| Papers [1-16] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "HOLLYWOOD POLITICS": |
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Hollywood & Politics, 2007.
A discussion on whether Hollywood plays a vital role in the survival
of politics.
4,062 words (approx. 16.2 pages), 11 sources, MLA, AU$ 159.95
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Abstract
The paper examines whether a link exists between the glitter of Hollywood and its actors, powerful American politicians, and the world. The paper further examines whether this link is used strategically for influencing and shaping the minds and the agenda of the public. The paper includes a detailed literature review.
Outline:
Annotated Bibliography
Abstract
Objective
Questions Of The Research
Introduction
Review Of The Literature
Hollywood & Politics - The Razz Ma Tazz And The Spin
Summary & Conclusion
Bibliography
From the Paper
"Kellner (1991) writes: "In our book 'Camera Politica: Politics and Ideology in Contemporary Hollywood Film": "Michael Ryan and I argue that Hollywood Film from the 1960s to the present was closely connected with the political movements and struggles of the epoch." Kellner (1991) further stats that their narrative (Kellner and Ryan's) "maps the rise and decline of 60's radicalism, the failure of liberalism and the rise of the New Right in the 1970's and the triumph and hegemony of the Right in the 1980's." (Kellner, 1991) Kellner further believes that: "Popular films intervene in the political struggles of the day, as when 60s films advanced the agenda of the New Left and the counterculture." (Kellner, 1991)"
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The Politics of the Hollywood Pendulum, 2002.
This paper looks at the transformation of Hollywood politics from conservative to liberal beginning in 1930 until the present.
2,326 words (approx. 9.3 pages), 6 sources, MLA, AU$ 104.95
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Abstract
This paper uses three movies to illustrate the evolution of Hollywood from the conservative, controlled environment during the 1930s to the lack of barriers that can be seen in cinema today. The writer looks at the 1932 Howard Hawks film "Scarface: The Shame of the Nation", the 1967 Arthur Penn film "Bonnie and Clyde" and the 1994 Oliver Stone film "Natural Born Killers".
From the Paper
"The 1932 Howard Hawks film Scarface: The Shame of the Nation was produced during the height of this social crisis. It was typical of a popular genre among moviegoers at the time ? the gangster movie. Completed in mid-1930, its main character, Tony Camonte, was patterned after the infamous Al Capone, who was nearing the end of his reign as the kingpin of the mob (he would be put in prison and serve an 11-year sentence in 1931). Other characters in the film were actually caricatures of real-life mobsters also. The plot of the film relates the tale of a mobster who violently seizes control of a bootlegging operation from his boss, claiming his boss? girlfriend in the process, and killing anyone who gets in his way, quickly and violently. In the original screenplay, Camonte came out on top, only to be mowed down in a showdown with police."
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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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The HUAC and the Hollywood Ten, 2003.
A look at the 1940s fiasco of the Hollywood Ten, in which ten prominent figures in the film business were blacklisted for supposed anti-American views.
1,307 words (approx. 5.2 pages), 6 sources, MLA, AU$ 64.95
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Abstract
This paper examines how the late 1940s proved to be an interesting time in American history. It looks at how a new threat arose against the U.S. government as American communists began spying for the Soviet Union. In particular, it explores how J. Edgar Hoover and the Federal Bureau of Investigation began to look into the mass media to find supposed Communist views, focusing on the film industry, and how, in 1947, the House Un-American Activities Committee under the leadership of a certain J. Parnell Thomas, held a hearing in which ten of Hollywood?s premier film makers, actors, and producers were found to hold anti-American Communist views in their works. These Hollywood members became known as ?The Hollywood Ten?.
From the Paper
"In order to single out supposed Communist members in Hollywood, the FBI devised certain set of criteria to determine if films contained anti-American views. Films were labeled subversive if ?Values or institutions judged to be particularly American are smeared or represented as evil in the movie, either explicitly or through casual references to current political events,? or if ?Values or institutions judged to be particularly anti-American or pro-Communist are glorified in the movie, either explicitly or through casual references to current political events (Noakes 5).? According to John Noakes, an assistant professor of sociology at Franklin and Marshall College, ?In four reports submitted between August 7 and November 17, 1947, the Los Angeles field office sent FBI headquarters reviews of seventeen movies released between 1943-1948 that it determined were subversive based on the MPAPAI criteria. "
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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 in Canada, 2006.
