| Papers [1-16] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "LEADERSHIP MOVIE CASE PATTON": |
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Leadership in a Movie: The Case of Patton, 2008.
This paper assesses the film "Patton", by Frank Schaffner, through the portrayal of General George S. Patton.
1,156 words (approx. 4.6 pages), 2 sources, APA, AU$ 57.95
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Abstract
The essay examines the 1970 film, "Patton", and illustrates the sort of leadership that director Frank Schaffner (and lead actor George C. Scott) feels typified the command of World War II American Army General, George S. Patton. Specifically, the paper looks at how Patton led through a combination of technical ingenuity, mastery and sheer force of will. Specifically, the paper demonstrates that Schaffner sincerely wants to portray Patton in a well-rounded fashion and shows how brilliance can be complicated by poor people skills and by a grasping nature.
From the Paper
"Still, even as he acknowledges Patton's strengths as a military commander, Schaffner never fails when the opportunity is available to show the down-side of Patton's leadership style. For instance, his intemperate outbursts to the press ruffle enough feathers among the high command that Patton must promise, at one point, to keep his big mouth zippered. Similarly, his poor people skills cause considerable tension between himself and other senior commanders - and may partly explain why Patton was placed on probation for the previously-discussed slapping incident (Patton). All told, the film is an enthralling look at a gifted man who, not unlike Douglas MacArthur, simply could not get along very well with other human beings and simply could not, though he was far from perfect himself, tolerate perceived shortcomings in others."
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Patton, Motivation and Leadership, 2008.
This paper looks at the motivations behind those in positions of power in the workplace.
806 words (approx. 3.2 pages), 1 source, MLA, AU$ 41.95
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Abstract
The paper examines the case of George S. Patton, a skilled military commander. The paper shows how selfishness, a desire for self-aggrandizement and a need for power were what motivated him to lead as he did. The paper discusses how, while Patton's forceful nature and general competence made him an effective administrator in many ways, his selfishness and obvious character flaws made him a deeply flawed leader.
From the Paper
"It is often conceded that life is fundamentally a quest for power ("Power, Love and Sex at Work," 117). For all intents and purposes, power is the ability of one individual to shape the activities of another individual or group of individuals; in other words, it is the ability of one party to make another party do what he or she would otherwise be disinclined to do. Naturally enough, there are people who are consumed by the "Power motive" and will seek out power wherever they find it. That being said, the pursuit of power does not necessarily involve running for high office or campaigning for an elevated position within an organization; to wit, people who seek power may also find some semblance of it in drug use, the exploitation of others (most notably loved ones) and in the constant embrace of risk-taking behavior entailing physical challenges or threats of one kind or another ("Power, Love, and Sex at Work," 118)."
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Leadership in "Remember the Titans", 2005.
Analyzes the leadership in the movie "Remember the Titans".
1,610 words (approx. 6.4 pages), 6 sources, APA, AU$ 80.95
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Abstract
This paper analyzes the leadership principles and challenges in the movie "Remember the Titans." Adaptation, strategy, resistance, framing, ethics, organizational culture, and stages of change are discussed.
From the Paper
"The movie Remember the Titans provides an excellent study of leadership principles and challenges in the imperfect fluctuating environment typical in real-life leadership scenarios. The movie goes a step beyond the usual case ..."
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The Movie Remake, 2006.
This paper examines the movie industry's practice of remaking previously successful films.
2,786 words (approx. 11.1 pages), 9 sources, APA, AU$ 120.95
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Abstract
This paper explores movie remakes and questions whether the film industry uses its assets efficiently or wastes the audience's, as well as the film industry's, time and money by rehashing socially irrelevant characters and worn out plots. When a movie company produces a film, they have a tangible asset by owning the rights to that particular movie to do with as they please. The writer of this paper asserts that while the original movie may have been good in its time, it may not always stand the test of time when producers remake the film in an attempt to spark a renewed interest in it. This paper focuses on two films, "Shaft" and "Planet of the Apes," both socially controversial films from 1968 and compares them to their remakes in 2001.
From the Paper
"The 1960s was a time of racial turmoil. After nearly 250 years of oppression, blacks had finally won equal rights with the 1964 Civil Rights Act. Gone were the Jim Crow laws and other attempts to legally separate people according to race. However, simply making a law did not automatically erase the social confines that surrounded the issue of racial differences. Blacks and Whites had been legally separated for many years. Their origins were two different perspectives and ancestries. Even though blacks could no longer be discriminated against according to the law, this did not mean that they automatically gave up their own unique styles and culture."
