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Papers On Music, Film, Television, Theater & Photography
Page 105 of 387

Cinematic and Television Adaptations of William Shakespeare’s “Hamlet,” “Othello” and “King Lear”
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A 6 page paper which examines some big and small screen interpretations of Shakespeare’s most popular tragedies to analyze how they attempt to improve the play, how they can reach more audiences, how the works have to be altered to fit the film format, and considers whether or not this hurts the integrity of the work. Bibliography lists 6 sources.
Filename: TGwsfilm.rtf

Cinematic Interpretations Of Watergate
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5 pages in length. Andrew Fleming's 1999 film entitled Dick and Alan J. Pakula's 1976 All the President's Men each reflect their own individual perception of Watergate's historical importance; however, while Pakula's version serves to reflect the serious nature of such a scandal, Fleming's decidedly lighter portrayal points a satirical finger at not only Pakula's film but also at the overwhelming importance American society has placed upon the unfortunate incident. No additional sources cited.
Filename: TLCwaterG.wps

Cinematic Intertextual Relationship Between Gus Van Sant's "My Own Private Idaho" and Orson Welles' "Chimes At Midnight"
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An 11 page paper which explores how Gus Van Sant incorporated parts of Welles' interpretation of five Shakespeare plays into his contemporary urban film. Bibliography lists 8 sources.
Filename: TGgvsow.wps

Cinematic Rebels
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A 12 page research paper that looks at three films. Modern filmmakers often use the anti-hero, the rebel, to emphasize the points that they wish to make about society and its moral ambiguity. While traditional values portray right and wrong in clear-edged, well-defined terms of black and white, filmmakers reveal the frequent hypocrisy that constitutes the actual reality of societal experience. This use of cinema is particularly evident in three films, Taxi Driver, Full Metal Jacket and One Flew Over the Cuckoo's Nest. Bibliography lists 5 sources.
Filename: khcinreb.rtf

Cinematic Style/The Dardenne Brothers
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A 3 page research paper that reports on the style of these two Belgian directors. The Dardenne brothers, Jean-Pierre and Luc, of Belgium, began their film careers by producing documentaries for television in the late 1970s (Camhl). Their films La Promesse and Rosetta were motivated by the desire to educate the public as to the "things of the present" (Camhl). In La Promesse, the directors picture a "moral universe in disorder," where a young boy has to make a traumatic choice between loyalty to his father, a black marketeer who exploits immigrant labor, and his own first stirrings of conscience (Camhl). As this suggests, La Promesse is a "moral fable" (Dargis). It is delivered in a neo-realistic style that pictures the adolescent protagonist disobeying his criminally-oriented father in order to aid an illegal immigrant and her child (Dargis). Bibliography lists 4 sources.
Filename: khdarden.rtf

Cinematic Style/Universal & MGM
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A 9 page research paper that argues that major Hollywood studios during their "golden age" of the 1930s each had a distinctive style or "look." The writer specifically looks at MGM and Universal, profiling the MGM films Anna Christie and The Thin Man and the Universal films Dracula and Bride of Frankenstein. Bibliography lists 8 sources.
Filename: khmgmuni.rtf

Cinematic Theories of Perception, Representation, and Signification: Analysis and Application
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An 18 page paper which examines these theories, as described in J. Dudley Andrew’s text, “Concepts in Film Theory,” applies them to such Asian films as “Visitor Q,” “Dead or Alive,” “Old Boy,” “Sympathy for Mr. Vengeance,” “Happy Together,” Take Care of My Cat,” and “Crazed Fruit,” and also provides a detailed consideration of Korean director Park Chan-wook and his films. Bibliography lists 16 sources.
Filename: TGperepsig.rtf

Cinematography in “Hero”
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A 6 page research paper that discusses the elements of cinematography in “Hero,” directed by Zhang Yimou, 2002, which is an epic film and its $30 million production budget makes it one of the most expensive films in the history of China’s film industry (Heilman). The film’s narrative is similar to any one of numerous films that are set in an ancient era and involves numerous scenes of action-packed sword play. Rather than the narrative, it is the cinematography that makes this movie extraordinary, as there is scene after scene of breathtaking beauty. Bibliography lists 5 sources.
Filename: khherof.rtf

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