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Film: "Malice" (1993), 2007.
This paper is a psychoanalytic analysis of the film "Malice" (1993), directed by Harold Becker.
1,200 words (approx. 4.8 pages), 2 sources, MLA, AU$ 66.95
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Abstract
This paper explains that, in the 1993 film "Malice", although everything appears to be normal, the audience soon finds that not far beneath the superficially polite exterior of all the main characters there exists an unconscious and barely controlled subsurface of jealousy, anxiety, sexual insecurity and narcissistic greed, all common plot elements of the generic suspense thriller. The author points out that the thriller genre deals quite blatantly, with what Freud referred to as the resurgence of the repressed id, over and against the demands of society in the form of the externally imposed superego. The paper relates that, when the ego of repressed characters such as Andy, becomes threatened by loss of control, especially in the sexual sphere, it utilizes what Freud called defense mechanisms in an increasingly desperate effort to protect itself from the ever-increasing demands of the id.
From the Paper
'The two main male characters do not escape censure in the film, however. About midway in the film, Dr. Hill is described by another character as possessing a "God complex," which is not a psychoanalytic term in itself but which, in this context, implies someone possessed with an exceedingly strong form of narcissism, an individual trapped to some extent in an infantile phase of development and thus subject of his own libidinal impulses. In the film, this complex is narratively depicted as being not only self-destructive, but destructive of the other characters around Dr. Hill."
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"Time After Time", 2008.
An analysis of the film "Time After Time," directed by Nicholas Meyer, through a Marxist interpretation.
1,471 words (approx. 5.9 pages), 4 sources, MLA, AU$ 77.95
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Abstract
This paper explores the ways in which the popular 1979 science fiction film "Time After Time," directed by Nicholas Meyer, can be interpreted from a Marxist perspective. It discusses the definition and parameters of classic Marxism as outlined in "A Handbook to Literature and Film Studies: Critical Approaches" by William Harmon and Hugh Holman. It then relates these definitions to the film.
From the Paper
"In conclusion, the filmmakers of Time After Time have, consciously or not, presented a science fiction fable with certain Marxist ideology in the way their work addresses such issues as history, technology, and gender, and how these human elements change or fail to change over time. The greatest irony may be that though the historical H.G. Wells was indeed a lifelong socialist utopian, he was also for the most part anti-Marxist in his thought, and generally elitist in his view of human governance. If anything, the view of the film, which after all accurately depicts the events that took place during the 20th century and life as it is lived in the modern day, stands as a critique of Marxist (and socialist) expectations for a world state and utopian revolution."
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Film: "Purgatory" (1999), 2008.
This paper explores the concept of a clockwork orange in the film "Purgatory" (1999).
880 words (approx. 3.5 pages), 2 sources, MLA, AU$ 50.95
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Abstract
This paper explains that the movie "Purgatory" proves that it is better to possess free will, even if it is the will to sin, rather than to be made into a clockwork orange as a paradigm of virtue. The author relates that Blackjack Britton gang fleeing a posse rides into Refuge, a town of second chances where the people make every effort to be virtuous. The paper points out that Refuge is a clockwork orange in reverse because moral choice has been taken away. The paper concludes that Alex's brainwashed paradigm of virtue and the Refuge paradigm were broken apart by the free will choice to do something for oneself.
From the Paper
"It is only when Sonny, who is in love with Rose and sacrifices himself for her, makes them realize their identities, that they in turn realize they do have a choice and take action. Sonny is surprised to find Hickok with his gun belt on coming out to stand with him in the classic gunfight scene: "What the hell," he says." "That's exactly what it is," Forest replies, "Hope you're ready to meet it." Alex's self-realization, even in the midst of his performance after the Ludovico Technique, is the same slow sign that there is still a spark of free will there."
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Mythic Critical Analysis of "Time After Time", 2008.
This paper presents a mythic critical analysis of the film "Time After Time" (1979), directed by Nicholas Meyer and written by Karl Alexander and Steve Hayes.
