Art Film and the Genre Film, 2004.
Art and genre criticism in four classic films.
3,048 words (approx. 12.2 pages), 48 sources, MLA, £ 62.95
»
Click here to show/hide summary
Abstract
An analysis of two genre films and two art films - Antonioni's "Blow Up," Kelly/Donen's "Singin' in the Rain", Truffaut's "The 400 Blows", and Sirk's "All That Heaven Allows". The validity of both genre and art film criticism are examined.
From the Paper
"By its failure to accommodate the excess generated by its subject matter, All That Heaven Allows is not only critiquing the genre of melodrama, it also exposes the contradictions and conflicts present in American bourgeois society (Bourget, 1995, 45). However the subversive excess and contradictions present in the film prevent it from being ?just another melodrama?. Sirk worked within yet against the constraints of the Hollywood studio system to subvert the genre, and although the film is superficially a generic 1950s Hollywood melodrama, Sirk?s characteristic stylistic technique marks him as an auteur, a position usually associated with the art rather than the genre film."
| |
|
Seventies Films Versus Today's Films, 2001.
A comparison between films from different periods in time, and the differences in their entertainment methods.
2,625 words (approx. 10.5 pages), 8 sources, £ 55.95
»
Click here to show/hide summary
Abstract
A comparison of three honored films from the seventies, "Easy Rider", "Five Easy Pieces", and "The Godfather" and two films from the the year 2000, "The Gladiator" and "Erin Brokovich". The paper considers how they differ in the realm of providing distracting entertainment versus probing consideration of timely issues, concluding that seventies films left a more lasting vision.
From the Paper
"What do we want from our movies? Do we seek simple escape or deeper understanding of our lives? Can a movie be both probing and entertaining? Are entertainment, eye candy and special effects enough, or do we seek something deeper? Do we want to look inside ourselves and ask questions, or to merely stay on the surface, distract ourselves, and deny that there is anything more to be considered? These questions arise when comparing three movies from the 1970s with two films nominated for Academy Awards in the 2000. The films considered are: from the seventies, Easy Rider, Five Easy Pieces, and The Godfather, and from 2000, Gladiator and, Erin Brokovich. Pauline Kael, the well-know New Yorker film critic, commenting on how she got hooked on films, agrees another critic, Paul Coates, that in its ideal form, ?Cinema is the dream of an afterlife from which to comprehend this one? (Kael 63). In light of this quote, the films from the seventies embody elements which through the focused vision of the director offer mythic qualities that provide not only entertainment but an opportunity for viewers to examine their lives. That in accomplishing this, they provide images that remain in the mind?s eye could be considered the tradition of the seventies. In contrast, recent films Gladiator and Erin Brokovich are entertaining distractions, providing no lasting vision."
|
|
|
