| Papers [1-10] of 10 | Search results on "PIANIST": |
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"The Pianist", 2004.
A review of Roman Polanski's film, "The Pianist".
1,028 words (approx. 4.1 pages), 1 source, MLA, AU$ 61.95
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Abstract
The purpose of this paper is to introduce, discuss, and analyze the film, "The Pianist", directed by Roman Polanski. Specifically, it imagines every part of "The Pianist" that was violent or contained swear words was simply removed from the film. It looks at how censorship in film has always been a contentious issue, and with the advent of Clean Flix, the situation has come to a head. It attempts to show how, although "The Pianist" may contain brutal language and equally brutal violence, it captures the horrific viciousness of the period.
From the Paper
"Artistic integrity versus "offensive" content. It is a difficult question for both sides to discuss, and whatever changes are made to a film; they constitute some kind of alteration and compromise. In the case of the film "The Pianist," the censoring of "offensive" content alters the meaning of the film, and alters its impact. "The Pianist" has a very important message about the brutality and hatred of the Nazis for the Jews. This is expressed in the extreme juxtaposition between the magnificence of the music and the viciousness of the Nazis. Removing all of the swear words in the film would also remove this juxtaposition, and make the Nazis seem less brutal and unforgiving than they really were."
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"The Pianist", 2002.
A review of Wladyslaw Szpilman's novel "The Pianist".
959 words (approx. 3.8 pages), 3 sources, MLA, AU$ 58.95
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Abstract
This paper examines Wladyslaw Szpilman's novel "The Pianist," in which the author details his account of his survival in Nazi-occupied Warsaw and how he managed to make it through the horrors and atrocities that were committed there during the seven years he writes about. It evaluates how there is no question that the life that Szpilman was forced to endure during the period from 1939 to 1945 was painful for him and many others who were there as well, and attempts to explore why
Szpilman managed to survive the terror while many others succumbed to it and lost their lives during that period in history. It analyzes the factors and forces that Szpilman describes when accounting for his survival so that an understanding of his desire to live and the forces both internal and external that spared his life, can be more easily examined and understood.
From the Paper
"Another circumstance that accounted for the survival of Szpilman but was also outside of his influence was the kindness of one officer who discovered Szpilman hiding in Warsaw late in his ordeal. He should have killed Szpilman, but instead he brought him food and a quilt. To say that Szpilman was incredibly lucky on that day would be an understatement of the largest degree. This was probably the only kind officer that Szpilman had ever met, but yet his novel does not reflect bitterness or hatred toward the Nazis (Frank, 2000). He saw the German officer that helped him out during that time as the 'only human being in a German uniform that he ever met', and he tried to find out what happened to the man. He eventually learned that the German had been imprisoned by the Russians for sympathizing with the Jews, and remained a prisoner until his death (Pleszczynski, 1999)."
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"The Pianist", 2007.
A comparison of the film, "The Pianist," directed by Roman Polanski to the memoir "Death of a City", written by Wladyslaw Szpilman.
1,638 words (approx. 6.6 pages), 8 sources, MLA, AU$ 90.95
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Abstract
This paper discusses the film, "The Pianist," directed by Roman Polanski. The paper compares the plot of the film to the 1945 memoir "Death of a City", written by Polish musician Wladyslaw Szpilman. The paper describes Polanski's use the of strategies of model, sequence and interaction to successfully and accurately link the film to Szpilman's memoir.
Table of Contents:
Model Strategy
Actors Made To Resemble The Actual People
Places And Things Are Made To Resemble Actual Places And Things
The Staged Events Are Made To Resemble The Actual Historical Events
Sequence Strategy
Interaction Strategy
Polanski And Szpilman Both Spent Time In Polish Ghetto
Quote from Director Polanski
From the Paper
"Director Polanski faithfully concentrated on the 1945 memoir Death of a City by Polish musician Szpilman to closely adapt it into a docudrama of the harrowing horrors of the Warsaw ghetto. The movie version of The Pianist is very similar due to the decisions made by the director and the strategies used to link one genre to the other. The plot of the film closely follows the chronological narrative of the memoir. The director's experiences during the Holocaust might have influenced the film. Although the memoir was originally banned in communist Poland, in 1998 Szpilman's son Andrzej republished his father's work in English as The Pianist. The film now has the same title as the memoir as this connection not only helps to bring the readers of the memoir in to view the film but also links the actual to the recreated. This paper will discuss the three strategies Polanski used to link the actual memoir to his re-created film: model, sequence and interaction."
