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Christopher Reeves and Tom Hanks, 2006.
A discussion and comparison between the public speeches of actors Christopher Reeves and Tom Hanks.
1,321 words (approx. 5.3 pages), 2 sources, MLA, AU$ 54.95
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Abstract
This paper reviews, discusses and compares the speech made by Christopher Reeves at the National Democratic Convention, and by Tom Hanks at Vassar College. According to the paper, the speeches are given nearly a decade apart, but both actors appeal emotionally to the audience for help.
From the Paper
"Tom Hanks takes somewhat longer than Reeve to reach the thesis of his speech. After the opening humor, he begins his speech with a statistical claim relating to the "power of four". According to a study, only four percent of cars need to be removed from gridlocked highways to secure the free flow of traffic. Hanks uses this premise to appeal to his audience's sense of power. It is interesting to briefly note that Reeve's statistic is very similar: one in five people suffers from a disability; in other words, for every four people without disabilities, there is one who does. There are therefore four healthy people in five to whom Reeve is addressing his appeal for help."
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Do We Feel For Our Soldiers?, 2007.
This paper proposes a study that will examine whether movies about war realities will change how much the public empathizes with soldiers.
1,384 words (approx. 5.5 pages), 6 sources, MLA, AU$ 56.95
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Abstract
The paper presents a research proposal designed to test empathy change after viewers watch a movie about the realities of war. The writer produces a problem statement, a short literature review, an explanation of method to be used and the way the data will be collected. The paper also notes the weaknesses of this study.
Outline:
Introduction
Statement of Problem
Literature Review
Methods
Data Collection
Participants
Conclusion
From the Paper
"The realities of war do not seem real to people when the war is halfway around the world. This lack of empathy on the part of society can create problems for returning soldiers as well as soldiers that are fighting the war currently. One of the things that helps boost morale in the war zone is for the soldiers to believe that their nation stands behind their efforts. Whether one believes in the war or not, the support for the soldiers has not been questioned since the beginning of the war, however, as people go about their daily lives they tend to forget that there are soldiers in desert areas being shot at every day. The empathy factor is often missing when it comes to Americans and the war."
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"Remember the Titans", 2007.
An analysis of the themes portrayed in "Remember the Titans," directed by Boaz Yakin.
1,811 words (approx. 7.2 pages), 7 sources, MLA, AU$ 71.95
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Abstract
This paper discusses the Walt Disney Picture's film, "Remember the Titans," directed by Boaz Yakin. The paper discusses the movie's primary themes of character development, overcoming adversity and the power of strong individuals to unify an entire city for the better. It describes the historic, political and social drama that is based on the real life 1971 Titans and their success.
From the Paper
"Nearly every character in the movie can be critiqued in such a way as Bertier as to how the exaggeration contributes to the themes of the film. Yet it is equally important to evaluate the merits which make Remember the Titans a memorable film, and gave the team the power it had over its community and contributes to its historical importance. The accomplishments of the Titans on the field must be considered for historical accuracy. This is where the movie lines up the most with the truth. The 1971 Titans were in fact undefeated, were in fact #2 in the country nationally, and they were state champions (Merron). There is not much the film could do to exaggerate this awe inspiring fact. The movie does take some liberties in often portraying the Titans as underdog (perhaps to appeal to general American underdog sentiment) when in reality the team was usual the favorites and very much dominant (Merron). It is likely, however that the on field accomplishments of the 1971 are not exaggerated because they cannot be. The team accomplished so much in real life and in the movie, giving it the power to overcome racial divisions to unify a community."
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The Role of Women, 2007.
This paper analyzes the portrayal of women in the films "The Princess Bride" and "Harry Potter and the Sorcerer's Stone".
1,940 words (approx. 7.8 pages), 1 source, MLA, AU$ 74.95
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Abstract
The paper explores themes about women in "The Princess Bride" and in "Harry Potter and the Sorcerer's Stone" in order to identify how women's roles are portrayed and what the social implications of the film's messages might be. The paper shows how the two films portray distinctly different themes about women's nature and roles. The paper looks at the traditional view of women as portrayed in "The Princess Bride." The paper relates that the women are always sweet and kind, non-assertive and self-sacrificing. The paper contrasts this to the ideal woman in "Harry Potter" who is self-reliant, intellectually the equal of men, better educated and assertive.
From the Paper
"Communication, or rhetoric, is a symbolic process humans use to share meaning and create reality. Sonja Foss (1989) explains fantasy theme criticism as a way to approach and analyze rhetoric. The word fantasy as used in fantasy theme criticism does not mean something someone dreamed up or something untrue. Fantasy in this case refers to themes that explain and order reality. When these themes are articulated or when we encounter them in rhetoric, they produce a sense of resonance in others who recognize them."
