«In modern times, and namely in Western culture, identity has become a wholly introverted principle. People strive to define themselves solely as individuals; identity is thought of as exclusively self-contained. American culture, for example,...» Document abstract
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Language : english
film studies
school essay
date published
19/11/2007
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SummaryIn modern times, and namely in Western culture, identity has become a wholly introverted principle. People strive to define themselves solely as individuals; identity is thought of as exclusively self-contained. American culture, for example, celebrates above all else the “individual;” he (or she) who stands out from the masses is reputed. It is within this celebration of “original identity,” however, where one of American culture’s deepest ironies lies. While on the surface a person’s autonomy may seem salient, if he or she does not conform to certain pre-disposed social constraints, he or she may be in danger of being viewed by others (and by him/herself) as “valueless.” Nowhere is this more prevalent than in the eating disorders of Americans. Disorders such as Anorexia and Bulimia Nervosa affect millions, and kill thousands of Americans every year; yet they are kept in the shadows of the culture’s collective consciousness.
Table of Contents- These potentially-fatal disorders are largely the byproducts of a society's quest for shared 'individual' identities.
- On the most basic level, Anorexia Nervosa involves a person refusing to maintain his/her normal body weight for age and height.
- The [relatively] recent insurgence of eating disorders like Anorexia and Bulimia Nervosa is, on the most base level, connected to the way our culture eats.
- It is hard to tell from modern American culture, but thin was not always 'in.?
- This, in turn, brings about the 'social' explanation of eating disorders such as Anorexia and Bulimia Nervosa.
- The power the media has to form society's concepts of the 'ideal' anything is virtually undeniable.
- The quest for a biological explanation for eating disorders is a relatively new one; scientists are only recently thinking of eating disorders as actual 'diseases.?
- Eating disorders such as Anorexia and Bulimia Nervosa have silently killed thousands of Americans every year for decades.
«Storytelling, since the dawn of time, has served as an invaluable means in which human beings are able to create, sustain, and relay emotion, identity, and ideology. The stories people tell allow them to simultaneously connect to, and differentiate...» Document abstract
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4 word format
Language : english
film studies
school essay
date published
19/11/2007
review : not yet assessed
level : Advanced
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SummaryStorytelling, since the dawn of time, has served as an invaluable means in which human beings are able to create, sustain, and relay emotion, identity, and ideology. The stories people tell allow them to simultaneously connect to, and differentiate themselves from one another. Arguably more important than the stories themselves are the manners in which they are told. In this century, films have become one of the dominant forms of storytelling. Movies are seen on every continent on Earth, and reach hundreds of millions of people each year. Storytellers who work within the medium of film have a chance to exhibit their work on an unparalleled stage. During the first half of the twentieth-century, a movement known as “classical Hollywood cinema” thrived. The films created in the time of classical Hollywood cinema operated largely within metanarratives; all-embracing laws which governed human behavior. These films utilized well-known plot structures and familiar characters to tell their stories. There was almost always a hero and a villain, and, in the end, the hero would always get the girl. Specifically, each film genre would operate amidst its own metanarrative structure. Detective movies, thrillers, romance movies, horror films, and comedies all followed their own metanarratives. This was, in the world of film, modernism.
Table of Contents- During the latter half of the twentieth-century, classical Hollywood cinema died out, and with it, metanarrative structures began to lose their power
- Postmodernism has brought forth a way of viewing the world in which contradiction reigns supreme.
- David Lynch's first successful film to showcase his uncompromising, unrivaled talent for storytelling was 1986's Blue Velvet.
- The innovative storytelling behind Blue Velvet works largely do to its acceptance of modernist genre themes.
- Surrounding the identifiable genre details of Blue Velvet, however, is a universe unlike anything audiences have seen before.
- More so than any other of his films, David Lynch's Wild at Heart (1990) was equally loved and despised by critics and audiences alike.
- Wild at Heart can best be described as a shock-laden, intangible road movie with an under-the-surface love story, but nothing substantial on the surface.
- In the film, Lynch incorporates a postmodern narrative element known as heterotopias.
- Whether or not one finds the work of David Lynch embraceable is a mute point; he has become one of the most widely respected filmmakers of the latter half of the century.
