Abstract
This paper examines the contribution of Sergei Eisenstein to the cinema industry. The first part shows the evolution of Eisenstein's original theories and practice into a total theory of art, which shaped his later films. Also included is an examination of the topic of male domination in his films. The second part delves into his cultural impacts and perceptions in Russia and overseas, particularly in the United States and England. The final part traces the troubled history of the films' production, shedding light on the manner in which Stalinist politics maneuvered Eisenstein's creative endeavors, and the eventual tension that arose between the two. It then seeks to promote a greater analytical fascination and appreciation of Sergei Eisenstein.

From the Paper
"Eisenstein's theory of film derived from a variety of sources: through drawing or set design, film projects, and theater production. His analytical manner emerged from psychology and psychoanalysis, anthropology and etymology, linguistics, mathematics and geometry, literature, theater, art and music theory. In addition, his experimental practice, which served as a form of elaborating theory, sought to examine the basic material and the possibilities of film --the illusion of movement, the specific qualities of the film image, the relationship between the seen and the unseen. Eisenstein developed his theoretical projects in two unpublished and unfinished books that attempted to define the phenomena of all the arts."

Tags:attraction, battleship, montage, potemkin, psychology, stalinist

Abstract
This paper discusses how Robert Altman is a true auteur in the sense that he gravitates toward projects and source texts that are already strong in story so that he can make the work his own by masterfully weaving in and emphasizing the themes and issues which preoccupy him, like class and gender identity. In particular, the paper looks at how this is exemplified in "McCabe and Mrs. Miller" and "Gosford Park", which are among his earliest and latest works.

From the Paper
"In Gosford Park, the problem of privacy is equally prevalent. For the upstairs aristocrats, there is hardly such a thing as a secret. How can there be, when there are so many people in such a closed space? Not to mention that the servants are nearly invisible to their masters, always just around the corner, or lurking in the background until they are needed--they are witness and privy to all kinds of information, which circulates like wildfire below stairs. Altman uses camerawork to emphasis the feeling of a lurking watcher and listener; he has commented to many sources that he makes the audience feel like a sneaky looker-on by using cameras that virtually never cease to move, although almost imperceptibly. The cameras mimic the motion of lurking. "

Tags:McCabe, Mrs., Miller, Gosford, Park

Abstract
This paper analyzes the movie "Godfather" and shows that the women in the film played a very important role for setting the tone. It looks at how stereotypes are fitted into the movie in many ways but with the women's role, this changes. Each of the important female characters are analyzed individually.

From the Paper
"Certainly, those qualities were not valued in Puzo's Italian-American female characters. The fact that Puzo's women are not well-respected translates over into Coppola's Godfather. Locked out of the family business, the women who were married to the mob seemed to have little to do beyond looking pretty and getting blown up. His men, on the other hand, were dynamic supermen -- cold-hearted killers, yes, but also devoted family men, guys who could go to work, knock off a few enemies, carve out a little more territory and still remember to bring home the cannoli. They were the inspiration for the generation of rising mobsters that included John Gotti. The Dapper Don with the sunlamp tan and Brioni suits carefully cultivated his image after that of Puzo's mobsters. Now, it turns out, the Dapper Don's role model was really a welfare mom who held her family together in the tenements of Hell's Kitchen while her husband broke down under the stress. This theme is carried well throughout Coppola's film The Godfather."

Tags:italian, mafia, male, family, female, puzo

Abstract
The paper explores how racism and sexism are present in fairy tales and how even the Disney stories of our more enlightened era are filled with all sorts of stereotypical depictions of good characters and evil. The paper uses the Walt Disney movie, "Alladin", to show how the characters have become "Anglicized" to suit a more Caucasian audience.

From the Paper
"It probably surprises no one to see to recognize the racism, and sexism, that was everywhere in traditional fairy tales. After all, that was a very unenlightened time when people were uneducated and rarely had the opportunity to get to know, and come to understand, people of other races.