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"Ray", 2007.
A review of the character of Ray Charles and the time in which he lived, as portrayed in the film "Ray," directed by Taylor Hackford.
1,089 words (approx. 4.4 pages), 4 sources, MLA, AU$ 45.95
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Abstract
This paper discusses the 2004 film, "Ray," directed by Taylor Hackford. The paper discusses the story of the film and shows how the filmmakers reflected on the time in which Ray Charles lived. It discusses the background of the Civil Rights era and the changes it brought about and shows how this is seen in the film in the changing relationship between the performer and his audience.
From the Paper
"Ray Charles is not depicted as a saint but as a sometimes very difficult man, even without the drug problem that afflicted him for some time. The racism of the 1950s did not stop him from performing as he wished any more than had his blindness. In 1961, he decides that he will no longer play for segregated audiences in the South as he had before, since that was expected of performers at that time and in that part of the country. Because of his stand, though, another instance of racism is seen as his home state of Georgia bans him from performing at all. The film addresses this with a section at the end set in 1979 as the state give the singer an apology for this action, showing just as much that times have changed and that a segregated audiences is no longer possible. The central issue in the film is not racism or even the society of the time, though that background is recreated well for the film. Instead, the film offers "a potent sampling of Charles' demons, faults and addictions to go along with the charm, talent and strength of character" (McCarthy 3)."
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"Oh Brother, Where Art Thou?"--A Film Review, 2007.
This paper reviews the recent film "Oh Brother, Where Art Thou?" which starred George Clooney.
1,020 words (approx. 4.1 pages), 0 sources, AU$ 44.95
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Abstract
This paper reviews the film about an epic quest entitled "Brother Where art Thou?" which was based on Homer's "The Odyssey." The paper describes the adventures the protagonists faced and the various references the film made to Homer's original work. The reviewer also examines the goal of Ulysses, the main character in the movie, and concludes it is a righteous goal, even if he attempts to achieve it in a dubious manner.
From the Paper
"The three face many adventures, including many references to Homer's epic poem. They meet a blind oracle who tells them they will have many adventures and face many "ob-stack-ales." They meet sirens, and Cyclops, and many other characters, just as Ulysses discovers the same things in his journey. The film does not seem to have the same outcome as the poem, but in the end, it does, and that is one of the things that makes it so enjoyable. The viewer does not know what is coming until the end, and the journey is complete."
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Confronting the Powerful in Film, 2007.
An analysis of two films, "Mr. Smith Goes to Washington" directed by Frank Capra, and "Matewan" directed by John Sayles.
1,036 words (approx. 4.1 pages), 0 sources, AU$ 44.95
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Abstract
This paper reviews two films that deal with confronting the powerful to maintain one's dignity. In both "Mr. Smith Goes to Washington" directed by Frank Capra, and "Matewan" directed by John Sayles, the protagonists must take on those with power. The reviewer also analyzes the differences in these two films, particularly in the ways the characters choose to overthrow the system. A brief plot summary is given for each film.
From the Paper
""Mr. Smith Goes to Washington" is a classic Jimmy Stewart, Frank Capra film that shows just how much political influence exists in Washington D.C. In this film, Jefferson Smith (Jimmy Stewart) is appointed as a Senator after the man holding the office dies. He is a naive and trusting, honest man who the political leaders of his state feel they can manipulate and puppet in Washington. He has no idea he has been sent to Washington to ensure the state's political bosses profit from a dam the state does not need, built on land the politicians secretly own. When he finds out, his honor and honesty will not allow him to do anything but fight them for his own ideas, which include building a boy's camp on the very same land. He even finds that his own boyhood idol, Senator Paine, is corrupt and manipulated by the political bosses back home. "
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"World Trade Center"--A Film Review, 2007.
A review of Oliver Stone's film "World Trade Center."
1,020 words (approx. 4.1 pages), 4 sources, MLA, AU$ 44.95
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Abstract
This paper reviews and analyzes Oliver Stone's film about the terrorist attack on the World Trade Center. The paper focuses on the themes presented in the film, particularly that of hope. Although this review is positive toward the movie "World Trade Center," it does include some criticism toward the film. The reviewer concludes that the audience of "World Trade Center" should take away a message of hope.