1,059 words (approx. 4.2 pages), 4 sources, MLA, AU$ 59.95
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Abstract
The paper explores some of the ways in which the popular science fiction movie "Time After Time" (1979) expresses and unfolds its narrative in mythic terms. The paper defines the expressions "mythic criticism" and "the archetype" and shows how the film reveals more of a mythic substratum than its makers may even have intended. The paper concludes that the filmmakers of "Time After Time" have followed the lead of much science fiction by their innovative utilization of fact, fiction and fantasy to create a new myth for the scientific age.
From the Paper
"According to A Handbook to Literature, the critical perspective known as mythic criticism is defined as that "which explores the nature and significance of the archetypes and archetypal patterns in the work" (Harmon and Holman 136). In this context, myth can be defined as that which portrays "a projection of social patterns upward onto a superhuman level that sanctions and stabilizes the secular ideology" (338). The same definition goes on to explain that myths, among their other functions, "attempt to explain creation, divinity, and religion; to probe the meaning of existence and death; to account for natural phenomena; and to chronicle the adventures of cultural heroes" (338). In reference to the archetype, the same handbook defines this term as a "primordial image" which draws upon the "prelogical mentality" (subconscious) of the reader / viewer and is frequently encountered in myth and folklore (41)."
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"Postcards from the Edge", 2008.
This paper compares and contrasts the novel and movie "Postcards from the Edge".
1,076 words (approx. 4.3 pages), 3 sources, APA, AU$ 59.95
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Abstract
The paper examines the similarities and the differences between the novel and film "Postcards from the Edge," both as artistic expressions and as representatives of their historical period. The paper discusses how the novel is told in brittle, episodic fashion in contrast to the more linear storyline of the film. The paper shows how both forms of the story "Postcards from the Edge" have merit.
Outline:
The Novel as History
The Novel as Literature
The Film as Art
Comparing the Novel and the Film
The Film as History
Conclusion
From the Paper
"Postcards from the Edge is an examination of the Hollywood culture from the point of view from someone who has survived it and who has suffered some of its vagaries. This perspective makes the novel semi-autobiographical, although it is a work of fiction. Through Fisher's eyes, and through the eyes of her protagonist, the reader glimpses the life of an insider. Although it can be difficult to read due to its disjointed nature, Postcards is well worth the effort to attempt."
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College Application: Broadcasting and Communication, 2006.
A college student's application to the broadcasting and communication department at Ryerson University in Canada.
956 words (approx. 3.8 pages), 6 sources, MLA, AU$ 53.95
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Abstract
This paper gives a description of the college applicant. It highlights the
experiences that have been critical in shaping the applicant's understanding of broadcasting and television as team productions and describes the applicant's leadership qualities and technical skills. The paper also discusses an aspect of the Canadian communications industry in which the applicant is interested.
From the Paper
"Although I am still a teenager, I have been fascinated with the fields of broadcasting and communication for as long as I can remember. It was as a freshman and sophomore in High School that I first studied television broadcasting as an academic subject; gaining knowledge of the range of television programming while also acquiring hands-on experience at live video production and post-production editing techniques. Later, as a participant in the Advanced Television Production course - a class recommended for those interested in careers in communications - I had the opportunity to work as a camera operator, video editor, writer and talent director. I am particularly proud that some of my packages, montages, and remotes were selected for broadcast on the school's morning announcements, as well as for air on the local cable channel."
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Narratological Analysis of Cache, 2008.
This paper presents a narratological analysis of the film "Cache", by writer and director Michael Haneke.
1,219 words (approx. 4.9 pages), 3 sources, MLA, AU$ 66.95
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Abstract
In this article, the writer studies the film 'Cache', by writer and director Michael Haneke, through a narratological analysis. The writer first provides a definition and analysis of narratology. The writer then notes that 'Cache' is a complex and ambiguous drama that readily makes itself available to narratological analysis due to its deceptively "simple" visual presentation and story structure, which in fact disguises a profoundly inventive underlying narrative approach reminiscent of Antonioni in its lack of closure and refusal to manipulate or pander to audience expectations. The writer concludes that Cache also plays with the ambiguity between the hermeneutic code and the proairetic code. The writer maintains that by allowing these two codes to interplay without well-defined closure, Haneke is able to provide his audience with an active role in the decipherment of the film's "text," a task which can continue long after the film has ended.
