Positive and Negative Effects of History in Film and Book of Amistad

Positive and Negative Effects of History in Film and Book of Amistad

The film and the book by Jones show how African blacks, who got seized by slave traders, earned their liberty and returned to their homeland. The story revolves around Cuba, America, and Spain. It talks about an event in 1849 that involved Amistad, a Spanish slave ship which got used in the transfer of slaves to the Caribbean. The African slaves revolted against their captors and they ended up killing all except three, the cabin boy, and the two owners of the slaves. The commandeered the ship and forced one of their captors to lead them to their homeland, Sierra Leone, Africa. The captain tricked them and change directions in the night. They finally found themselves in Long Island, American Coast. The slave ship belonged to Spain and when words reached Queen Isabella in Spain of the whereabouts of one of their ships, she requested for the ship and the slaves. A controversy boiled over the fate of the slaves. Two people on board claimed that the slaves belonged to them. According to Spain and America, slave traded had become illegal. While in Connecticut, the slaves got arrested. President John Quincy Adams was in favor of the slaves and called for their release. The judge of U.S Supreme Court, who presided over the cases, freed the slaves and found the claimants guilty of illegal trade. The slaves got freedom to stay in America or return home.

History has the option of being taught using textbooks in the classroom or showing movies on the various books used for studying history. Showing movies is very important because it helps students learn and keep factual information in textbooks that associate with those movies (Bingham 78). Information in the textbook must have consistent with that shown in the movie. However, some movies have episodes or lines different from those that the book they are based on hash. Research shows that watching a film related to a certain textbook, increases students recall of various events by about 50% in comparison with reading the text alone. On the contrary, when the information presented in a film contradict with that present in its relative book, people get tempted to recall the misinformation in the movie (Osagie 4). The power of movies is that they have stronger retention capacity than that of textbooks. Similarly, the recall of misinformation portrayed in the movie still has a 50% capacity of the time. In order to supplement or enhance educational practice, teachers have the responsibility of guarding students against the negative effects of movies that portray contradicting information from those of their relative books. Research shows that people still get subjected to misinformation even if they get briefed about it before watching the movie. However, when warnings get specified about particular inaccuracies get shown before watching the film, the effect of misinformation end.

            Films increases interest and learning in a classroom environment. Teachers and other stakeholders in learning must know that students are susceptible to inaccurate information even if the right information is present in the text . These have problems for the normal educational practices of utilizing movies as a teaching aid. The public also faces these problems as they consume popular movies or films on history. Good films add interest in history and have a lot of information which is accurate. Film producers usually compromise on some facts in the text so that the movie presents a more entertaining story than that in the text. This is what has subjected many movies to inaccuracies as learners are keener on the content of the movie and not the entertaining part. The film Amistad and its corresponding textbook, Mutiny on The Spanish Ship Amistad, show incongruence. The film displays some inaccuracies that misrepresent the textbook. One instance of misinformation presents itself when the film shows Cinque, the leading protagonist, sitting in shackles before U.S Supreme Court as the trial progressed. According to the textbook, Cinque was in prison when the trial was going on. On a general point of view, most information present in the movie and the textbook is similar. In fact, for a non-critical reader, it is difficult to notice the difference any misinformation present in the movie. In all, the movie clearly represents the textbook.

The film revolves between mushy Hollywood platitudes and stoic political correctness. The movie has too much history in it. The much history in the film makes the movie lack a strong flow. The diffuse in nature as it divides its powers among various aspects. It displays the pain and queer experiences that the captives faced during their struggle for liberty under captors (Jones 78). It also brings into effect the U.S presidential elections that were around the corner and legal representatives who argued about the destiny of the 53 African slaves. History is not more diffuse and complex than movies. People have the liberty of choosing characters in their own capacities. For instance, a character like Lewis Tappan gets picked and followed for his best efforts to bring an end to slavery.  Some pro-slavery rowdies ransacked his house in New York and burned in furniture. He had the heart of goodness and justice for all. The spirit of liberty ran in his blood.

 The correctness of the courts that administered the ruling for the African captives is questionable in the minds of many pro-slavery people (Davis 21). Some people say that there are no laws in America that try foreigners for their crime. The crime depicted in the movies was that of killing the captors who boarded the slave ship headed for the Caribbean. Some propose that the court should have proposed a sale of the slaves based on their market values. Others feel that New York, and not Connecticut, was the best place for the trial (Sanello 34).