From the Paper
"Some reviewers found the film too patriotic and flag-waving, and too religious in nature. Another critic writes, "The visual approach of 'World Trade Center,' heavy on the intense close-ups and fervent in its embrace of the characters' religious and patriotic strains, flies in the face of everybody's preconceptions about what a Stone film feels like" (Phillips). However, these are some of the things that helped the two men remain alive, and this seems as if it is a natural reaction to the unnatural events surrounding them. They turn to their spiritual side and introspection to help make some sense of their predicament and their lives. Above all, they realize they have everything in the world to live for, and they do not want to die. They realize they have made mistakes, and they want another chance to make things better if they survive. "
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"Gangs of New York", 2007.
An analysis of the main themes of the movie "Gangs of New York".
1,081 words (approx. 4.3 pages), 4 sources, MLA, AU$ 45.95
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Abstract
This paper discusses how "Gangs of New York" is a disturbing film about New York City during the Civil War era. The story revolves around "the son of Priest Fallon." Priest Fallon was a Roman Catholic Irish immigrant who was killed fighting against "The Natives," a gang that hated all minorities. In particular, it focuses on the representation of three major social problems of the times: Boss Tweed and the corrupt Tammany Hall political machine, the enormous surge of new Irish immigrants entering the city every week and the first compulsory draft. The paper examines these three elements as they contributed to gang-related problems.
From the Paper
"William M. "Boss" Tweed controlled the Tammany Hall political machine, which was infamous for its corruption and influence on all levels of government, including the police force. The film shows Tweed sending soup to the starving immigrants as they get off the ships, thus garnering their votes. It shows his people buying votes. It also reveals that Tweed was unwilling to really control crime because he was profiting from it. The police, for instance, instead of stopping looters, take a cut from the booty. Boss Tweed announces sarcastically, "The appearance of the law must be upheld." He decides to hang three or four ordinary family men falsely accused of "corruption of the public good." This was to show that Tweed was tough on crime. "
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'Sabrina', 2006.
A comparison between the 1954 version and the 1995 version of the movie 'Sabrina'.
925 words (approx. 3.7 pages), 2 sources, MLA, AU$ 39.95
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Abstract
This paper reviews, discusses and compares the 1954 version of 'Sabrina' directed by Billy Wilder, with the 1995 version directed by Sydney Pollack. According to the paper, feminine value of love reigns triumphant, reflecting common cultural and social myths, if not the practices and norms of real life in both versions.
From the Paper
"But Sabrina's initial rough exterior is still presented in terms of a kind of casual tomboyishness, in this case, Julia Ormond's bespeckled visage rather than Audrey Hepburn's ponytail. The young woman must put away childish, gender-ambiguous play and adopt a feminine norm, to show she is a 'real' woman, worthy of David's class. Contemporary norms in terms of how males and females are portrayed in the two versions, are perhaps more manifest in how the newer version seems to take a more damning view of David's love of fast women and fast cars and his frequently boorish behavior with the fair sex. But by virtue of replicating the plot, Linus' equally crass seduction of a vulnerable young woman to preserve a corporate merger is still viewed in a reasonably tolerant light. "
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Sexual Politics in Film, 2007.
An analysis of the theme of sexual politics in the movies "Pulp Fiction" and "Swept Away".
1,354 words (approx. 5.4 pages), 8 sources, MLA, AU$ 55.95
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Abstract
This paper discusses how media is particularly dependent on sexual politics as a thematic representation and as a guiding force for human emotion and how this is particularly true with regard to dramatic representations in film. It focuses on two movies, which pay particularly close attention to sexual politics, "Swept Away" (the original 1974 and the newer 2002 versions) and "Pulp Fiction". It looks at how "Swept Away" pays particular interest to social class with an emphasis on sadomasochism and how "Pulp Fiction" deals with the inner workings of the sexual politics in a complicated subculture of sex, drugs and crime.
From the Paper
"The cinematography and setting of Swept Away in both film versions detail the loneliness of man in a world where individuals and whole societies express love and longing through materialism and end courting with violent and absurd expressions of pain and pleasure. The film, is similar in tenor to Nine 1/2 Weeks (1986) another cult classic film dedicated to the idea of sexual politics driving personal relationships and leading to not real love but love that is expressed through dominance and possession as well as objectified bodies. "
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Movie Director's Notes, 2007.
A presentation of a movie director's notes for shooting a film beginning on an airplane.
1,194 words (approx. 4.8 pages), 0 sources, AU$ 49.95
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Abstract
This paper is written as a creative writing piece. It presents instructions for a director for shooting a movie that begins on an airplane. It describes the scenery, the types of shots that should be taken and how the characters should be positioned in the shots. The paper presents details for three scenes in this short movie.
