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This paper assesses the film version of the classic novel, A Passage to India, directed by David Lean (1984). Several questions are answered from this film.
Pages: 3
Bibliography: 1 source(s) listed
Filename: 14357 Passage to India.doc
Price: US$26.85
254.14441 Schindler's List.
Use the artistic elements in "Schindler's List" to show how light and shadow suggest meaning in the film. Schindler begins the story as trying to start a factory to make money, but he becomes fond of the Jews that he employs and does not want to have the Jews die. This is a story of the Holocaust designed into a film.
Pages: 3
Bibliography: 4 source(s) listed
Filename: 14441 Schindler's List, Artistic.doc
Price: US$26.85
255.Hitchcock's "Marnie" - Option A.
This four-page undergraduate paper answers the three parts of Option A. Although section 2 is addressed by itself, part of that is included in section 1.
Pages: 4
Bibliography: 1 source(s) listed
Filename: 14659 Hitchcock's Marnie - Option.doc
Price: US$35.80
256.Twelve Angry Men and the Real Jury System.
This paper explores the film Twelve Angry Men in terms of what it says about the American judicial system, what it gets right, what it gets wrong, and what its overall effect might be.
Pages: 4
Bibliography: 3 source(s) listed
Filename: 14708 Twelve Angry Men.doc
Price: US$35.80
257.The Theory Of Siegfried Kracauer.
This ten-page, third year paper outlines and describes Siegfried Kracauer's film theory using examples to analyze and discuss the relation to his theory.
Pages: 10
Bibliography: 5 source(s) listed
Filename: 14724 Theory Siegfried Kracauer.doc
Price: US$89.50
258.Santeria: A Comparative Analysis.
This five-page undergraduate paper compares the 1987 movie The Believers with the Joseph M. Murphy book Santeria: African Religion in America. The author uses the film and the book to compare the actual religion of Santeria with the Hollywood version, and cites specific examples of embellishment and exaggeration.
259.Film as a Means of Reaffirming Reality: Investigating the Theories of Siegfried Kracauer.
This paper addresses how Siegfried Kracauer believed that films allowed for the viewer to address them in a realistic context, and where the films themselves contained a significant degree of realism without being demonstrative of specific forms of reality or realistic settings (e.g. the documentary).
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