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"The Pianist", 2002.
A review of the autobiography of the Polish pianist Wladyslaw Szpilman.
1,150 words (approx. 4.6 pages), 0 sources, AU$ 66.95
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Abstract
This paper discusses the life of the pianist Wladyslaw Szpilman, a Jew who saved himself from being expatriated to a Nazi death camp during the Second World War by staying undercover in the ruins of Warsaw until a German soldier rescued him. It illustrates how his music endowed Szpilman with the strength to survive.
From the Paper
"While narrating his accidental detachment from the carriage that transported his family to ascertained death, Szpilman boldly confesses the instinctive fear due to which he did not let go of the opportunity to flee, nor belittles his feelings by overstressing them. In spite of all that, the author?s serene writing style holds an abundance of bitter fury, most of which is covered in sarcastic remarks. For instance, Szpilman quotes, ?a Jewish doctor spared consignment to the most wonderful of all gas chambers.? "
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Scriabin, 2004.
Addresses the life and music of pianist and composer, Alexander Scriabin (1871-1915).
2,354 words (approx. 9.4 pages), 6 sources, APA, AU$ 122.95
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Abstract
This paper focuses on Alexander Scriabin as a pianist, compose,r and mystic. It addresses his early, middle, and late periods. As a Russian composer ,he pushed the realms of atonality further than any before him. Yet, despite his achievements, Scriabin's place in the annals of Western music is relatively minor and oft debated, mostly due to the fact that few, if any, composers ever followed in his path. The paper focuses on the transformation of his music throughout his life, as well as some of the compositional devices he employed in his works.
From the Paper
"In discussing Scriabin?s place in Western music, it is necessary to discuss the completely unique compositional idiom that he developed. By far the most remarkable thing about Scriabin?s music is the nature of his harmonies. The dissonant tritone dominates all of his chords in the late music, and almost never receives resolution."
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Book Comparison, 2002.
Compares two novels - "Flight of the Intruder" by Stephen Coonts and "The Pianist" by Wladyslaw Szpilman.
1,523 words (approx. 6.1 pages), 6 sources, MLA, AU$ 85.95
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Abstract
This paper provides an overview of the life of each of the authors and a description of the plot of the novel. It then provides a brief analysis of each of the books and concludes with comparing their similarities and differences.
From the Paper
"The author Stephen Coonts, born in 1946 is the writer of nine New York Times best selling novels, among which, the first was the classic dashing story was Flight of the Intruder. Being a former attorney and a naval aviator, Stephen Coonts during the Vietnam War flew war missions (Book Reporter, 2000).
"The book Flight of the Intruder is a fictional book but is about those warriors who go through the sufferings of war. Thus, as a naval aviator, he reveals the story of his life as an aviator as well as his other fellows (Book Reporter, 2000)."
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?Sonny?s Blues?, 2005.
Examines sibling choice and sibling "success" within James Baldwin's "Sonny's Blues"
919 words (approx. 3.7 pages), 0 sources, AU$ 54.95
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Abstract
The philosophical question of who is actually more "successful" of the two brothers in James Baldwin's short story "Sonny's Blues", Sonny or his older brother, is more complex than it at first appears. The paper shows that the easy and convenient answer is that Sonny's brother is more successful than Sonny is, since he holds a responsible job as an algebra teacher, is married with a family and has never faced addictions or trouble with the law. The paper shows, however, that Sonny, with all his quirks, addictions and faults, has managed, against considerable odds (and self-sabotage), to become a successful jazz pianist. This is a rarer, more difficult-to-achieve accomplishment, even if the lifestyle that that accomplishment has demanded (and still demands) of Sonny is fraught with ever-present temptations and dangers.