Table of Contents:
Airplane Scene One
Scene Two: Having fun in Europe
Final scene
From the Paper
"The next scene spins in showing dancers with the mountains visible out the windows but only lit by the lights of the slopes. We identify the couple as they dance by the camera and the next scene spins in showing a 45 degree angle shot of the couple at a table is a nice restaurant with a different view out the window. The lighting is romantically low and warm, but not dark. The story action can be continued here, as the camera moves to full frontal table shot and then dollies in until we have full frontal couple shot. The camera angles alternate between full frontal couple, and individual head and shoulder shots as they talk while drinking wine and sampling hors d'ouvres. They are seated almost as closely as the airline seats enforces. Outside the large windows it is dusk and we see a cityscape of Paris."
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Political Awakenings in Cinema, 2006.
A comparison between Pudovkin's "Mother" (1926), "Erin Brockovich" (2000) and "Good Night and Good Luck" (2005).
2,106 words (approx. 8.4 pages), 3 sources, MLA, AU$ 80.95
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Abstract
This paper compares the 1926 film, "Mother" with "Erin Brockovich" and "Good Night and Good Luck", both from the turn of the century. According to the paper, the archetypal and purely visual images of acting like that of "Mother" can no longer be taken seriously in modern film acting. The paper goes on to say that never-the-less, the power of the film's images raises a profound question about the nature of modern filmmaking because the film should not move the viewer, and yet it does.
From the Paper
"Both film's focuses are psychological in terms of how the acting renders the main character, unlike "Mother." Although it was also based upon a past historical event, "Mother" does not try to tell the mother's internal and unique story in relation to these events, it uses one mother's image to uphold its own political values. The mother comes to realize that she must bend to the forces of history, and support revolution, rather than change history. Her actions, like holding a flag in protest, are symbolic rather than personally gratifying. The acting, rather than personalized in both American films, is general, and depicted in broad, sweeping gestures rather than subtle shifts of dialogue, or changes in hairstyle or expression to indicate the character's growing political awareness."
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"The Dead Poets' Society", 2007.
A look at the psycho-social concepts present in the film "The Dead Poets' Society."
1,064 words (approx. 4.3 pages), 3 sources, MLA, AU$ 45.95
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Abstract
The paper discusses how the film is based upon conformity of behavior according to accepted traditions and accepted societal standards of the 1950s in America. The paper portrays how acting was not an accepted vocation, as accepted vocations were those which carried prestige and high salaries. The paper shows how the ideas of gender roles in adolescents, especially boys and narrow tradition-based attitudes about what is valuable in society are represented graphically in this film.
From the Paper
"The story centers on a group of boys in a very traditional private school for boys, and all the problems of both the boys and their teachers. It focuses on a particularly avant-guard literature teacher played by Robin Williams, Mr. Keating. In the opening scene we meet the boys coming for school, and a collage of scenes gives us the idea that this school has very solid traditions. The theme of group behavior and tradition is a constant background in the film with techniques like bagpipes, walls full of portraits, monuments and costumes."
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"Clash of the Titans"--A Film Review, 2007.
A review of the film "The Clash of the Titans" and its mythological basis.
1,367 words (approx. 5.5 pages), 4 sources, MLA, AU$ 55.95
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Abstract
This paper describes and reviews the film "The Clash of the Titans," while also considering the mythological basis of the storyline. The paper examines the deeper mythological themes present in the movie, especially how human beings try to satisfy the willful nature of the gods. The review describes the intent of Greek mythology in the paper, also giving attention to its deeper psychological meaning. The review concludes that although the film "The Clash of the Titans" does add some changes for dramatic effect, it does not veer too far away from the themes found in the original Greek myth.
From the Paper
"The symbolic frame for the mythology considers that the people form cultures with their own rites and ceremonies, mythology, heroes and stories as unique as any other culture. The Greeks developed over time a massive and complex mythology that explained in animistic, anthropomorphic terms many of the natural phenomena seen in the world around them and at the same time propounded a direct relationship between themselves and the gods as part of that explanation. In mythology, the Oedipus myth suggests that the hero is challenged and reformed by his encounter with his anima in the form of Jocasta, but his daughter Antigone is herself faced with her animus in the form of her father and all that he represents. Even a superficial reading of the story and an examination of the mythology behind it points to the fact that Antigone's character has been formed from her relationship with her father. Her relationship with her mother is secondary and indeed only sketchily formed at all in the context of the myth. Jocasta plays a role that is vital more because she is the mother as well as the wife of Oedipus than because she is the mother of Antigone. Elements of this myth are apparent in the way Perseus seeks to reconnect with the mother and rebuild the family lost so long ago. The godly world inhabited by these characters is a world where human passions have been projected on the deities so that rather than act as deities might be expected to, keeping some distance from the passions of the world, they instead exhibit human passions heightened because they are part of the behavior of the gods."
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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, AU$ 46.95
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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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