| Papers [1-16] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "HOLLYWOOD FILM INDUSTRY": |
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Hollywood and the Film Industry, 2002.
A look at why the Hollywood film industry is a unique structure, both socially and economically.
2,150 words (approx. 8.6 pages), 6 sources, AU$ 116.95
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Abstract
This paper will explore the history of Hollywood from the perspective of its relationship with the film industry. It will examine why a particular social structure arose as a result of movie production, and how the community of Hollywood had an impact on the world. The purpose of this paper is to explain to the readers why Hollywood is a unique structure, both socially and economically, and define the reasons as to why it evolved in this manner.
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Treatment Of African American Men In Hollywood Films, 2002.
Discusses stereotyped portrayals of black males in various films.
2,475 words (approx. 9.9 pages), 14 sources, AU$ 127.95
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Abstract
Discusses stereotyped portrayals of black males in various films. Cites examples from THE BIRTH OF A NATION, GUESS WHO'S COMING TO DINNER, the blaxploitation genre, MANDINGO, 1930s films of the old South, THEY WON'T FORGET, 1940S STEREOTYPES AND THE "New Negro," TO KILL A MOCKINGBIRD. Realistic treatment of black males in several independent later films.
From the Paper
"D. W. Griffith's The Birth of a Nation (1915) and Stanley Kramer's Guess Who's Coming to Dinner? (1967) represent opposing poles in the treatment of the African-American male in Hollywood films. The portrayal of black men in both films is absurd, but their intentions were quite different. Griffith, the Southern-born director whose great career was a milestone in the development of the medium, claimed until his death that his film was not racist despite the thousands of African Americans and white Americans who explained why it was, indeed, a landmark in screen racism. His conception of the old stereotype of the sexually predatory black male, intent on despoiling white females, gave cinematic form to one of the most prevalent myths involved in white fear of black people. Kramer, on the other hand, was a devout liberal interested in furthering the cause of ..."
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Hollywood Film Industry, 2003.
Presents an overview of the American film industry.
675 words (approx. 2.7 pages), 2 sources, AU$ 34.95
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Abstract
This paper looks at the basic structure of the film industry set by eight major corporations. The paper examines the studio system and the identification of each studio with its own product, style, and stars. The paper also looks at the development of the star system.
From the Paper
"At one time the term "movie studio" meant just that - a location where the company conducted its business, filmed its product, and performed the remainder of the tasks necessary to make a finished film. A studio may or may not also have had a ..."
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Film Noir and the Hollywood Ten, 2002.
An overview of how the Hollywood Ten and the McCarthy Hearings helped create Film Noir.
2,130 words (approx. 8.5 pages), 7 sources, MLA, AU$ 96.95
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Abstract
This paper helps to explain how Film Noir - stories which symbolize our nightmares and fears - was created by the fears during McCarthyism and the House Committee on Un-American Activities. It also tells of the "Hollywood Ten" who refused to answer questions from the HUAC and how "black-listing" of actors, directors and producers hurt the production industry.
From the Paper
"Hollywood is no stranger to scandals and betrayals. Pick up any tabloid or watch the late-night news and you?ll see great announcements about who has done what and what that might mean for his/her career. But nothing was as controversial or damaging as the conviction of the Hollywood Ten during the ?McCarthyism? era, which helped to propel movie-making into a new genre that would reflect the history and emotions of those who participated in one way or another."
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Black Film History, 2002.
The history of the involvement of African-Americans in the Hollywood film industry with a focus on the contribution made by women.
2,641 words (approx. 10.6 pages), 8 sources, MLA, AU$ 115.95
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Abstract
This paper looks at the history of the inclusion of blacks in the film industry since the early 20th century. It discusses major players in the field, especially women, beginning with the all-black film movement that started in the silent era with the Lincoln Motion Picture company in Los Angeles in 1916. The writer mentions the hardships and hurdles that the African-Americans faced in the form of discrimination and racism before they could establish themselves in the film industry. The paper also examines the changing image of how African-Americans were portrayed in movies in the past.
From the Paper
"In recent years, both blacks and women have had to fight to become recognized in the film industry and to achieve any form of power. There are now a handful of black film directors, and a few women directors as well. In the silent era, though, when the economics of filmmaking were quite different, there were a number of women in the director's chair, many forgotten today, just as there were many black directors not in mainstream Hollywood filmmaking but in the all-black film movement. A number of these black directors were in fact women as well, and they constituted an early challenge both to white and male dominance of filmmaking."
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Censorship and Hollywood, 2000.
This paper illustrates the effects of censorship in the film industry as depicted in the documentary film "Hollywood Censored: Movies, Morality and the Production Code."
