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8118 Scene Transition in Spielberg's Classic Film "Jaws". This paper examines the editing transitions used in the classic Spielberg film, Jaws. The two scenes that are used occur early in the film, where the characters of Brody and his wife are discussing sharks, followed by a scene where two local men attempt to bait the shark from a town pier. 3 pgs. No sources. MLA format.
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11817 Using a Camera to Catch Structures: Ernest Dickerson's "Blind Faith". This 3-page undergraduate paper evaluates the movie "Blind Faith" (1998), by commenting on a specific scene, overall themes, and significance of the film. 3 pgs, bibliography lists 1 source.
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7690 Material Objects as a Conduit Between Worlds in "The Sixth Sense". This paper explores the ideology of the significance of material items to the dead in the film, "The Sixth Sense". In the film, several events occur where the mention or the presence of material items appear to create a connection between the living and the dead, where the dead can maintain a sense of significance through their connection to these objects. These scenes are examined in this paper. 4 pgs. Bibliography lists 3 sources.
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2872 A Discussion of Metz's and Mulvey's Views on Voyeurism, Fetishism and Identification with Respect to Howard Hawk's "The Big Sleep". This paper will examine the key differences between Metz's and Mulvey's use of these devices in their cinematic analyses. While Metz largely discusses these psychoanalytic functions within an apolitical context, it will be argued that Mulvey's revisioning...
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2880 How the Script and Production of "Casablanca" Represents Wartime American Propaganda. This paper will argue - through an examination of the production and script of the film - that "Casablanca" is also one of the greatest propaganda films ever made. It will be seen that its power as a work of propaganda lies in the fact that while on the surface it appears to be a romance movie, in reality it projects a subtle vision of the United States as a virtual paradise on earth. 6 pgs. 6 f/c. 3b.
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2881 How the Self-Referential Structure of Fellini's "8 +" Defines the Film as an Auteurist Production. This paper will discuss the work of a director who is generally acknowledged to be one of the great auteurs of modern cinema, Federico Fellini. It will be argued that his film "8 +" (1963) produces meaning through the tension between the director's personality and the material with which he is working; one of the defining elements of "auteurist" cinema. This paper will demonstrate that what renders "8 +" a work of an auteur is the extent to which Fellini mines the familiar pattern of self-reference - a signature of Fellini as auteur - to such a degree as to make the exploration of radical subjectivity into an objective statement about the role of the director as auteur and his function within the filmic text. 6 pgs. 9 f/c. 7b.
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2895 A Reading of the Film "The Three Penny Opera". A Reading of the Film "The Three Penny Opera".4 pgs. 4 f/c. 2b.
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