| Papers [1-9] of 100 :: [Page 1 of 12] | | Go to page : 1 2 3 4 5 6 7 8 9 10 11 12 —> | Search results on "FILM THEORY": |
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Film Theory, 2002.
Discusses how the theory of spectatorship is used by feminist film theorists.
2,025 words (approx. 8.1 pages), 7 sources, $ 71.95
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Abstract
Discusses how the theory of spectatorship is used by feminist film theorists. Psychoanalytically oriented film theory. Psychological processes involved in the film-viewing experience. Voyeurism and narcissistic identification. The nature of female spectatorship. Analysis of two popular films to illustrate points made: The 1972 "Portnoy's Complaint," and the 2000 "Malena."
From the Paper
"Psychoanalytically oriented film theory became a significant force in the 1970s and has been one of the most productive influences of the past few decades. This is nowhere more true than in feminist theory where, despite theorists' misgivings about the reactionary nature of psychoanalysis, it was instrumental in developing approaches to spectatorship that first accounted for male scopophilia, as the principal pleasure project of classic Hollywood film, and has since been employed in elucidating the nature of female spectatorship. This essay begins with a brief discussion of the tenets of Freud and Lacan that were adapted by film theorists in creating a theory of spectatorship.
This is followed by an explanation of its uses in feminist film theory and a demonstration of the manner in which the psychoanalytic approach informs the analysis of two popular ..."
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Feminist Theory in Films, 2002.
A comparison of two films which reflect psychoanalytical and post- colonial feminist theory.
2,900 words (approx. 11.6 pages), 10 sources, $ 106.95
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Abstract
This paper examines the films "The Crying Game" and "My Beautiful Laundrette" in terms of feminist theory. The two major theories of feminism that are used to describe these two films are those of post- colonial and psychoanalytical thought. The implications present in these films is that there most certainly are aspects of each film that can be seen to accurately correspond to these distinctive theories, but that neither film directly correlates to either one of these theories perfectly.
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Theories of Contemporary Film, 2008.
Examines two distinct views regarding cinema and realism in terms of the industrial mass production of contemporary film.
2,140 words (approx. 8.6 pages), 4 sources, MLA, $ 66.95
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Abstract
This paper looks at the theories of Andre Bazin and Theodore Adorno about the human condition in modern film. The author contends that, while it is undeniable that film is created in the context of a cultural industry as Adorno suggests, Bazin's insights regarding the origins of its psychological power over the mass audience are critical to the appreciation of how film can function as a vehicle of both commercial and popular interests. The paper shows how the theoretical perspectives of both Bazin and Adorno are flawed in not considering the complex relationship between cinema and "realism" in terms of style, aesthetics and the role of the author.
Table of Contents:
Introduction
Divergent Views on Cinema, Its History and Functions
The Human Factor - Cinema and Realism
From the Paper
"This argument is flawed in two respects: first, it ignores the fact that Welles was an "outsider" of the Hollywood system from the earliest days of his career, and far from being "forgiven" he was persecuted by the industry and its major business backers such as Randolph Hearst; and second, the problem of the "auteur" is not isolated to Welles or even a handful of cinematic innovators. Indeed, the history of cinema - even Hollywood cinema in the era of the major studios - is one of extraordinary creativity, innovation and dynamism."
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The Art Film and the Genre Film, 2004.
Art and genre criticism in four classic films.
3,048 words (approx. 12.2 pages), 48 sources, MLA, $ 89.95
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Abstract
An analysis of two genre films and two art films - Antonioni's "Blow Up," Kelly/Donen's "Singin' in the Rain", Truffaut's "The 400 Blows", and Sirk's "All That Heaven Allows". The validity of both genre and art film criticism are examined.
From the Paper
"By its failure to accommodate the excess generated by its subject matter, All That Heaven Allows is not only critiquing the genre of melodrama, it also exposes the contradictions and conflicts present in American bourgeois society (Bourget, 1995, 45). However the subversive excess and contradictions present in the film prevent it from being ?just another melodrama?. Sirk worked within yet against the constraints of the Hollywood studio system to subvert the genre, and although the film is superficially a generic 1950s Hollywood melodrama, Sirk?s characteristic stylistic technique marks him as an auteur, a position usually associated with the art rather than the genre film."
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Film History Summary, 2003.
