Hyland Vs Hollywood

Span claims that the real villains existed in New York: Mayor John. F. Hylan and William Randolph Hearst. Hylan had been fired from Kings County Elevated Railway in 1897, and was believed to have had his own personal animosity toward transit companies (Span). In the 1920s, many transit companies had a standard five-cent fare that could no longer pay their extensive bills. Streetcars were required to pay fixed franchise fees as well as provide street sweeping and snow clearance. This, combined with fixed fairs, put transit companies under terrible financial pressure (Span). Meanwhile, Hearst’s paper stirred up public animosity towards the streetcars (Span). Hylan refused to aid transit companies in the face of bankruptcy (Span).

1. Thesis Statement: A Hull House, one of the first social settlements in the history of the USA. It is popular for many reasons such as founded by one of the first and popular American Social Reformers Jane Addams and Ellen Gates Starr, Social service agency, fought for women freedom and peace throughout the world. 2. In my paper, I am going to explain struggle and successful work of American Social Reformers Jane Addams and Ellen Gates Starr after the settlement of Hull House 1990.

As a child I enjoyed going to amusement parks. I enjoyed spending the weekends and afternoons with my family going to an amusement park. Amusement parks are something magical full of fascination and excitement for kids and grown ups. But there are some things that ruin that moment of enjoying a day in the afternoon in our favorite amusement park. Disneyland is greater than Universal Studios Hollywood because of their rides, waiting times, the prices.

In subsequent years following the establishment of the People’s Republic of China came a revolutionary new approach to not only producing films, but also film’s very role in communist society. During this period the state gained complete control of the filmmaking industry, decreeing that the utilitarian functions of art and literature were to become a powerful weapon in serving the revolutionary struggle. In an otherwise artistically stifling period in which socialist realism pervaded all creative outlets, Xie Jin managed to retain some autonomy and emerged as one of the cleverest Chinese directors in the early 1960s. In his 1961 film Red Detachment of Women, Jin provides a classic revolutionary melodrama, yet also displays elements of formalism so that the viewer becomes conscious of the manipulations of his film technique. To analyze this film, I will use Mao Zedong’s 1942 “Talks at the Yan 'an Forum on Literature and Art,” clip #10 “Landmark 2,” and clip #6 “We are joining the red army” to elaborate on the major themes and cinematic style that distinguish Xie Jin’s work from his contemporaries.

Chapter seventeen is about Hollywood in the 21st century . This chapter describes the advanced movies, such as animated ones, like Dawn of the Planet of the Apes . I find it very interesting how these films started from no sound at all or color to being able to see such vibrant colors and sound effects and quality that makes you feel as if you're there in the film. I enjoyed reading about this chapter because it's amazing how far technology has advanced, and to know that there's so much more to come is unbelievable, and I simply can't wait.

Despite the fact that Asian Americans have been in Hollywood for decades, there are very few positive representations of them in film. More often than not, they’ve been depicted as stereotypical caricatures, and more specifically, as foreigners who can’t speak grammatically correct English. Moreover, the negative representations of Asian Americans in film has perpetuated certain misconceptions about their culture. Chan is Missing (1982) calls for more genuine representations of Asian American identities through its cast of complex characters and defiance of Asian stereotypes. The film also urges its viewers to critically think about their own notions of identity through the use of several recurring themes and filmmaking techniques.

The romantic idea of the auteur is described by film theoretician, André Bazin, observing the film form as an idealistic phenomenon. Through the personal factor in artistic creation as a standard reference, Bazin primarily refers to an essential literary and romantic conception of the artist as central. He considers the relationship between film aesthetics and reality more important than the director itself and places cinema above paintings. He described paintings as a similar ethical creation to film stating a director ‘can be valued according to its measurements and the celebrity of the signature, the objective quality of the work itself was formerly held in much higher esteem.’ (Bazin, 1967: 250). Bazin contemplates the historical and social aspects that indeed hinder a director’s retribution to their own personalised film, thus en-companying their own ideological judgement upon the world ‘more so in cinema where the sociological and historical cross-currents are countless.’ (Bazin, 1967: 256)

Glory is a movie about the 54th Massachusetts Infantry Regiment, one of the first official all black units in the United States during the Civil War. It’s an inspirational story of how a young Union soldier, Robert Gould Shaw, is offered the chance to lead an army unit that will change not only his life, but the lives of many other Americans.

Beowulf is the hero in the poem by the same name. Throughout the poem Beowulf faces three battles, with Grendel, with Grendel’s mother and a dragon. Beowulf is already a seasoned warrior when he encounters his first demon in the poem, and he only gains more experience as the story goes on. Beowulf faces monsters and politics throughout the story of self-preservation, revenge and learning. Though the three beasts have similarities, Beowulf’s attack and battle with each of them is different.

During my junior year, I was going to be enrolled in either AP Statistics or AP Calculus--I had no other choice. While everyone opted for AP Statistics with the teacher that never failed a student, I decided to give AP Calculus a try. All my peers told me I would fail; I was puzzled at their blunt assumptions. They didn’t know what I was capable of, and neither did I, so I gave it a try. Due to schedule conflicts I had missed the first day of class because I was at a tennis game. Besides being disappointed with myself, the teacher did not miss to remind me that if I wanted to pass Calculus I would have to be in class. As captain of the tennis team I felt responsible to stay on the team, but soon the consequences began to follow: I failed my

This idea points back to the analysis that Mina Shin makes in her article, that productions of Japanese culture in film will no doubt fall to the pressures of “American narcissism and white superiority” (pg ). The Last Samurai makes it apparent that Western ideals will always be the bane of traditional cultures as they threaten to overcome

Hess and Zimmermann mention that conventional categories have blurred and there’s demands for new political and aesthetic responses in transnational cinema (John Hess 2006). These transnational films I believe would be growing significantly in the film industry as a part of film history.

Walter Benn Michaels uses a quote said by F. Scott Fitzgerald to Ernest Hemingway, “ The rich are different from you and me,” and Hemingway’s reply to said quote, “Yes, they have more money,” to compare diversity and accepting people regardless of their race, sexual identity, disabilities, or background. According to Fitzgerald, what made rich people different was not what they had but what they were. To Hemingway, the difference of what people owned and what they were seemed obvious: what they were was more important rather than what they owned. Even if it is true or not that Fitzgerald made the rich more glamorous than they truly were, he still believed that the fundamental differences ran deeper than the amount of money one had. A great

Over the years, Bollywood has emerged as its own distinct identity in the global Film industry. Bollywood is the global leader in production of movies with a staggering 27,000 featured films and thousands of short films. ( Pillania 1) However, Hollywood is still the leader in revenues generated. Due to the growth of the Indian market and globalization, Bollywood has made its way to the international markets. Globalization is often misrepresented as the growing influence of the western culture in the world and so we tend to state that Hollywood is influencing Bollywood to a great extent. An argument can be made to justify the validity of that statement. However, this paper aims at presenting the influence of Bollywood on Hollywood in

Indeed, to explore the focus of analysis, the study will be completed by applying orientalism criticism proposed by Edward Said. Thereby, this research will be a qualitative research where the data is taken from the film Avatar, library