1.1662 Social Pessimism versus Humanism in the films of Vitorio De Sica.
The Italian Neo-Realist movement did not spring from thin air so, this paper will examine De Sica's films in greater detail as well as examine the environment which shaped his views.8.5 pgs. 5 f/c. 3b.
Bibliography: 3 source(s) listed
Filename: 1662 Vitorio De Sica.doc
2.1829 The Holocaust in Italian Cinema.
Italy's experience of fascism has been regularly referred to in her modern cinema, generally in ways that emphasize the social devastation and moral despair of the World War II experience. This paper's discussion of several post-War contributions to the Italian cinema concentrates on questions of the Holocaust as it took form in Italy less drastically than elsewhere in occupied Europe. 7.5 pgs. 4 f/c. 10b.
Bibliography: 10 source(s) listed
Filename: 1829 Holocaust Cinema.doc
3.2415 The Symbolic Significance of Vision in The Princess and the Goblin and The Wizard of Oz.
The thesis that will be argued is that in both texts sight/vision is used as a metaphor cautioning children about trusting everything that they see. Although the texts differ in the symbolic significance attached to sight/vision - with its depiction in The Princess and the Goblin having more obvious religious overtones - in both imagination is shown to be a more important quality in relating to those around us without prejudice than is pure vision. 7.5 pgs. 9 f/c. 2b.
Bibliography: 2 source(s) listed
Filename: 2415 Symbolic Significance Vision.doc
4.2458 Asian Cinema and Hollywood: A Consideration.
This paper will consider the differences of both Asian and American cinema. This paper will also look at the role of the hero in the action genre of these cinemas. A suggestion will be made that examining the ways heroes are portrayed reveals a great deal about the unspoken concerns of these two vastly different societies. 9 pgs. 11 f/c. 6b.
Bibliography: 6 source(s) listed
Filename: 2458 Asian American Cinema.doc
5.2555 The Passion, The Love, The Fury: Directing The Dark Side.
This paper will consider the different styles of Martin Scorcese, Francis Ford Coppola, and Oliver Stone and how they have perfected directing the modern American movie, where the darker side of violence and criminality form the subjects of their work. 4.5 pgs. 8 f/c. 4b.
Bibliography: 4 source(s) listed
Filename: 2555 Directors Dark Side.doc
6.2606 A Review of Rocky and Rambo Within the Genre of Action.
This paper reviews both these movies and the message both these movies suggest. 4 pgs. 0 f/c. 0b.
Bibliography: 0 source(s) listed
Filename: 2606 Action Movie Review.doc
7.3874 Antonioni's "L'avventura" and "Blow-Up" and Fellini's "Otto e mezzo" as works of Self-Reflexive "Auteur Cinema".
Two of the post-war directors whose works most prominently exhibit characteristics of "auteur cinema" are Michelangelo Antonioni and Federico Fellini. As will be seen, in Otto e mezzo, Fellini's creation of tension between the director's personality and the narrative with which he is working emphasizes the self-reflexivity of this work. Like Fellini, Antonioni - in his classic L'avventura - emphasizes the nature of the film as an artifact. However, Antonioni "auteur-ship" is characterized more by an emphasis on formal devices - camera shots etc. - to visually define his work, as opposed to Fellini's concentration upon textual narrative. This paper will argue the common element in both director's approaches is an interest in the employment of self-reflexivity to undermine fixed meaning and the certainties of artistic representation of reality. 8 pgs. Bibliography lists 8 sources.