Summary of Chapter 3 of "Film History: Theory and Practice" by Robert Allen and Douglas Gomeny, 1985.
1,840 words (approx. 7.4 pages), 1 source, APA, $ 63.95
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Abstract
This paper presents a summary of "Chapter 3 of Film History: Theory and Practice" by Robert Allen and Douglas Gomeny that focuses on the need for an active process of reading and studying film history. It looks at film as a narrative and the personal agenda of the film historian. It looks at the economic and cultural assumptions of the film historian.
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Expectancy Violations Theory, 2008.
An explanation of the expectancy violation theory through the interpretation of a film "How to Lose a Guy in 10 Days."
1,704 words (approx. 6.8 pages), 5 sources, APA, $ 55.95
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Abstract
This paper explains the analyzing expectancy violations theory by examining the film "How to Lose a Guy in 10 Days". The theory is identified with the nature of two people meeting to form a potential relationship by analyzing several scenes from the film.
Outline:
Summary of Movie
Introduction to Theory
Basketball Game Scene
Movie Theater Scene
Dinner at Ben"s house
Interruption of Boy's Night Out
Confrontation
Conclusion
From the Paper
"People from all over the world have different perspectives of what behaviors are considered appropriate for a specific setting. When these behaviors impact other people in a negative way, expectancy violations has occurred. In "How to Lose a Guy in 10 days," this theory identifies with the nature of two people meeting to form a potential relationship. When forming a relationship, both individuals have "preconceived expectations" on how the other person will engage in conversation (Biernat & Billings, 1999). However, men and women hold different views on relationship expectations (Cohen, 2007). Andie Anderson expects to drive Ben away, while Ben expects Andie to fall madly in love with him."
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Mobility Theory, 2005.
This paper examines mobility theory using a book and a film.
1,380 words (approx. 5.5 pages), 4 sources, $ 47.95
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Abstract
This paper discusses the book "Ain't No Makin' It" and the movie "Good Will Hunting" and compares the lives of the characters in terms of mobility theory. The author, in the second part of the paper, deals with Turner's theory of mobility and determines whether it explains or is a result of reality.
From the Paper
"In "Ain't No Makin' It", the two groups of boys concerned are the Hallway Hangers and the Brothers. The Hallway Hangers are white youth and they reject dominant societal values and have low aspirations. They were raised in families with a long history of living ..."
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Developmental Theory, 2003.
Applies the theory to Paul Thomas Anderson's film, "Magnolia".
1,350 words (approx. 5.4 pages), 1 source, $ 47.95
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Abstract
Discusses theories of Sigmund Freud, Erik Erikson, and Jean Piaget and presents examples of the film's characters regarding their personality development. Discusses Freud's theory of psychosexual stages.
From the Paper
"This paper is a discussion of three major developmental theorists - Sigmund Freud, Erik Erikson, and Jean Piaget - using examples from Paul Thomas Anderson's film, Magnolia, as illustration of some of the highlights of each approach. It examines how ..."
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"Dances With Wolves" and the Social Penetration Theory, 2005.
This paper uses the social penetration theory to analyze "Dances With Wolves", the novel written by Michael Blake and the film directed by Kevin Costner.
1,540 words (approx. 6.2 pages), 6 sources, MLA, $ 50.95
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Abstract
This paper explains that Irwin Altman and Dalmas Taylor's social penetration theory suggests as relationships grow deeper as self-disclosure deepens and uses social exchange theory, also called the game theory, to analyze the cost-reward balance of these self-disclosures. The author points out that "Dancing With Wolves" provides excellent examples of how totally different cultures can both attract and repel one another, how friendships and trust are formed by deeds not just words and how different intersecting strata of social and cultural lives either repel or attract one another. The paper relates that it teaches that the differences among people tend to be created without truly being aware of one another and can be resolved as those "onion skin" layers are removed revealing our true inner personalities.
From the Paper
"There are many examples of initial encounters in "Dances With Wolves", and the manner of the meeting does not always provide the result of closeness, of course. What makes the novel so fascinating is the contact, verbal and non-verbal that links the white man with the Comanche, and prepares him for a life he had never known or understood before. Was it simply loneliness or necessity that brought these encounters to fruition? Is social penetration merely a theory that evolves as social circumstances change? Are we different, socially, today, than were the people in the post-Civil War era covered by this novel?"
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