"But things are different now. We have had decades of education and desegregation. It is surprising, then, to see some of the blatantly stereotypical images that fill Disney's movie screens. After all, a long time has passed since the brothers Grimm penned their tales, when bad men were always swarthy, or black, and could be spotted the second they stepped onto the page. Nevertheless, after looking closely at a few of Disney's recent hit movies, one might conclude things have not changed that much at all."

Tags:Pocahontas, Arab, Mickey, Mousing, Middle-Eastern

Abstract
In the late 1950s and early 1960s auteurism came to dominate film criticism. This theory can be defined as, "a critical approach to film that emphasizes the essential role of the director as the author of the work," with every aesthetic choice reflecting his or her personality. Many different approaches to more closely defining how to study, classify, and measure the value of auteurs were created. One of the most influential of these articles was Andrew Sarris' "Notes On Auteur Theory in 1962", which defined directors in terms of their ability to create films with technical competence, a style that reflected his or her distinct personality, and interior meaning. This study focuses on Bruce McDonald, a Canadian director. An analysis of his films in this paper shows his validity as an auteur according to Sarris' theory and at the same time shows the problems of studying directors as individual artists working within the constraints of cinema.

From the Paper
"After "Notes On Auteur Theory in 1962" was published several arguments against Sarris' theory arose, and these can be applied to Bruce McDonald's auteurism as well. Beginning in the late 1940s Hollywood journalists debated the importance of diverse collaborators on a filmmaking team. According to some critics auteurism underestimated the importance of the collaborative nature of filmmaking. Sarris' theory certainly finds that the director is the center of film production, and as such is the auteur, but this does not take into consideration the role of other important "auteurs". These could include the screenwriter, cinematographer, and editor. In McDonald's case his career is founded upon some key collaborations. On four of his seven feature films, the script was written at least in part by Don McKellar, another prominent Canadian actor, director, and writer."

Tags:mckellar, movies, hollywood, roadkill

Abstract
This paper compares the use of femininity as being the "other" to the male norm in two horror films: "Carrie" and "Ginger Snaps." The writer shows that in contemporary horror films the "other" is used as a basis for horror while femininity is the "other" represented in these two films.

From the Paper
"The concept of the "Other" has been motivating horror film since the genre's inception in the early 1900's by the German expressionist movement. The Other represents that which is not of the norm, and because of this becomes an object of fear and loathing. What is not understood has always stood as a point of horror. It then stands to reason that in a patriarchal society, women are easily placed in the category of Other by the male dominated "norm." Female sexuality has been demonized in mainstream horror, and the process that leads to it, puberty, shown as the cause of evil. Two films that are prime examples of this trend, and which we will be discussing at length, are Carrie (USA, De Palma, 1976) and Ginger Snaps (Canada, Fawcett, 2001). Both films show a young girl whom at the onset of puberty develops monstrous abilities. This monstrosity paralleled with the girl's awakening sexuality, and it is the repression, or lack thereof, of this monstrosity/sexuality that leads to catastrophic results."

Tags:carrie, film, ginger, horror, monstrosity, snaps, movie

Abstract
This paper describes how, while working within the most innovative period in Soviet cinema, before the coming of sound, Dziga Vertov created the film "Man with a Movie Camera", a tribute to the newly formed Communist State, urban environments and technological advancement. It analyzes how in order to create a variety of themes, including those comparing the bourgeois and working classes, man and machinery and the nature of film itself, Vertov uses editing to relate a series of seemingly unrelated shots. It looks at how these shots are comprised of five types of images: industrial construction, traffic, machinery, recreation and citizen-workers. It also shows how he constructs meaning through editing in the film to form an argument in favor of the newly formed soviet state by juxtaposing disjunctive images, but also linking the images through composition.

From the Paper
"The main theme of Vertov's film is a cameraman performing his daily routine in an urban environment, and this meaning is produced through the films ability to show both the cameraman at work and the reaction he receives from the people he films. The entire film is reflexive in the sense that the audience is constantly reminded that film is a constructed environment, designed by the filmmaker. Mixing in shots of the camera, the cameraman, and the editing process maintain the idea that the film is just a part of Vertov's usual routine. The sequence opens with a shot of the cameraman reflected in the camera's lens, continues with a shot of the urban setting in which the events will unfold, and then returns to the filmmaker's "work" of filming traffic."