This paper provides an examination of the effects of Hollywood on Canada.
1,575 words (approx. 6.3 pages), 6 sources, AU$ 90.95
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Abstract
This paper looks at the impact of Hollywood upon Canadian popular culture and in particular Canadian film making. The paper argues that while some good has come out of Hollywood dominating the Canadian market, there are a number of reasons why the Canadian film industry cannot continue to cede more than 98 percent of the domestic market to big budget Hollywood films. The following paper reviews the history of the American cultural penetration into Canada as a result of Hollywood and examines also how Canada situation is not unique.
From the Paper
"There is arguably no nation in the world that is more inundated with American culture than Canada - mostly because of its proximity, but also because of the fact that the two nations have always shared a common English or British heritage. The following paper argues that the dominance of Hollywood within Canada has brought some good - employment for individuals within the Canadian film industry, access to world-class technology and to world-class American talent - but it has also brought a great deal of trouble - not least of all, a reduced native interest (or ability) in establishing a uniquely Canadian film industry - and this trouble is something that Canadian leaders will have to continue to grapple with if they wish to carve out a distinctly Canadian popular culture in the twenty-first century. "
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How the "Red Scare" Influenced Hollywood, 2002.
A discussion of how the communist paranoia influenced Hollywood in the 1950?s.
866 words (approx. 3.5 pages), 4 sources, MLA, AU$ 44.95
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Abstract
This paper considers how Hollywood and the entire movie industry were affected by the "Red Scare" i.e. communist paranoia from 1947-1954. It looks at how screenwriters, directors and actors were blacklisted for no reason and how some of these people did not work in Hollywood for over a decade as a result. It examines how fear swept through tinsel town and how many jobs, as well as friendships were lost. It also looks at how the film industry grew as many Hollywood studio executives defended themselves by producing a slew of anti-Communist movies.
From the Paper
"The House of Un-American Activities Committee, HUAC, had existed in the 1920?s and 1930?s during the first Red Scare in American history, but had faded away during World War II. It had not been held in very high regard and really had not had much affect (Red pg). However, in 1947, under the leadership of Representative Parnell Thomas, R-NJ, the HUAC was brought back to life with three definite goals. First, the HUAC was determined to prove that the Screen Writers? Guild had been heavily infiltrated by Communists. Second, it intended to prove that the writers could and would insert subversive Communist propaganda into movies. And third, it aimed to show that during World War II, Hollywood had purposely produced pro-Soviet films (Red pg)."
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The Star System and Hollywood PR, 2007.
A discussion of the star system and its contribution to the development of Hollywood public relations and advertising strategies.
1,726 words (approx. 6.9 pages), 6 sources, MLA, AU$ 80.95
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Abstract
This paper explores the creation of the Hollywood star system, set up to encourage people to go to the cinema. This system, beginning in the 1920s, transformed the film actor into a kind of popular studio 'brand', which kept audiences coming back. The paper notes that the Hollywood star system contrasted with European cinema culture, which tended to be far more director- (rather than star-) driven and less oriented toward developing a brand. Finally, the paper discusses how the star system has contributed to Hollywood's enduring success, as is evident in today's star-centered movie culture.
Outline:
Introduction
Origins of the Star System
1920's: Rise of Star Power
Conclusion: The Breakdown of the Star System
From the Paper
"The Impact of the Star System on Film The star system is so intimately intertwined with Hollywood of the pre-World War II era that celluloid and stars cannot be separated. Indeed, the Star System is what created an American dominance in a medium that was, after all, developed by the French and Germans, and in which the Americans were relative latecomers to the genre.