From the Paper
"The opening fade-in to what appears to be a simple long-shot of the house front, held for an interminable amount of time, is in fact revealed to be a videotape of the house front being watched on their television by Georges and Anne. This identical shot, or shots very nearly identical to it, is repeated several times throughout the film. Other shots which appear at first to be ordinary omniscient narrator shots (such as Georges' first visit to Majid's apartment), turn out, when repeated minutes later in another context, to have been in fact point-of-view shots taken from the position of the mysterious voyeur's hidden video camera."
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"Seven Up!" - A Documentary on Childhood, 2006.
An examination of the way in which children and childhood are presented in the documentary film "Seven Up!", directed by Peter Almond.
1,287 words (approx. 5.1 pages), 1 source, MLA, AU$ 69.95
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Abstract
This paper examines the documentary film "Seven Up!" directed by Peter Almond. It looks at whether the film presents the true voices of the children involved; what they actually think and feel. The paper also examines the way in which children and childhood are presented by the film and the importance of the film in terms of developing our understanding of childhood. The paper argues that the film does not present the true voices of children but rather how these voices are shaped and influenced by the children's environment and their social and economic status.
From the Paper
"Childhood is a socially constructed concept and as such hides the vast differences between children in terms of age, gender, ethnicity and social status. The film attempted to highlight these issues to some extent. The children chosen for the film were all seven year olds from Britain. Hence in some ways they all shared the same concept of childhood, the western one (as opposed to for example non-western, developing country childhood). To some extent there is a cultural chauvinism in the film, since the children are all fit into this western concept of childhood."
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Gillo Pontecorvo's film "Burn"., 2008.
A review and discussion of of director Gillo Pontecorvo's film "Burn".
704 words (approx. 2.8 pages), 2 sources, MLA, AU$ 40.95
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Abstract
The paper discusses how the movie "Burn!" presents a dark look at the nature of colonialism as well as humanity. The paper describes the society radically segregated on racial and economic lines; the slaves are perpetually trapped in a cycle of poverty and oppression and even after finding their "freedom", they are little better off. The paper looks at the character of Jose Delores and his independence that led not to freedom, but to further repression and the collapse of his dream and hopes.
From the Paper
"The first part of the movie sets the stage for this philosophy. The island of Queimada has long sought freedom, for it has a history of colonialism as well as a history of revolt. The movie develops in the slave revolt that England seeks to capitalize on and wrest control from Portugal. As the slaves rise victorious from the bloody revolution, Walker, convinces Jose Delores that the slaves can go no further in self-government, or succeed in trading with the world. "Who will buy your sugar, Jose?" Walker asks, yet the British have imposed a boycott on the island (Burn!). In exchange for promised schools, hospitals, financial prosperity, the newly liberated slaves agree to set down their weapons and return to the sugar cane fields. Thus, they are promised success, but are stripped of their independence and freedom. They are trapped, given the ability to "know how to go", but no escape from their situation."
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"The Last Temptation of Christ", 2008.
An analysis of the role of Mary Magdalene in the film "The Last Temptation of Christ," by Martin Scorcese.
1,582 words (approx. 6.3 pages), 7 sources, MLA, AU$ 82.95
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Abstract
This paper examines the dualistic roles of spirituality and sensuality for Mary Magdalene in the film "The Last Temptation of Christ," by Martin Scorcese. It shows how the central role of Mary Magdalene provides a realistic balance of spiritual and sensual in the male characters of this film, uniting the human and divine elements within the male characters of Scorcese's controversial film.
