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Hanna Barbera, A History of the Animators, 2008.
A historical perspective of the Hanna Barbera organization, it's founders and contributions to the world of animation.
2,990 words (approx. 12.0 pages), 12 sources, MLA, $ 88.95
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Abstract
The author of the paper relates the history of the Hanna Barbera animation studio. The writer examines the studio's founders and their activities prior to the founding of the studio and the factors that influenced the founding of the Hanna Barbera studio. The author then goes on to describe the development of the studio, the animation productions that brought the studio to the public eye and notable productions over the course of time. The paper's writer also examines animation techniques used by the studio and innovative use of sound, lighting and special effects. The paper concludes with an overview of the company's position today.
Outline:
Brief History of Both Hanna & Barbera and How Each Evolved as Animators
How They Met or Joined Forces
What Profession Were They in Before Becoming Animators?
How They Started the Company of Hanna Barbera
What Made Hanna Barbera a Success?
What Cartoons They Created
Process of Animation They Used
Special Effects, Techniques, Lighting, & Sound Effects That Were Used
The Position of the Company Today
References
From the Paper
"When MGM closed its animation unit, Hanna and Barbera founded Hanna-Barbera Cartoons Inc., their own production company. The company was known for its magical formula of producing low cost cartoons that focused more on humor, story and characters than on action. The company gained success with the production of 'The Flintstones'. In the year 1980, the company started operating globally by distributing the work through its international network. The Hanna Barbera Company was staffed with the members of MGM animation unit. In order to keep Hanna Barbera productions a secret to the MGM officials, the show 'I Love Lucy' was anonymously promoted. Hanna Barbera made $40000-$60000 for Tom and Jerry shots as compared to $2700 given by Screen Gems for a cartoon having duration of 5 minutes. This forced them to think about earning more profit by reviving the whole cartoon concept. They shifted the focus from visual action, which was followed at MGM, to dialogue and story. They made cartoons which were cheaper by limiting the amount of drawings. However it was not a fruitful solution to remain competitive in the industry. Then the introduction of voices to the cartoons was intended to gain the interest of the audience. In 1957, Daws Butler and Don Messick gave voice to the characters of Ruff and Ready. This enabled the company to produce shows in less time, thereby increasing the sales and enriching the development of the shows. Later the company was sold to Great American Broadcasting in 1987 when there was a slow growth witnessed, and later Turner Broadcasting purchased it in 1991. Turner Broadcasting later merged with Time-Warner Inc. In 1992, Turner started 24-hour cartoon network with Hanna Barbera cartoon series. (History of Hanna Barbera Cartoons Inc)"
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Disney's Cartoon: "The Tortoise and the Hare", 2008.
The paper is a summary and an overview of Walt Disney's short cartoon: "The Tortoise and the Hare" produced in 1935.
2,135 words (approx. 8.5 pages), 5 sources, APA, $ 66.95
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Abstract
Max Hare and Toby Tortoise are just part of the early Disney cartoon cast, but, in the opinion of the paper's author, they are enduring because they possess universal appeal based on a number of positive factors. In the paper, the author examines and discusses these factors. The author attempts to show that a clear and succinct moral message is given by the cartoon which is echoed in many other Disney works. The writer also contends that the absence of violence in the cartoon is another feature that gives the film lasting value. The author of the paper also compares the cartoon's artwork, animation and music to modern cartoons in order to further demonstrate the long lasting, universal appeal of the film.
From the Paper
"For example, Toby falls for Max's well-known "psyche" gag where he is offered Max's hand to shake only to have him pull it back in a "thumbs-up" fashion not once but twice before the race even starts, and Max makes it clear from the outset who is going to win this race. The clearly established personalities of Toby Tortoise and Max Hare also contribute to this sense of who is going to win, but also help create a sense of an "under-tortoise" who deserves to win because he has the pluck even though the rabbit has the speed among viewers. These straightforward images of the bully and the bullied, the fast and the slow, the quick and the dull, are accompanied by a rich musical score (recorded by RCA Victor "High Fidelity" Sound System) and background scenery ("in Technicolor") throughout. According to Jacobs, the color in Disney's Silly Symphonies is seldom static: "As the characters fly, dance, run, or evolve into other shapes, the color too is animated, becoming sinister, gay, sanguine, or merely decorative, but always taking on a new hue with each of the emotional developments and moving with the images and sound.""
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"Metropolis", 2008.
An analysis of Fritz Lang's early 19th century propaganda film "Metropolis".