"The Star System is about more than the actors who played in Hollywood films. The stars were those special beings who created a link with their audiences. In many cases, and particularly during the silent movie era, the stars' draw was universal: Charlie Chaplin (a British native but naturalized American) was a universal "brand," known as Charlie around the world (and "Charlot" in the French-speaking world), equally powerful in Berlin or Miami.
"There is only one Hollywood in the world. Movies are made in London, Paris, Milan and Moscow, but the life of these cities is relatively uninfluenced by their production. Hollywood is a unique American phenomenon with a symbolism not limited to this country. It means many things to many people. For the majority it is the home of favored, godlike creatures (Powdermaker)."
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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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The Star System in Hollywood, 2008.
This paper looks at the star system and its contribution to the development of Hollywood public relations and advertising strategies.
1,755 words (approx. 7.0 pages), 6 sources, MLA, AU$ 82.95
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Abstract
The writer of this essay explains that the Hollywood star system was developed prior to the 1920s, but perfected by the 1930s as a way to develop a studio 'brand,' and keep people coming to the cinema week after week. The writer notes that by finding, training, developing and promoting talent, Hollywood's studio moguls were able to control product and insure on-going success. In this article, the writer explores how the star system was created and how it contributed to Hollywood's enduring success. The writer discusses that this contrasts with European cinema, which tended to be far more personal, director-driven and less oriented to developing a 'brand,' other than for the specific director.
Outline:
Introduction
The Impact of the Star System on Film
Origins of the Star System
1920s: Rise of Star Power
1930s: Decade of Studio Power, Heyday of the Star System
Conclusion: The Breakdown of the Star System
From the Paper
"The studios were able to weed out the independents through the above-named actions. They were helped by the environment and technology as well. Specifically, the coming of the 'talkies' in 1927 made it more expensive for studios to produce competitive films. This helped to weed out the less-competitive independent studios. Secondly, the Crash of 1929 and the subsequent Depression had a negative effect on weekly film attendance, making it more difficult for less widely-distributed or financially weaker films to survive. As a result, the studios were able to consolidate their movie-making and -distribution strategies, and to increase their bargaining power with their stars.
"There were monumental battles between the stars and their studio heads--but only where the stars felt that they could withhold their services and do real damage to their bosses."
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Hollywood's View of Germany, 2007.
This paper analyzes how Hollywood movies depicted Germany during World Wars I and II.
1,175 words (approx. 4.7 pages), 11 sources, MLA, AU$ 59.95
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Abstract
This paper explains that Hollywood's interpretation of Germany's participation in World Wars I and II fluctuated between politics and concern for profits but did not engage in propaganda as commonly charged. The author points out that independent movie producers, surged into the international market during World War I, which provided them with one of its greatest sources of plots and profits, such as D.W. Griffith's "Hearts of the World" (1918). The paper relates that the majority of the films were anti-war and action/war adventures made after the war, such as "The Four Horseman of the Apocalypse" (1924). The author relates that Hollywood films of the 1960s and 1970s revisited the anti-German theme and highlighted American heroism, such as "The Dirty Dozen" (1967); however, the the most outstanding film was Stanley Kramer's black and white "Judgment at Nuremberg" (1961). The paper cites many films and includes many quotations.
From the Paper
"There was one firm that did: Warner Bros. They shut down their German operations in 1933, three years before Hitler limited the release of American films. By 1939, the European market was closed off. In 1940 Will Hays, the dour President of the Motion Picture Production and Distribution Association (MPPDA), lifted the ban on anti-Nazi films that he had imposed after "Confessions of a Nazi Spy", and the cameras began to roll against Nazi Germany and for the defense of the United States. "Sergeant York" (1941) actually harked back to Tennessee farmer Alvin York's heroics in World War I."
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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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Pre-Code Hollywood, 2002.
The portrayal of seduction, sex and morality in 1933 Hollywood.