From the Paper
"In conclusion, the character Mary Magdalene provides the key link to dualistic roles of sensuality and spirituality in Martin Scorcese's The Last Temptation of Christ. Throughout the film Scorcese constructs Mary's character as a symbol of earthly desire and the inner workings of spirituality that unite man with God. By advocating the realities of Christ's desire for Mary, the film portrays her as a woman that has seen the horrors of sexual sublimation, but it is tempered through Christ's equally excessive spirituality. This is the unity between man and woman that is made possible by Mary's major role in the film as the balance between heaven and Earth. This is how Mary represents the balance of Sensuality and spirituality within the last Temptation of Christ by martin Scorcese."
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"Raise the Red Lantern", 2008.
An analysis of the tragic fate of Chinese women under the influence of the feudal ideas, as depicted in the film "Raise the Red Lantern".
1,020 words (approx. 4.1 pages), 3 sources, MLA, AU$ 58.95
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Abstract
This paper discusses how the 1991 film "Raise the Red Lantern", directed by Zhang Yimou, may be viewed on different levels. It argues that we should view the film as depicting the subjugation and hopeless situation of Chinese women on the one hand; while keeping in mind that this is mirrored by the subjugation of the peasants by the landowners. Both systems of subjugation utilize a system of divide and rule, so that the oppressed aim their anger at each other, not at their oppressors. The paper attempts to show how, in this way, the film is an excellent allegory of the way in which dictatorships succeed, by dividing and ruling the common people.
From the Paper
"This most noticeable feature of this film is that despite the fact that it is shown from the viewpoint of Songlian, the Fourth Mistress, nevertheless it constantly reflects anti-women prejudice, much of it internalized by women themselves. For example, Second Mistress seems at first to be friendly towards Songlian - causing one to question why. However, it is sad to see that when she introduces her little daughter to Songlian, she states: "How useless! I only have a daughter!" This is a brutally destructive remark to make in front of the small girl, and teaches her to expect nothing from her life. It is shameful that this comment should come from someone who is herself a woman, and reflects a deeply sexist society. No wonder that by the time we meet Songlian at the beginning of the film, she is already resigned to being nothing more than a concubine. "
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The Comedic Element in Italian Film, 2008.
An analysis of the comedic techniques of the past that are still used in the comedy of Italian films.
1,650 words (approx. 6.6 pages), 3 sources, APA, AU$ 85.95
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Abstract
This paper analyzes the comedy of Italian film and suggests that while it contains many elements, it relies greatly on comedic techniques of the past, as well as intelligence to guide its progression. The paper presents many examples of these techniques and shows where in the films they can be found. It also discusses the success of the use of these techniques.
From the Paper
"The Icicle Thief by Maurizio Nichetti accomplishes this task as well. Through the fast paced visions of changing locations, commercial intrusions and cinematic special effects the film presents the portrayal of multiple characters played by Nichetti. The Icicle Thief is entitled such to correlate to the Italian masterpiece The Bicycle Thief; yet, it remains connected to the latter film only through the title and through the understanding of the art of film. This understanding, however, is intellectual because Nichetti's work asks the audience to understand how artistic endeavors are often sabotaged by the commercialism that exists throughout the world. As a matter of fact, Nichetti demonstrates that the commercialism has grown so intense that audiences rarely even realize its presence in life or its impact on the filmmaking world."
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"The Night is Sinister", 2008.
A review of the film "The Night is Sinister", produced by Film Front in 1973.
806 words (approx. 3.2 pages), 1 source, MLA, AU$ 45.95
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Abstract
This paper analyzes the film "The Night is Sinister" which was produced by the Film Front in Denmark in 1973. It analyzes how the filmmakers' objectives were strongly influenced by the period in which the film was made. It also looks at the strengths and weaknesses of the film that derive from both its historical context as well as its producers' remarkable insight.
From the Paper
"In this analysis, it is clear that The Night is Sinister possesses both strengths and weaknesses that derive from both its historical context as well as its producers' remarkable insight. While its weaknesses lie in its over-optimistic view of independence movements such as North Korea - that we can see today was clearly flawed and biased - the strength of the film lies in its prophetic detailing of the operations of neo-colonialism in the form of globalization and American cultural domination of the planet."