1,226 words (approx. 4.9 pages), 1 source, MLA, AU$ 60.95
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Abstract
This paper focuses on the documentary "Hollywood Censored: Movies, Morality and the Production Code" which illustrates the effects of censorship in the film industry. This paper examines the religious condemnation, societal expectations and financial insecurity that have plagued Hollywood and the film industry since the early 1900s. This paper discusses the profound effect the Catholic church had on Hollywood. The Legion of Decency was created in order to clean up to films that were being shown to society. The hold of the Catholic church in the major cities was massive and as long as Hollywood produced films the religious authorities felt were morally harmful to society, priests and parishioners would continue to ban films. The writer also examines the events that led up to the film industry being granted 1st amendment protection in 1952, in which films were finally viewed as an art form.
From the Paper
"In 1952 movies were granted First Amendment protection and films were finally seen as an art form. This came about after the studios were deemed monopolies and forced to give up their movie palaces. Theaters were now free to show any type of film they pleased and were not held liable to the production code. This allowed directors and producers a freedom they had not seen in many years. Breen's theories and strict regulations became obsolete. The control Hollywood and the courts had given him had been relinquished. As the freedom of the theaters grew, the power of the production code fell and in 1962 the production code was officially done away with and replaced with the ratings systems we now have. One producer in the documentary quotes Robert Graves by saying that "It's impossible for any artist not to be a part of his society even if he is against it" (Hollywood). Simply put, this means that as an artist, producer or director, it would be impossible, whether intended or not, to not mirror the society from which the art was created."
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Hollywood Blacklisting, 2006.
An analysis of the McCarthy Era and its blacklisting of the Hollywood film industry.
900 words (approx. 3.6 pages), 6 sources, AU$ 51.95
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Abstract
Hollywood blacklisting was a consequence of rampant Cold War paranoia in America. The Cold War profoundly affected every sphere of American society and politics, especially during the McCarthy Era of the nineteen-fifties when fears of communist influence and espionage within the United States were widespread, and suspicions about the loyalty of one's fellow citizens were heightened by political demagoguery and partisan witch hunts. The most well-known of these suspected communists or fellow travelers were members of the Hollywood elite, who were subjected to intense investigations and pilloried in the press without much regard for their freedom of speech rights. This paper examines the McCarthy Era and the impact it had on America, focusing specifically on the witch hunts conducted in the film industry.
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Minorities in Film and Television, 2006.
This paper discusses the role of minorities in front of as well as behind the cameras in Hollywood's film and television industries.
1,967 words (approx. 7.9 pages), 6 sources, APA, AU$ 91.95
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Abstract
This paper addresses the lack of positive role models of various ethnic minorities in both the film and television industries. While the writer of this paper notes that there are more African-Americans working in TV news as it seems to be one field where color and race have made a far greater impact in hiring practices, there is still much work to be done in the positive portrayal of different ethnicities in both film and TV. This paper also explores the careers of past and present professionals who have made great strides in promoting themselves as positive ethnic role models.
Topics covered in this report include:
Introduction
Hispanics
African-Americans
Asians
Native Americans
Summary and Conclusion
Works Referenced
From the Paper
"This brings up the issue of whether the portrayals of African-Americans in films and on TV should only be handled by black directors and writers. It seems that there is a vast difference of opinion, with some citing the old Cosby Show as one preaching family values to every ethnic group, while the comedies "What's Happening?" and" Good Times" became the precursors of the black comedies on WB and Fox networks today. Some critics feel the new shows, and such programs as the "Wayans Brothers" and the "Martin Lawrence Show" are basically anti-white humor, just as stereotypical in their way as the old Step'n'Fetchit anti-black humor was in the Thirties and Forties."
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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, AU$ 130.95
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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."
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Films about Labor Unions, 2003.
Discusses two sets of Hollywood films on labor unions, corruption and labor-capital conflict.
2,300 words (approx. 9.2 pages), 13 sources, APA, AU$ 115.95
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Abstract
This paper discusses two Hollywood films on labor unions, corruption and labor-capital conflict. It explores how each film depicts union activity. The films are Elia Kazan's 1954 "On the Waterfront" and Paul Schrader's 1997 "Blue Collar. The paper examines the different style and approach to union politics of each film.
From the Paper
Hollywood has often used its capacity as a producer of popular entertainment to address political and ideological concerns..."
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Hollywood in 1970, 2005.
This paper analyzes the style of Hollywood renaissance film makers.