«Disaster movies are often associated solely with cheap thrills; nothing more than vehicles for big explosions and even bigger budgets. The modern perception of this film genre (as well as its subgenres) seems to be nothing more than that of a...» Document abstract
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5 word format
Language : english
film studies
school essay
date published
19/11/2007
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level : Advanced
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SummaryDisaster movies are often associated solely with cheap thrills; nothing more than vehicles for big explosions and even bigger budgets. The modern perception of this film genre (as well as its subgenres) seems to be nothing more than that of a means for movie studios to spend a lot of money, and make a lot in return. While it may be true that many disaster movies are, arguably, pieces of visually stunning, mindless entertainment constructed to garner large audiences, not all disaster movies are confined to this formula. Within the science-fiction films of the 1950’s and 1960’s—some of the most popular disaster films ever made—lay intricate, subtle (some subtler than others), and socially important themes that were extremely applicable to the times in which they were made. The vast majority of these films center around aliens invading Earth with the singular intent of destroying and/or usurping it. Science-fiction films such as The Thing From Another World (1951) and The War of the Worlds (1953) are examples of alien invasion/takeover movies that were at the top of the box office in their time. The plots of these “alien-domination” films, along with dozens of other science-fiction disaster movies made during this time period, are fundamentally similar; aliens are determined to take over the world. However, this seemingly simple formula was entrenched in an allegorical realism that, at the time, was based on very real concerns. The aliens within these films were symbolic of the “others” which Americans feared most in the 1950’s and 1960’s; the communists. The takeover of Earth by space creatures served as a fantastic analogy to the “imminent” threat the communists (specifically the Soviets) posed to Americans. These science-fiction disaster movies were able to tap into a common American threat, and proved to be extremely successful in exploiting this threat in order to sell movie tickets.
Table of Contents- Amidst the flurry of 'aliens-as-invaders' films made during this time period, a few filmmakers decided to use the science-fiction medium to portray a drastically different set of ideals.
- Disaster movies, and the sub-genres which exist within them, have always done well with audiences.
- Previous films of the genre featured disasters'usually natural disasters'which endangered the lives of dozens, hundreds, and occasionally thousands of people.
- This 'evil other' formula was, sadly, identifiable with Cold War audiences; therefore, this breed of disaster movie thrived.
- The aliens in these films were portrayed as a force; an obstacle for humankind to overcome.
- In The Day the Earth Stood Still, humankind is portrayed as the malevolent force.
- Films like The Day the Earth Stood Still are vital in the furthering of film as an art form.
- In recent years, the science-fiction disaster film has returned as a viable box office draw.
- The genre of science-fiction/disaster films is often equated with evil alien predators who plot to destroy the Earth.
«One acquires his own identity through his inner self and his milieu. His interpretation of his own needs and desires plays a big role in whether he decides to abide by society’s norms or to completely disregard his ego by complying to the inner...» Document abstract
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2 word format
Language : english
film studies
school essay
date published
03/12/2007
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level : General public
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SummaryOne acquires his own identity through his inner self and his milieu. His interpretation of his own needs and desires plays a big role in whether he decides to abide by society’s norms or to completely disregard his ego by complying to the inner beast (or what psychologists refer to one’s ID). Sam Shepard addresses this humanistic trait through two characters, Austin and Lee, in his play, True West. When both brothers’ lives take an unexpected turn, each of them is forced to stray from the life he has allowed to become part of his identity and to partake in exploring what is left – his inner self. Throughout the play, after both brothers involuntarily swap roles, they become misplaced souls, as they have lost the external identity that was once very familiar to them. As a result, their inner selves become insecure and lost. Through this storyline, Shepard implies the importance of harmonizing the inner self and the external self in order to fully acquire one’s identity.
«Charlie Chaplin’s The Immigrant (1917) is a slapstick comedy that also addresses social issues. The film has a simple plot with four main characters, one of them Charlie Chaplin. He plays a penniless foreigner who wins money from playing cards on...» Document abstract
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Language : english
film studies
presentation
date published
04/12/2007
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SummaryCharlie Chaplin’s The Immigrant (1917) is a slapstick comedy that also addresses social issues. The film has a simple plot with four main characters, one of them Charlie Chaplin. He plays a penniless foreigner who wins money from playing cards on a ship to America. He then meets Edna Purviance’s character, who is another penniless immigrant. Out of sympathy, Chaplin decides to slip the money into her pocket, but later gets accused of being a thief after the money disappears. Purviance clears his name, and they arrive in America. Chaplin ends up roaming the streets of New York alone, poor and hungry. He comes across a coin on the sidewalk and decides to buy himself a meal. Little does he know that he has a hole in his pocket, which the coin falls through. After running into Purviance at the restaurant, Chaplin orders a meal for both of them. When he realizes that he no longer has the coin, he performs a series of comedic acts in order to distract the server from giving him the bill. As luck would have it, a famous artist comes by and Chaplin manages to get him to indirectly pay for their meal. The 20-minute film ends in Chaplin convincing Purviance to marry him.