1,219 words (approx. 4.9 pages), 2 sources, MLA, $ 41.95
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Abstract
This paper looks at Fritz Lang's, "Metropolis," which illustrates the communist argument against industrialization because of its effect of distancing man from the products of his labor. The paper describes how "Metropolis" presents a world where the worker no longer sees daylight, cannot exercise free will and is nothing but a slave to the machinery, the sole purpose of which is to provide a fantastically opulent life for those who manage the machinery. The paper shows how Lang conveyed a sense of distrust and fear about the consolidation of political, social, religious and economic power in the hands of a few.
From the Paper
"Fritz Lang's, Metropolis, is perhaps the most iconic of all anti-technology, post-industrial films. At its core, there exists an absolute penetrating distrust and fear of a technocratic society where people are nothing but cogs in a machine, and their distance from the products of their labor is so great that they are actually living their entire lives underground. Lang's use of communist rhetoric, Plato's cave allegory, and modernist art combined to make Metropolis a truly unique creation for its time. While anti-industrial sentiment had been readily voiced across the social landscape, it was only along the fringe that such rhetoric had any grip. But, within the context of film, and within the structure of the first true science-fiction movie, people could not help but see the plight of the faceless worker, could not help but loathe the self-indulgence and egregious profit-taking of the owners, nor could they help but feel a deep and common sympathy with the desire of the workers to have, if nothing else, their lives in their own hands."
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"All Quiet on the Western Front", 2008.
A film review of 'All Quiet on the Western Front", directed by Delbert Mann.
925 words (approx. 3.7 pages), 1 source, APA, $ 32.95
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Abstract
This paper reviews "All Quiet on the Western Front", a 1979 film about the life of soldiers during World War I, directed by Delbert Mann. The author summarizes the film which follows the journey of the main character, Paul Baumer, from a young student who believes the lies told to him by his country that war is glorious, to a hardened soldier who believes that the cause he is fighting for is meaningless. The paper discusses the symbolism of Paul's drawing of a bird before he is shot and killed and also examines the themes of the film; humanity and the horrors of war.
From the Paper
"The film underlines the fact that only the governments and leaders of governments who are not risking their lives desire war. The film ends with Paul drawing a bird in the trenches, for one representative image of peace and nature in no man's land, when he is shot and killed. The bird symbolizes Paul's desire to fly free of where he is, and also his old, schoolboy interests and talents, which he abandoned to go to war. Throughout the film he tries to hold onto his drawing ability, to provide himself with some sense of identity outside of the military, although he has fewer and fewer positive images to sketch as the war wears on."
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"Bambi", 2008.
A look at the theories of Lawrence Kohlberg, Jean Piaget, Erik Erikson and Sigmund Freud in reference to the film "Bambi".
1,001 words (approx. 4.0 pages), 3 sources, APA, $ 35.95
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Abstract
The paper looks at the Disney film "Bambi" and applies the theories of Lawrence Kohlberg, Jean Piaget, Erik Erikson and Sigmund Freud to the film's portrayal of the birth of the young deer, its growing up and maturing, and the dangers and conflicts it experiences.
From the Paper
"The movie "Bambi" takes the viewer from the birth of the young deer through all the growing up and maturing issues, and through terrible dangers and conflicts, which most humans also experience as they move along through life. After Bambi has negotiated all the dangers - including being hunted, shot at, and having his mother killed by a hunter - he and his female companion start a family of their own. They have twins in the forest, which has now become green and flourishing with plant life around all the burned out trees.
"Moral development is part of the theme of the story, albeit unless a viewer is alert and looking for morality and child development themes, he or she might view Bambi as just another Disney animated feature film. But knowing ahead of time that Bambi has moral lessons of behavior - connected with family values - one can find a connection with the theories of Kohlberg, Piaget, Erikson and Freud."
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"The Genographic Project", 2008.
A review of the documentary on the human journey, "The Genographic Project" , sponsored by National Geographic and IBM.
1,139 words (approx. 4.6 pages), 4 sources, MLA, $ 39.95
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Abstract
This paper is a summary of "The Genographic Project", a five year long project, sponsored by National Geographic and IBM along with geneticist Stanley Wells. The author explains the objective of the project, which is to collect DNA samples from some 100,000 indigenous and traditional people, map world migratory patterns dating back some 150,000 years and fill in the gaps in the knowledge of humankind's migratory history.