2,083 words (approx. 8.3 pages), 10 sources, MLA, AU$ 95.95
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Abstract
This paper explores the depiction of seduction, passion and female costuming in the Hollywood Production Code of the 1930 era. It suggests that although the code prohibited most sexy behaviour from women, the studios continued to fluant sex in their pictures. It also pinpoints many of the causes of the Production Code of 1934 administration, and discusses the history of the code from it's beginnings in the 1920s to its end in the 1960s.
From the Paper
"?The complete spectrum of vice, not sex alone, infested the films ? an epicurean spirit of enthusiastic indulgence in activities illegal, forbidden, and stimulating,? meant that by 1930 Hollywood was in desperate need of regulation (Doherty 103). State and City censors passed legislation against certain films, beginning with Chicago in 1907, in response to public protests (Bernstein 1). Censorship boards were established to review and license moral and decent films; by 1922 six states had organized censorship boards (Jowett 25). Hollywood?s self-regulation policies functioned as a middle ground between the industry and their enemies, reform groups and state regulatory agencies (Jacobs 87). The result of self-regulation was the Production Code of 1930; a document loosely outlining the principles filmmakers should follow in order to produce moral films. Sklar writes, that the Code was written with ?the precise aim of uniting religious morality with box-office necessity? (173). This document was based on the ?Don?ts and Be Carefuls? of 1927, an earlier attempt at influencing Hollywood to include less sex and violence in their features (Vasey 104). The Code was divided into two parts; one outlining the moral vision films should contain, and the other a precise listing of forbidden material (Doherty 7). The Production Code could not have arrived at a worse possible time for Hollywood. In 1930 the studios were still making money, despite the depression, but by 1932 theatre attendance had dropped, dragging down the industry?s profits (Black 73). Their initial efforts were mainly motivated by a fear of a boycott during the worst years of the Depression, but once they realized what the audience wanted to see, they could no longer afford to censor potential box-office stars like Mae West (Cook 283)."
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Greek Literature and Hollywood, 2002.
A discussion of the Hollywood adaptations of Sophocles' "Oedipus Rex" and the "Iliad".
1,003 words (approx. 4.0 pages), 5 sources, MLA, AU$ 51.95
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Abstract
This paper on Greek Literature and the Hollywood Cinema compares the the Greek novel "Oedipus Rex" by Sophocles with the film "Hamlet" starring Mel Gibson and the saga of the "Iliad" with the film "Unforgiven" with Clint Eastwood. It reviews the films and their characters and shows how both films follow a particular theme of a book and accomplish the same goal but in a different situation. Even though the scenario and situations in the novels differ from that in the movie, both protagonists however show similar characteristics and undergo similar events, which force them to act in a resembling fashion.
From the Paper
"He discovers the committing of the two crime after he hears the Teiresias prophecy, ?You are the cursed polluter of this land. The killer you are seeking is yourself. You are living in sinful union with the one you love, living in ignorance of your own undoing? (Oedipus Rex, Sophocles). His wife Jocasta tries to calm him down by telling him that prophecies do not always come true. She tells him about the prophecy once told by oracle to King Laius about his murder, which would be committed by his son. She narrates to him the falseness about the prophecy as it never came true since five robbers killed Laius not his son. From here, Oedipus recalls his past events in which he had murdered a man. With the help of a messenger Oedipus comes to know that he is not the son of Polybus and later the shepherd solves the mystery for him hence, revealing Oedipus to be the son and husband of his mother."
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Hollywood, 2002.
A look at Hollywood, California from the perspective of the tourist.
2,150 words (approx. 8.6 pages), 2 sources, AU$ 116.95
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Abstract
This paper discusses the tourist gaze through examples of photos of Hollywood. The thesis is underlined. The tourist gaze is a matter of consumption, and taking photos is a form of consumption.
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Hollywood and the Construction of History, 2002.
Compares the Hollywood marketing strategy and European film marketing strategies.
2,650 words (approx. 10.6 pages), 6 sources, AU$ 142.95
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Abstract
This paper details how Hollywood has tried to shape and define value and ideology through their movies. The American strategy has been to create fantasy and wipe out historical memory. The European strategy has been to construct history, culture and nostalgia in fixed reality.
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