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"Of Mice and Men" - The Movie, 2005.
A comparative analysis of the two movie versions of John Steinbeck's novel "Of Mice and Men".
2,089 words (approx. 8.4 pages), 0 sources, AU$ 94.95
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Abstract
The novel "Of Mice and Men" by John Steinbeck has two movies based on it. This paper examines how these two movies have two slightly different interpretations on how the story should be depending on the specific year that it was made. One movie was made in the year 1939 while the other movie was made in the year 1992. It looks at how although these two movies share the same title as the original novel, both of them have to some extent, different perspectives on the opening sequence, elements of humor, character portrayal, the time the movies were made for and metaphors.
From the Paper
"For the 1939 version, there was less violence, subtle use of swear words and indirect language. Viewers in the 1930s lived in the era of the Great Depression that was occurring throughout the world at that time. Many people did not want to be reminded of the hardships all around them. And because of this, violence was not portrayed directly in the movie. The actors involved in a violent scene will practice 'self-censorship' in which they will cover-up their violent acts: George covering his gun with a handkerchief before shooting Lennie or the camera will not focus directly on the event: Curley's wife's neck being broken by Lennie."
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Movie: "Crouching Tiger, Hidden Dragon", 2005.
This paper review the movie "Crouching Tiger, Hidden Dragon", directed by Ang Lee, and taken from Chinese mythology.
915 words (approx. 3.7 pages), 0 sources, AU$ 47.95
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Abstract
This paper explains that the movie "Crouching Tiger, Hidden Dragon" means hiding one's strength from others, a skill mastered by most of the major characters. The author points out that both warriors and bandits were tied to their lifestyles as the very essence of their existence. The paper relates that the movie showed what it was like to live in China in the Qing Dynasty conveying the rich culture and personal conflicts of people in that era.
From the Paper
"Jiao Long aspired to learn more than what her master could teach her and hid her skills from her master. Not the way a disciple should act. She reacted to the attack by the bandits by chasing the head bandit Dark Cloud. This is not the way a young noblewoman should act. She later became his lover. Another action unbecoming of a noblewoman. She disdained marriage to another aristocrat and left her groom hanging by taking off. She resisted authority till the end, ending her life by jumping from Wudan Mountain, because it seemed like she was forever searching for more. A conformist, Jiao Long is definitely not."
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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$ 58.95
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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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"The Republic" by Plato and the Movie "The Matrix", 2001.
A discussion on the concept of truth, righteousness and reality as portrayed in "The Republic" and in the movie "The Matrix".
1,630 words (approx. 6.5 pages), 0 sources, AU$ 77.95
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Abstract
This essay discusses the issues of righteousness, truth and reality as depicted in "The Republic" and the movie "The Matrix". In addition, the author provides examples from the movie? The Matrix" to support his views.
From the Paper
"Where does the truth lie? And if we were to discover its hiding place, would we necessarily be happy with what we find there. Plato, in his allegory of the cave as put forth in The Republic, and the movie The Matrix each suggest to us a metaphor, a symbol, of the relationship between truth and the larger society ? although both the ideas of society and the ideas of truth vary dramatically.
The Republic was meant by Plato to be a criticism of the-current political system. Much of the criticism that Plato leveled against his own government was based in the philosopher?s metaphysical system, in his belief in a world of permanent Forms that existed well beyond the limitations of human experience. Plato argues that the state and political institutions should exist to promote these ideal Forms. "
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The Gangster Movie Genre, 2002.
An analysis of "The Godfather" films as examples of the gangster movie genre.
2,155 words (approx. 8.6 pages), 5 sources, MLA, AU$ 97.95
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Abstract
This paper discusses the gangster movie genre in film and how "The Godfather" and "Godfather Three" are representative of this genre. The gangster world and its history are presented and an overview of the films given. Examples from the movies that illustrate characteristics of the genre are provided.
From the Paper
"Film productions often mimic real life. It is what allows them to be placed into genre categories. Genres in the movies are very much like genres in the world of literature. There are romance genres, history genres and others that depict the type of movie that the film falls under. One genre waxes and wanes in its popularity. The gangster genre is one in which many movies have been made and they are classified as gangster genre by the characters attitudes, the events and the historical context of the movie plot. Two very classic gangster genre films are The Godfather and The Godfather Part Three. Critics have admired as well as panned these movies depending on the critics taste and film desires, however they all agree that they are classic illustrations of the gangster genre."