1,350 words (approx. 5.4 pages), 2 sources, AU$ 77.95
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Abstract
The paper discusses how Hollywood renaissance film makers like Dennis Hopper, who came to prominence in the 1970s, were concerned with the tastes of the vast new audience of young people who had come of age during the turbulent 1960s. The paper explains that they wanted films to reflect real life and real issues and to be about real people and their real problems. Their style of film making was epitomized by Easy Rider, which realistically portrayed the sex, drugs and rock and roll rebellion, promiscuity, racism, corrupt politics and alienation that were all common elements in the lives of so many young Americans.
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Hollywood and the Military, 2006.
An analysis of three Hollywood films and whether they have affected public opinion about military or foreign policy actions.
1,421 words (approx. 5.7 pages), 3 sources, MLA, AU$ 69.95
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Abstract
This paper discusses how certain movies produced by Hollywood have influenced public opinion about U.S foreign policy. Specifically, the author looks at how three specific films have manufactured public support for U.S. military incursions: "Green Beret" (1968) about Vietnam, "Black Hawk Down" (2001) about Somalia and "Pearl Harbor" (2001) about World War II.
From the Paper
"The directness of the relationship is proportional to money the military establishment will outlay for a film, as well as personnel and hardware support. This arrangement does not always work out: several Vietnam movies were refused by the military establishment, including Apocalypse Now, yet were still commercially successful films. The timing and content of military propaganda films is important for achieving success. Foreign policy, defense objectives, and the domestic public mood must be correctly read. This needs close communication between Hollywood and the military establishment."
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Film: "Fight Club" (1999), 2005.
This paper discusses the Hollywood film "Fight Club" (1999), which is a complex depiction of masculinity in the postmodern consumer age.
675 words (approx. 2.7 pages), 1 source, AU$ 38.95
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Th is paper explains that "Fight Club" is a critique of consumerism, which is surprisingly radical for a mainstream Hollywood production. The author points out that the most significant aspect of the film is how this critique is intertwined with an analysis of the impact of globalized economics and the labor marketplace upon constructions of masculinity in modern culture. The paper argues that "Fight Club" represents the convergence of gender and globalized economics in terms of labor marginalized in both geographic space and economic relations.
From the Paper
"The Hollywood film "Fight Club" (1999) is a complex depiction of masculinity in the postmodern consumer age. Although its critique of consumerism is surprisingly radical for a mainstream Hollywood production, the most significant aspect of the film is how this critique is intertwined with an analysis of the impact of globalized economics and the labor marketplace upon constructions of masculinity in modern culture. As this essay will argue, "Fight Club" represents the convergence of gender and globalized economics in terms of labor marginalized in both geographic space and economic relations."
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Interpersonal Communication in Hollywood, 2005.
An analysis of interpersonal communication in Hollywood using the film "Boondock Saints" as an example.
1,380 words (approx. 5.5 pages), 3 sources, APA, AU$ 69.95
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Abstract
This analysis of interpersonal communication in Hollywood uses the 1999 Troy Duffy directed film "Boondock Saints" to illustrate how nonverbal communication impacts interpersonal communication, as outlined in the theories of Judee K. Burgoon in 'Nonverbal Signals' from the "Handbook of Interpersonal Communication".
From the Paper
"In Troy Duffy's Boondock Saints two Irish Catholic brothers Connor and Murphy MacManus work and live in Boston Massachusetts. When the two brothers accidentally murder some mafia thugs they turn ..."
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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, AU$ 115.95
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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."
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Film Studies: Analyzing Three Films within the Context of South East and Asian Historical Perspectives, 2005.
The Chinese Communist Party soon came to power after years of exile and puppet rule that Pu Yi had experienced in the ever changing political and gove...
1,350 words (approx. 5.4 pages), 6 sources, AU$ 77.95
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Abstract
The Chinese Communist Party soon came to power after years of exile and puppet rule that Pu Yi had experienced in the ever changing political and governmental landscapes of China. In 1950 Pu Yi was forced to leave his Soviet township and soon became a prisoner of the new Communist Party politics.
From the Paper
ABSTRACT TOO SHORT
Film Studies: Analyzing Three Films within the Context of South East and Asian Historical Perspectives Essay 1: Understanding the Premise of Vietnamese Communism within the Film: Full Metal Jacket The film Full Metal Jacket (1987), directed by Stanley Kubrick, offers an American point of view of a Vietnamese conflict that depended heavily on the communist (NLF) National Liberation Front. The communist resistance to American pressure to abdicate to the puppet regimes of older leaders, such as Ngo Dinh Diem, resulted in the NLF being called the "Viet Cong" or a "Democratic Dictatorship" within military and governmental propaganda. The reason for this is reflected in the film, as the Tet Offensive becomes the symbolic part of the movie where the Americans begin to lose the war, marking the American military's last real ground-based initiative to take the country. In this manner, a historical perspective of the NLF can be analyzed, but
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