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Yousry Nasrallah's Film "Summer Thefts", 2008.
This paper reviews the 1988 Cannes winning film "Sariqat Sayfiyyah" ("Summer Thefts") by Egyptian writer, director and producer, Yousry Nasrallah.
1,670 words (approx. 6.7 pages), 3 sources, MLA, AU$ 86.95
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Abstract
This paper explains that Y. Nasrullah's films typically address some aspect of contemporary Egypt or the Middle East, including issues of leftism and Islamic militancy, and illustrate dimensions of political events and society, which are lesser known or not known to outsiders.
The author points out that "Summer Thefts", set in the summer of 1961, is most worthwhile for its depiction of an Egypt left behind with the arrival of President Nasser's radical agrarian reform agenda that could affect harshly landowning Egyptians and the Westernized bourgeoisie. The paper relates that, above all, this film gives the viewer access to a most varied Egyptian population in keeping with other Middle Eastern powers of which little tends to be known.
From the Paper
"Between June and September of 1961, Nasser nationalized the major heavy and medium industries, banks, insurance, shipping and public transport industries. Agrarian real estate, domestic trade and small industry were left in the hands of a bourgeoisie whose members would often opt to go elsewhere, much of their capital lost overnight to nationalization of commercial and industrial ventures and without confidence in the Egyptian economy to produce new opportunities or demand. The reader comes to see that families such as Nasrullah's in "Summer Thefts" were not just divided by politics."
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Women in Music Videos, 2007.
This paper discusses the portrayal of women in music videos.
1,636 words (approx. 6.5 pages), 6 sources, MLA, AU$ 85.95
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Abstract
In this article, the writer notes that in our consumerist society, music is one of the most important money-spinners. The writer points out that as noted by Julie L. Andsager and Kimberly Roe, music videos are very important in this industry as they play an important role in launching the careers of artists. Moreover, the writer describes that music videos enjoy an enormous following among teenagers, which means that they likely play an important role in forming their opinions about important issues such as gender roles. This research paper investigates the key issue of how music videos portray women. The writer maintains that as music videos have the potential to impact the lives of so many women, and to form the opinions of so many young people of all genders, the portrayal of women in music videos is clearly a matter of great importance.
From the Paper
"Clearly there exist destructive music videos which encourage sexism and the objectifying of women. This is cause for great concern as such music videos clearly have the potential to encourage men to treat women as mere sex objects. Even more troubling is the fact that some music videos seem to actively encourage and promote violence against women. For example, Van Horn found that more than half of the music videos he examined contained violence, and that all too often this was violence against women. An Eminem song, Kim, illustrates this chillingly well. The following is not the entire song, but merely excerpts, but it should be kept in mind that the entire song is sickeningly violent, not only these excerpts."
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Communication in Marriage, 2007.
A look at the importance of communication in marriage through an analysis of the movie 'Mr. and Mrs. Smith', written by Simon Kinberg.
974 words (approx. 3.9 pages), 4 sources, MLA, AU$ 55.95
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Abstract
In this article, the writer notes that the couple in the movie, 'Mr. and Mrs. Smith' believed they knew each other, but even after six years of marriage, they didn't really know each other. In fact, the writer points out that they are both paid killers for different firms but neither one of them knew this about the other. The writer maintains that the movie does a good job of showing the problems a couple can have in their marriage. Further, the writer notes that the moral value of this movie is that couples must develop communication skills where they share their feelings and the ability to have empathy for one another is important in marriage.
From the Paper
"The setting of the movie begins with the couple being in marriage counseling. When the movie first starts, John Smith (Brad Pitt) and Jane Smith (Angelina Jolie) are attending marriage counseling. While once they found themselves madly in love, after six years they are struggling. Part of the problem is that they hide their feelings especially anger toward one another. The writer focuses on the problems the couple has and then they escalate when they discover they are on opposite teams. Their inability to communicate openly with one another from the beginning has now turned to anger with the desire to kill one another. The writer does a good job at portraying the feelings of the couple."
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