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?Man with a Movie Camera?, 2003.
An examination of Dziga Vertov?s montage in the film "Man with a Movie Camera".
1,630 words (approx. 6.5 pages), 2 sources, MLA, AU$ 77.95
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Abstract
This paper describes how, while working within the most innovative period in Soviet cinema, before the coming of sound, Dziga Vertov created the film "Man with a Movie Camera", a tribute to the newly formed Communist State, urban environments and technological advancement. It analyzes how in order to create a variety of themes, including those comparing the bourgeois and working classes, man and machinery and the nature of film itself, Vertov uses editing to relate a series of seemingly unrelated shots. It looks at how these shots are comprised of five types of images: industrial construction, traffic, machinery, recreation and citizen-workers. It also shows how he constructs meaning through editing in the film to form an argument in favour of the newly formed soviet state by juxtaposing disjunctive images, but also linking the images through composition.
From the Paper
"The main theme of Vertov?s film is a cameraman performing his daily routine in an urban environment, and this meaning is produced through the films ability to show both the cameraman at work and the reaction he receives from the people he films. The entire film is reflexive in the sense that the audience is constantly reminded that film is a constructed environment, designed by the filmmaker. Mixing in shots of the camera, the cameraman, and the editing process maintain the idea that the film is just a part of Vertov?s usual routine. The sequence opens with a shot of the cameraman reflected in the camera?s lens, continues with a shot of the urban setting in which the events will unfold, and then returns to the filmmaker?s ?work? of filming traffic."
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"The Man With a Movie Camera" - An Analysis, 2006.
This paper discusses Soviet film-maker Dziga Vertov's philosophy of film. This is done through an examination of his masterpiece "The Man with a Movie Camera."
2,300 words (approx. 9.2 pages), 8 sources, MLA, AU$ 101.95
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Abstract
Vertov's approach to film is explored in the various roles presented in his film "The Man with a Movie Camera." First, the author discusses the role of the cameraman in the film. Next, he describes the role of the editor, and finally the role of the viewer. Additionally, Vertov's political and artistic philosophies as intertwined with filmaking are examined.
From the Paper
"In motion picture terminology, a montage (literally "putting together") is a form of movie collage consisting of a series of short shots which are edited into a coherent sequence. Viewers infer meaning based on context; Lev Kuleshov, in his Kuleshov Experiment established that montage is one way of leading the viewer to reach certain conclusions about the action in a film. David Griffith was one of the early proponents of montage, introducing cross-cutting to show parallel action in different locations, and codifying film grammar in other ways as well."
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Dziga Vertov's "A Man with a Movie Camera", 2005.
This paper analyzes the radical film "A Man with a Movie Camera" by Dziga Vertov.
2,475 words (approx. 9.9 pages), 8 sources, AU$ 141.95
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Abstract
This paper explains that Vertov's film "A Man with a Movie Camera" is radical not only for how it transforms consciousness but also for allowing the viewer to observe how this transformation is accomplished. The author points out that Vertov has an avant-garde vision of a utopia where workers and machines are one. The paper relates that Vertov firmly believed that "the kino-glaz [the eye of cinema] was ideal for revealing the world of ordinary people.
From the Paper
""Man with a Movie Camera" illustrates a truly radical work of art. The film depicts not merely a day in the life of a city but is additionally a study of the art of filmmaking. Not only does the film demonstrate that art can transform consciousness, but the view actually can observe just how consciousness is transformed. Vertov was committed to the concept of the socialist documentary but aligned himself with the futurists. He firmly believed that "the kino-glaz [the eye of cinema] was ideal for revealing the world of ordinary people" (Dashiell 1)."
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Competition in the Movie Theater Industry, 2001.
This paper examines John Keynes? theory of the nature of competition through the movie theater industry.
1,110 words (approx. 4.4 pages), 3 sources, APA, AU$ 55.95
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Abstract
This paper observes the movie theaters marketplace for facts in the nature of competition and the idea of ?perfect competition?, a concept rooted in the work of John Maynard Keynes. It examines the concept of equilibrium in the marketplace and traditional economic theory.