Tags:working, classes, bourgeois, cameraman, recreation

Abstract
This paper explores the validity of genre theory in cinema by comparing and contrasting the works of renowned director, Oliver Stone. The author looks in particular at two of his films, "JFK" and "Natural Born Killers". It attempts to prove the significance of genre theory in cinema as a basis for the study and indexation of film.

From the Paper
"The genre theory is both constraining to film producers and beneficial to audiences. Audiences will go into films advertised as being of a certain genre with a pre-concluded set of expectations from the film. The director focused on in this essay works predominantly in one Genre. 7 of his 10 films published before 1994 were Historical Dramas, with the remaining 3 being horror and Fictional Drama. The two films to be analyzed will be JFK, 1991, a Docudrama Based on the 1963 assassination of U.S. president John F. Kennedy, and Natural Born Killers, 1994, a controversial look at two white trash serial killers/mass murderers who become Tabloid-TV darlings thanks to a sensational press."

Tags:analysis, cinema, comparative, film, genre, natural, killers, kennedy, born, vietnam, platoon

Abstract
This essay discusses the aesthetic choices the Coen Brothers made throughout their career. It studies the films "Raising Arizona" for creative lens use in a farce, "Miller's Crossing" for camera angles in a gangster film, "Fargo" for long takes in a police thriller and "The Man Who Wasn't There" for lighting in a film noir. The paper argues that through the use of aesthetics the Coens shape each genre they try with their own signature auteur style.

From the Paper
"In a world where big-budget studios control most of what is seen in theaters, the Coen Brothers have managed to make independent features that they write, produce and direct as a team, and have had some moderate success. Their scripts often focus on unlikely heroes; they choose completely average people and places to become the focus of their quirky dialogue and situational comedy. Their charismatic "normal" characters have attracted a number of top actors and actresses to their projects, such as Holly Hunter, Nicholas Cage, John Goodman, Steve Buscemi, John Turturro, and Francis McDormand. In fact, with a reputation for making quality films, although often commercial failures, some of Hollywood's most respected actors have lowered their usual salaries to appear in Coen films. Tim Robbins appeared with Paul Newman in The Hudsucker Proxy, between projects of his own in the early nineties, Jeff Bridges took the leading role in The Big Lebowski with Julianne Moore in a supporting part, George Clooney followed up his success on ER with the main role in Oh Brother, Where Art Thou, and the Coens recruited Billy Bob Thornton and James Gandolfini for The Man Who Wasn't There. These stars have helped the brothers propel their own names into stardom, despite the only moderate success of their feature films, and have made their pictures well-known cult classics."

Tags:cinema, comedy, fighting, modern, Oscar

Abstract
A detailed look into the the use of imagery and symbolism in the film Fight Club. This paper analyzes the depiction of the characters in the film through the use of color schemes and images as well as the different techniques used such as Subliminal messaging, a process by which visual or auditory influences are hidden amongst other images or sounds, such that the conscious mind and self are totally unaware of the information, which it has just absorbed.

From the Paper
"In the film Fight Club there are two main characters played by Edward Norton and Brad Pitt. Norton's character is a stressed out insomniac. To deal with this stress, his character tries attending support groups, and getting sleeping pills, unfortunately nothing seems to be working. During his most stressed out moments, there are flashes on the screen, which would not be noticed really in a first screening in a theatre, but easier to notice in DVD or VHS copies of the film. These flashes are not the director or editor's mistakes; they have significant underlying meaning. The flashes are director David Fitchers idea of subliminal messaging. They are images of Brad Pitt before his character Tyler Durden is introduced to the film. The significance of the editing is explained later in the film, when the topic of splicing porn into kids? films is discussed. It is believed that these flashes of Pitt show the significance of when Tyler Durden first starts coming into the mind of Norton."

Tags:brad, en, film, insomniac, messaging, mise, pitt, scene, subliminal