«Tony Kuschner’s play Angel in America is full of contrasts, disparities, and opposite views. Many things are shown at completely opposite ends of the spectrum. There are many differing opinions and complete disagreements that not a large number of...» Document abstract
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2 word format
Language : english
film studies
school essay
date published
07/12/2007
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SummaryTony Kuschner’s play Angel in America is full of contrasts, disparities, and opposite views. Many things are shown at completely opposite ends of the spectrum. There are many differing opinions and complete disagreements that not a large number of things that are constant and similar in the film. However, there is a constant theme which is consistent in almost every character, the feeling of disappointment. Whether it is due to the position they are in, their profession, their religion, or any number of other factors, there are expectations of the characters in this play. There are expectations from other characters within the play as well as expectations from the audience. Each and every character fails to meet what is expected of them.
«In 1997, a product was released that would do what nothing (not Betamax, Laserdisc, nor various projector systems) seemed to be capable of: conquering the VCR/VHS system. This product was the DVD (Digital Video or Digital Versatile Disc). As soon...» Document abstract
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3 word format
Language : english
film studies
research papers
date published
07/12/2007
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SummaryIn 1997, a product was released that would do what nothing (not Betamax, Laserdisc, nor various projector systems) seemed to be capable of: conquering the VCR/VHS system. This product was the DVD (Digital Video or Digital Versatile Disc). As soon as it hit stores in the United States, it was bought at unpredictable rates and with its superior visual and audio capabilities, it soon after replaced VHS as the leading medium for home movie viewing. The DVD was popular from its start, but certain changes in production and development made it even more profitable. The invention and distribution of the DVD created a large influx of money to the media business, largely due to the selling of various re-releases and special editions, especially the Criterion Collection, which gained popularity by offering many updated special features (which DVD buyers completely demand today) such as extra footage, “making-of” specials, and audio commentaries.
«Films are often adapted from plays, and at times they are nearly identical. At other times they have almost nothing to do with one another. In films you can do things that are not feasible and at times not possible on stage. This is not to...» Document abstract
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2 word format
Language : english
film studies
school essay
date published
07/12/2007
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SummaryFilms are often adapted from plays, and at times they are nearly identical. At other times they have almost nothing to do with one another. In films you can do things that are not feasible and at times not possible on stage. This is not to suggest that the film Crimes of the Heart is in any way superior or inferior to the play, but simply, quite different. Although Beth Henley’s play and Bruce Beresford’s film, Crimes of the Heart, tell essentially the same story, Beresford’s additions of certain characters, situations, and settings cause new emotions to be felt, and other emotions to be intensified.
Although they are mentioned within the play, Old Granddaddy, Zackery, and Willie Jay never appear on stage. Each of these characters has large effects on the events that take place and the other characters within the play. Beresford decided to add these three characters to make certain thought surface that did not arise within the play.
Although they are mentioned within the play, Old Granddaddy, Zackery, and Willie Jay never appear on stage. Each of these characters has large effects on the events that take place and the other characters within the play. Beresford decided to add these three characters to make certain thought surface that did not arise within the play.
«Many feel that a film adaptation needs to be completely faithful to it original written format. “When viewing the film version of a novel or play they know, they want to find in the film what they valued in the literary work, without asking whether...» Document abstract
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4 word format
Language : english
film studies
school essay
date published
07/12/2007
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level : Advanced
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SummaryMany feel that a film adaptation needs to be completely faithful to it original written format. “When viewing the film version of a novel or play they know, they want to find in the film what they valued in the literary work, without asking whether this is the sort of thing film can do” (McFarlane 165). Often film makers have to make changes to novels in order to tell a compelling story with a medium which is completely different from literature. This said, High Fidelity’s film adaptation is as close to a completely faithful transfer from literature to screen as can be found. Sadly, this faithfulness to the novel still has its opponents.
«The movie 12 Angry Men systematically altered the views of the jurors by eliminating the bias, ignorance, and fallacies. Many of these men held predetermined points of view in which there minds were made up before analyzing the defendant. Through...» Document abstract
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2 word format
Language : english
film studies
case study
date published
17/12/2007
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level : Advanced
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SummaryThe movie 12 Angry Men systematically altered the views of the jurors by eliminating the bias, ignorance, and fallacies. Many of these men held predetermined points of view in which there minds were made up before analyzing the defendant. Through the process of reviewing factual information and determining its substance the jurors were gradually opening to what really happened. The ideal of reasonable doubt was brought to the forefront of the deliberations. Through discussions of the events that took place during the time of the murder the suspicion of the actual truth became evident to many of the jurors. As the jury analyzed the murder case the separation of closed minded jurors and critical thinkers became clear.
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