From the Paper
"When we decide to go see our third viewing of ?The Mummy Returns? we?re usually more concerned with what time the next show is than with what movie theaters ? with their 6-dollar tubs of popcorn ? can tell us about the nature of economic competition. However, the movie theater business is ? like all arenas of economic activity ? capable of telling us something about the structure of a particular market place, the history of that commodity or service and the nature of competition in that particular market place. Movie theaters can tell us something the nature of competition and indeed about the nature of the idea of ?perfect competition?, a concept with roots in the work of John Maynard Keynes and his questions about the concept of equilibrium in the marketplace. Traditional economic theory assumed that a group of producers operated in a perfect market for any given commodity with each producing only a small part of the whole supply. Thus, for each producer (and for each commodity) the price was determined by the market. Each producer maximized its profits by selling only as much as would make marginal cost equal to price, in other words, each producer would produce exactly the amount that, if any more were to be produced that the additional product would add more to costs than it would to profits (MacHovec, 1995, p. 38). Each producer of any commodity (whether widgets or blockbusters) thus worked to capacity, to the point where profitability was limited by rising costs (MacHover, 1995, p. 42)."
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Movie: "Good Will Hunting", 2005.
This paper discusses juvenile delinquency as depicted in the movie, written by Ben Affleck and Matt Damon, "Good Will Hunting".
2,160 words (approx. 8.6 pages), 5 sources, MLA, AU$ 97.95
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Abstract
This paper relates that, to be diagnosed as a juvenile delinquent, a youth must show an established pattern of behavior, which demonstrates continuous disregard for society's standards, rules or the rights of others. It explains that based on this definition, Will Hunting is a juvenile delinquent. The author points out that the agencies responsible for watching children in need apparently were not able to help Will Hunting, who was raised in an abusive home, physically beaten and psychologically abused but apparently no one ever noticed and intervened. The paper relates that the movie demonstrates that the situation around teens in trouble with the law may be far more complex than it appears; may be struggling to find their way on their own because their families have failed to provide the guidance they needed.
From the Paper
"The movie "Good Will Hunting", written by Ben Affleck and Matt Damon, tells the story of an older teen named Will Hunting, a troubled young man with a troubled past. Will Hunting works as a janitor at the prestigious Massachusetts Institute of Technology, where he reveals mathematical brilliance. One of the professors puts a complex physics problem on a blackboard outside his classroom, and invites his students to attempt to solve it. One night while Will is cleaning the hall, he stops at the board, considers it a moment, and rapidly solves it without signing his name. Eventually the professor realizes that it is the young janitor who solved the problem none of his students could tackle. At about the same time, Will gets in trouble with the law, a position he has been in before."
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The Movie Version of "The Turn of the Screw", 2006.
A look at the psychological interpretation of the "The Innocents", the movie adaptation of "The Turn of the Screw".
1,075 words (approx. 4.3 pages), 2 sources, APA, AU$ 54.95
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Abstract
This paper explores the supernatural tones of the movie "The Innocents" and the book on which it is based "The Turn of the Screw" and argues that it is more a psychological story than a supernatural story. Exploring various mental illnesses including bipolar disorder, and obsessive compulsive disorder, the author of the paper illustrates why there are stronger psychological undertones than supernatural undertones.
From the Paper
"The Turn of the Screw was such a popular story that it was adapted into a play and then later a movie. The story is based on a governess and her experiences after accepting a job being in charge of two young children. Throughout the book, the play and the movie there are implications of supernatural powers, but never are they proven. As the movie, book and play unfold and one places them under a microscope of analysis one will see that it is more about the psychological problems of the governess that create the illusion of supernatural powers."
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"Good Will Hunting" Movie Review, 2001.
The paper is a movie review of "Good Will Hunting" and how it also relates to today's society.
713 words (approx. 2.9 pages), 0 sources, AU$ 37.95
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Abstract
This short paper is a movie review of the film, "Good Will Hunting". The author recaps the plot of the film and then delves into its metaphoric and psychological aspects.
From the Paper
" Throughout the movie, social issues were brought forth. The most obvious social issue was poverty. As stated above, Will lives in South Boston in a one-room apartment. It is a very dirty and dingy place with an old stove and furnace, a mattress on the floor for a bed and a few chairs. He works from job to job. His only mode of transportation is the train and his best friend, Chucky? car when he picks Will up for work at a construction site. Another social issue is intragenerational mobility. With Will?s god-given talents, he has the ability to go from the bottom rung to the top level whenever he pleases, with the help Professor Lambeau and his connections with people in high places. The movie gives Will four close relationships. Two are his relationships with Sean and Professor Lambeau. They are both, in sense father figures."
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