From the Paper
"For example, Sonny's older brother's complete lack of either any familiarity with, or understanding of, jazz or the blues illustrates just how far he has removed himself from his own African-American roots, or any real heartfelt connection to them. Moreover, Sonny's older brother does have some of his own failures in life, despite his respectable veneer. One of these is that he is still living, and raising his own children, on the "killing streets" of Harlem. Another is that he remains in denial about all the suffering of people like himself, only less fortunate, going on around him daily."
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"Preludes No. 12 ? 19" by Fryderyk Chopin, 2006.
A study of Fryderyk Chopin's Opus 28, Preludes No. 12-19.
1,150 words (approx. 4.6 pages), 4 sources, APA, AU$ 66.95
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Abstract
This paper analyzes Fryderyk Chopin's Opus 28, his Preludes No. 12-19. Preludes were improvised or written by composers of the romantic period to be used as brief introductory pieces played before the performance of a major work. The author of this paper examines the preludes structural, tonal and stylistic elements. Then, the paper compares and contrasts the performance of these preludes by three different pianists: Martha Argerich, Howard Shelley and Alfred Cortot.
From the Paper
"Structurally, they use and ABA cycle and move swiftly from andante to legato and back. Each of these "miniatures" is characterized by rapid arpeggios played against block chords, much as many of today's improvisational jazz pianists employ. Erroll Garner popularized this style of improvisation in the 1950s. The compositions achieve their characteristic tonality from the exploitation of the natural tonal qualities of their respective keys. No. 13 captures the warmth of F sharp while No. 14 utilizes the dark turbulence E flat."
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Princess Diana.
This paper discusses the life of Princess Diana and her femininity.
1,805 words (approx. 7.2 pages), 4 sources, MLA, AU$ 98.95
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Abstract
This paper explains that Princess Diana was very much a feminist in that she set out to be her own person, acknowledged her own weaknesses and those of society's and worked to overcome them both, dared to be an individual in spite of a societal structure that wanted her to be conformist and a stereotype, and understood that others weren't yet afforded the opportunities that she was and worked to overcome those imbalances in society. The author points out that Princess Diana was stereotypically feminine during the early time of her life when she dropped out from school at age 16, but had a particular talent for music as an accomplished pianist, dancing, and domestic science at school. The paper states that, unlike a typical wife in a conservative country, Diana was not an object who could be easily manipulated; failing to receive love from her husband, she openly admitted to committing adultery herself.
From the Paper
"In the traditional Kingdom of Great Britain, Lady Diana was a Princess through marriage to the future king Prince Charles. She gained her glamorous prefix, Her Royal Highness, but she had no real power in hand. Even though she would possibly become the Queen of the Wales when her husband was succeeded to the throne as King, she would not have the power to rule. But it did not stop her from making a change in the world. Princess Diana actively participated in numerous kinds of charity work throughout the world. "During her marriage, the Princess was president or patron of over 100 charities. The Princess did much to publicize work on behalf of homeless and also disabled people, children and people with HIV/Aids.""
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Bach, Beethoven and Chopin, 2002.
This paper discusses the composers Bach, Beethoven and Chopin, the great masters of the Baroque, Classical and Romantic periods, respectively.
1,575 words (approx. 6.3 pages), 2 sources, MLA, AU$ 86.95
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Abstract
The paper explains and illustrates that each composer supplied the musical paradigms for their distinctive eras. This paper discusses that Johann Sebastian Bach (1685-1750) is considered as the culminating influence of the Baroque period. The author believes that Ludwig Van Beethoven (1770-1827) is the supreme pianist of the Classical period. The paper states that Frederic Francois Chopin (1810-1849) is one of the most original and influential musicians of the nineteenth century.
From the Paper
"As early as 1831, Chopin expressed his wish to create a new musical world characterized by musical poetry of an extraordinary elegant nature, mostly represented by his piano pieces, such as his Polonaises (Adante spianato and Grande Polonaise Brilliante Op. 22 and Polonaise in Ab Heroic Op. 53). Chopin?s harmonic language was also completely original, symbolized by complex chromatic harmonies mingled with the drones of fifths and modal scales of traditional Polish folk music. His fifty-five Mazurkas displayed all the intricacies of his style. It has often been compared to the virtuosity of Bach?s Well-Tempered Clavier."
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