Outline:
A Summary of the Project
Its Sponsors
Its Process
Its Mission and Goals
Its Findings to Date
Pros or Possible Beneficial Outcomes of This Project
Cons or Possible Negative Outcomes, Methodological/Theoretical/Social Problems With This Project
Author's Opinion
From the Paper
"One of more debatable 'problems' is the lack of a focus on genes, and the focus on migration of 'peoples.' Although it is not specifically ideological in its orientation, the project website does state that cultural preservation is one of its core goals, an the idea that cultures can be statically 'preserved' like museum pieces seems questionable, almost as if it is reducing certain cultures to museum pieces because they are 'indigenous.' Also, the connection between cultural preservation and outlining the genetic and migratory diversity of the human species seems somewhat tangentially connected."
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Zeffirelli and Branagh Versions of "Hamlet", 2008.
A discussion on the effect of the director on the outcome of a film via a comparison of Franco Zeffirrelli and Kenneth Branagh's different adaptations of William Shakespeare's play, "Hamlet."
1,355 words (approx. 5.4 pages), 2 sources, MLA, $ 45.95
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Abstract
This paper compares Franco Zeffirrelli and Kenneth Branagh's new and different ways of adapting William Shakespeare's play, "Hamlet" into film. The paper shows how each film may depict the play differently, but both directors find and expose Hamlet's frailty, which represents nothing less than mankind's frailty. The paper discusses how both versions of the play illustrate how directors can influence films from a screenplay.
From the Paper
"Franco Zeffirrelli and Kenneth Branagh demonstrate the power of the director in their adaptations of Shakespeare's Hamlet. Zeffirrelli presents us with a hamlet that lives in a dark, grey world. He is sad and crestfallen; he is lost and, in many ways, does not want to be found. The setting highlights his dark mood and Zeffirrelli uses many props to develop his version of Hamlet. Branagh's Hamlet lives in a brighter world, although his inner world is filled with much torment. We also see how directors take privileges with what they omit and add to films. Zeffirrelli left much out while Branagh added questionable material. Both films are enjoyable regardless of their differences; however, Zeffirrelli gives us a Hamlet that seems closer to the man we envision when we think of Shakespeare's tormented price."
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"Being John Malkovich", 2008.
An examination of the ways in which the portal inside John Malkovich changes the three main characters in the 1999 film, "Being John Malkovich," directed by Spike Jonze.
1,733 words (approx. 6.9 pages), 2 sources, MLA, $ 56.95
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Abstract
This paper discusses the 1999 film, "Being John Malkovich," directed by Spike Jonze. It specifically looks at the theme of how sexuality and gender roles determine identity, as well as how the former are shaped in modern society. The paper explores the ways in which the portal inside John Malkovich changes the three main characters as well as the consequences of these changes. The paper argues that these changes ultimately allow the characters to reveal their true selves.
From the Paper
"Being John Malkovich examines the process of gender formation through the symbolic penetration of John Malkovich's identity. This highly symbolical vision of gender, sexual and social identity formation in contemporary society is projected onto the screen using creative sound editing and focused close angle shots from the point of view of the person i.e. character that the action is taking place, namely Malkovich's. As far as the role of the director i.e. Spike Jonze, and camera work, it is highly relevant to take into account that visually speaking, the message of the film is transmitted with the use the claustrophobic tightness of the camera frames. The fact that this makes the spectator uncomfortable is not a mere coincidence. Even when the action is taking place outside the rabbit hole to Malkovich's brain, the audience is still rather uncomfortable which allows the story to remain unitary and coherent to the end, and helps maintain the pressure of the narrow spaces and low ceilings throughout the film."
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Reality in Film, 2008.
A comparison of the filmmaking styles of Robert J. Flaherty and Dziga Vertov.
1,043 words (approx. 4.2 pages), 5 sources, MLA, $ 36.95
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Abstract
The paper examines the way that both Robert J. Flaherty and Dziga Vertov attempted to grapple with the complexities of reality through the cinematic process. The paper explores the ways that both Flaherty and Vertov utilized the newly emergent technology of the motion picture as a means of recording the external world. Ultimately, the paper thus considers whether the filmmakers were successful in eliciting a truthful representation of reality.
From the Paper
"Robert J. Flaherty and Dziga Vertov were two of the earliest proponents of documentary film. While the former lived and worked in the United States and the latter lived in Russia, both directors wound up having a significant impact - not only on the evolution of documentary film, but on the evolution of film in general. In the 1920s, when the motion picture was still a fragile, emerging art form, they managed to produce documentary films that have in many ways come to define both the limitations and possibilities of the genre. In the course of this essay, we will examine the way that both filmmakers attempted to grapple with the complexities of reality through the cinematic process."
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