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8.3874 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.
Pages: 8
Bibliography: 8 source(s) listed
Filename: 3874 Italian Auteur Cinema.doc
Price: US$71.60
9.3980 A Description of the French New Wave of Film.
This paper will discuss the "French New Wave" of the film industry. It will describe the many aspects of its technological, political developments that contributed to this innovative style. An example will be made of how this is so by the movie "400Blows". 5 pgs. Bibliography lists 6 sources.
Pages: 5
Bibliography: 6 source(s) listed
Filename: 3980 French New Wave.doc
Price: US$44.75
10.3989 The Movie Erin Brockovich and the Theories of Class and Genre by Karl Marx.
This paper will discus the movie Erin Brockovich and will be related to Karl Marx's theory of Class and Genre. The themes in the movie will examine in the scope of Marx's theories and intertwined, as well as a discussion of their parallel meanings. 7 pgs. Bibliography lists 6 sources.
Pages: 7
Bibliography: 6 source(s) listed
Filename: 3989 Brockovich Marx Theory.doc
Price: US$62.65
11.4140 Ridley Scott's "Blade Runner" through the Postmodern Lens of Umberto Eco.
This paper will explore elements of Ridley Scott's Blade Runner in light of Umberto Eco's theories of cinema's "common language" and the intertextuality of film. It will be argued that to fully understand Blade Runner it is necessary to situate it in the context of the cinematic genre of film noir. Given the extent of the movie's "debt" to the "common language" of film noir, Blade Runner can be seen as a postmodern film noir; the product of a "metasemiotic culture" in which innovation is achieved only through re-visioning the past. 8 pgs. Bibliography lists 7 sources.
Pages: 8
Bibliography: 7 source(s) listed
Filename: 4140 Blade Runner Postmodern.doc
Price: US$71.60
12.4229 Easy Rider & Midnight Cowboy: An Analysis.
This four-page undergraduate paper discusses the elements featured in post-modern and post-classical films, demonstrates how they differed from the standard classics filmed up until the 1970's, and analyzes Easy Rider and Midnight Cowboy as examples of the new approach to cinema. 4 pgs. No bibliography listed.
Pages: 4
Bibliography: 0 source(s) listed
Filename: 4229 Easy Rider Movie.doc
Price: US$35.80
13.9605 Oliver Stone: Vietnam War.
This is an 8-page paper that depicts Stones representation of the Vietnam War in various movies. 8 pgs. Bibliography lists 11 sources.
Pages: 8
Bibliography: 11 source(s) listed
Filename: 9605 Oliver Stone Vietnam.doc
Price: US$71.60
14.2873 An Exploration of Elements of Auteuristic Discourse in Federico Fellini's "8 +" and Francois Truffaut's "Jules and Jim".
This paper will discuss two of these directors' films - Fellini's "8 +" and Truffaut's "Jules and Jim" - as examples of "auteuristic discourse". It will be argued that, although the plots and technical features of these works are radically distinct, each is undeniably the work of an auteur. Both cinematic texts produce meaning through the tension between the director's personality and the material with which he is working. It is this pervasive domination by the director of the cinematic text through manipulation of the "mise en scene" that defines both the films of Fellini and Truffaut as the work of "auteurs". 13 pgs. 15 f/c. 9b.
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