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Papers On Music, Film, Television, Theater & Photography
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"The Matrix": Racial Implications
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30 pages in length. The very essence of science fiction as a film genre is to stupefy audiences as to what reality might be like if the director's imaginative world ever truly existed. Indeed, one can readily argue that Star Wars, Independence Day and myriad other science fiction movies left audiences incredulous with the thought that somewhere, sometime, the world as we know it may reflect the director's vision. A particular draw to science fiction is the manner by which it allowably crosses the stringent boundaries of conventional thinking, delving deeply into what can often only exist in the recesses of one's imagination. The Matrix exemplifies one of those films where everything is viewed as an illogical twist of reality, compelling the audience to imagine reality as directors Andy and Larry Wachowski had imagined it. Most startling of all, wrapped up within a tale of technology gone awry, is the incarnation of racial transition; instead of being society's scapegoat, the black community is reflected as strong and brave, while the white race is portrayed as evil. Clearly, the directors' intention was to illustrate racial strife as just one of many social ills plaguing contemporary society. Bibliography lists 26 sources.
Filename: TLCmatrx.wps

"The Patriot" - Uniform Accuracy
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6 pages in length. Authenticity is a primary factor to a period film if it is to reflect the flavor, value and truthfulness of its subject. "The Patriot" is one movie where costumes reflect the entire ambiance of reality; while costume designer Deborah Scott worked with the Smithsonian Institute to ensure the authenticity of soldier uniforms and townspeople garb, there was nonetheless some rather glaring imprecision when it came to following the example left behind by history. Bibliography lists 2 sources.
Filename: TLCPatriot.rtf

"The Siege" - Post September 11, National Security And Terrorism
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5 pages in length. Examining the impact 1998's The Siege had upon portrayal and predictions of post-September 11th American society, one finds a startling parallel between reality and fiction. The quest to gather up Arab-Americans as being somehow related to the recent terrorist incident smacks of the gross infringement upon civil liberties that ensued immediately following the real life attacks on 911. Bibliography lists 4 sources.
Filename: TLCSiege.rtf

"The Stepford Wives" Then And Now: Opposites
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6 pages in length. While the two versions of The Stepford Wives share a common storyline, there are fundamental differences between the films great enough to qualify them as opposites. The psychological, feminist and patriarchal underpinnings all remain intact, however, it is the gender switch and genetic references that serve to differentiate the 2004 remake from its 1975 original. Whereas Joanna succumbs to the manipulative, mind controlling authority and ultimately becomes a Stepford robot wife in the first version, her 2004 character performs her own manipulation by pretending to have been transformed in order to escape that very thing. This aspect of the film illustrates how the focus is no longer on the weak female as it was thirty years ago but rather spotlights the strength that women have developed as a gender over the past three decades. Moreover, the additional genetic component of the latter film puts into greater perspective the potential consequences associated with artificial engineering and man's constant need to tinker with concepts that are far beyond his thorough understanding. Bibliography lists 11 sources.
Filename: TLCStepford.rtf

"The Tempest": Film and Text
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A 5 page paper which compares and contrasts the film and the text version of "The Tempest." The film version discussed is Paul Mazursky's. No additional sources cited.
Filename: RAtempst.wps

"The Wall" and Conflict Theory
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A 6 page paper which examines the Pink Floyd film "The Wall" from a perspective concerning conflict theory. Bibliography lists 4 sources.
Filename: RApinkwl.rtf


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