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Papers On Film & Television
Page 33 of 327

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"Casablanca": Patriarchy And The Film's Ending
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5 pages in length. Analyzing the film Casablanca for problems may appear a bit difficult, inasmuch as the classic movie leaves little for one to criticize. However, looking deeper within the film beyond what one finds on the screen leads one to its production issues, with the most significant of all being that there was no planned ending until quite late into the shooting schedule. Seventy-five contract writers were given the task of developing an ending that would a) complement the film's story, b) be as logical as possible given the movie's already enigmatic tone and c) not offend the censors. This monumental task would haunt both writers and production crew until the very last minute when the historical scene was conceived. Bibliography lists 6 sources.
Filename: TLCCasab.wps

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The writer discusses the fact that this particular sense of filmatic space is not restricted only to technical or visual effects, but rather, it also involves the vast social, psychological and political uses of space, as well. These two films effectively capture a sense of space -- both indoors and outdoors, expansive and claustrophobic -- that is not only thematically explored but also significantly exploited by the directors. Bibliography lists 7 sources
Filename: TLCspace1.doc

"Crouching Tiger, Hidden Dragon"
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An 18 page paper which discusses how the film "Crouching Tiger, Hidden Dragon" was distributed in China, yet appeared to be a flop. The success of the film in America is also discussed. Bibliography lists 5 sources.
Filename: RAcrouching.wps

"Deadwood" - Both Creates And Defies Generic Conventions
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6 pages in length. One might readily argue how genre is little more than what humanity has spun into recognizable categories whereby films and television programs readily exist. The extent to which generic conventions are paramount to establishing the proper style of depiction a given movie or show portrays is both grand and far-reaching; that contemporary productions have regularly sought to break new ground where long-established genre is concerned speaks to the greatly expanded approach to reinventing generic conventions that both create and defy traditional application (Hoggart, 2004). HBO's Deadwood - a western "detailing the birth of a civilization on the outskirts of the 1870s American frontier" (Shimanovsky, 2006, p. 28) whose success has taken virtually everyone by surprise (Perret, 2005) - is one such production that has, for all intents and purposes, turned the western genre on its ear; not only has creator David Milch magnified the dialogue in what has long been believed to be mild mannered exchanges between somewhat civilized people, but he has displayed a raw and earthy persona the likes of which causes viewing audiences to be taken aback by the bold suggestion that people were actually as crude, lascivious, barbarous and ruthless as Deadwood overtly suggests. Bibliography lists 8 sources.
Filename: TLCDeadwood.rtf

"Death of a Salesman" and "An American Beauty": The Myth of the AmericanFamily
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A 7 page paper which discusses the play "Death of a Salesman" and the recent film "American Beauty" and illustrates how they help to demonstrate that the perfect American family is only a myth, never achieved. Bibliography lists 16 sources.
Filename: RAmythfam.doc

"Die Hard" and "Passenger 57"
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A 5 page paper which compares the films "Die Hard" and "Passenger 57." Bibliography lists 3 sources.
Filename: RAdiehrd.rtf

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