The book and the film for sure have their own advantages and disadvantages as media for propagating knowledge. Films have the inherent ability of developing interest in students for the story. Most filmmakers add or subtract some content from the original sources or documents that movies base on to meet their aims. Less interesting films are less watched and hence their markets are poor. Filmmakers try their best so that they avoid problems. There are things that make movies eye-catching and endearing (York 9). This involved episodes full of suspense and tension. For them to meet such effects in their movies, filmmakers have to do away with part or add to a section of the story. In so doing, accuracy gets compromised. The realistic representation of the original document is not met. This makes movies unreliable sometimes when looking for information on certain stories. Conversely, books are good sources of information on about particular historical facts. Textbooks are very reliable sources because once published, it is difficult to doctor their content (Morris 34). Moreover, they pass through reviews for accuracy and relevance. Moreover, books are usually the first source of information on certain topics because they get written by those who experienced the facts. Unlike books, movies get information from textbooks, translate and produce similar information through acting. During the process of translation, the original information gets vulnerable to change, and hence a change of meaning. The best source of information on history is books or other recorded documents. Books are also good, but they sometimes mislead students. Movies serve as teaching aids in educational institutions. Looking at the book and the film on which Amistad get based, the book is the original source while the movie derived its content from the book. The film Amistad represents the book well, but there are instances that the books misinform the moviegoer. Warning people against misinformation present in particular sections is very important so that wrong indoctrination of the people ceases.

Another important aspect of the movie or the film Amistad is how it treats slave trade. Slave trade is one aspect of history that the movie displays. Slave trade thrived in the olden days. Slaves from Africa got traded for other products. The transatlantic trade involved sale Africa, US, and Europe. Slaves were taken to plants to work as laborers. Most of those firms were plantations. In the movie and text, Amistad, African slaves got sold to a Spaniard in Cuba and they board a ship to the Caribbean. The 53 Africans on board revolted against their captors on their way to the Caribbean (Bingham 56). They killed all their captors except three. They forced the remaining chapters to lead them to Africa, their homeland. This is a show of how worse slavery was. Slavery was a very bad act during the Trans-Atlantic trade. The African slaves in Amistad serve to display slavery in a way that suggests that it is worse than death. The Africans killed their captors just in search for freedom. Moreover, when the slave ship reached the shore of U.S, some people reacted differently towards slave trade. Some of the residents of Connecticut expected nothing but a sale of the slaves so that they could get a share. Many sharp reactions came from the government of Spain and U.S.  Slave trade was illegal. The government of Spain through Queen Isabella, requested a transfer of the slaves and Amistad to Spain. She claimed that the slaves belonged to Spain. Government of U.S said that the slaves could not go to Spain because the slave trade was long banned. President of U.S supported the pleas made by the slaves. He proposed for their release. This was a campaign gimmick for the president. The judge of the U.S Supreme Court, who ruled the case, ruled in the favor of the slaves. This was a show of the end of slave trade in America.

One disadvantage of the movie is that there exist unjustified aspects that it propagates. Murder is very bad. The slaves got charged through partial application of the law. The slaves murdered many captors but went unpunished (Zafiris 89). This is the worst aspect of the movie. The law that got used to punish the two owners of the slave should also apply to the captives. Since the slaves murdered, the government should have charged them with murder. This part of the film displays double standards of the American law.

Given the above two sources of information, as a teacher one should embrace both during teaching. They both add value to education in different ways. For better and better understanding, the film is used as an educational aid. This helps students who had difficulties with class notes understand what was not clear (Schwartz 10). The textbook is the first source of information. This is because it has all the relevant facts that learning the various topics in its need. It has the option of being referenced easily because students carry them anywhere. Movies are only important in supplementing the textbooks. However, movies may misrepresent the original information. Filmmakers usually add or remove some parts of the original information when they are looking for ways that make their movies interesting. Films are also good sources of information but they should warn viewers against any view or aspect of it that is incorrect during their starts.

From the above discussion, it is obvious that books and film make good sources of information. They form the basis of history. Amistad is one good representation of a book and a film that relate. However, the film has some of its parts different from those in the book. This makes it inaccurate. These parts need specification during the start of the movie so that viewers get the correct information. The main advantage of movies is that people have a long retention capacity than those of textbooks. In all, books and films are essential for learning.

Works Cited

Bingham, Dennis. Whose Lives Are They Anyway?: The Biopic As Contemporary Film Genre.

            New Brunswick, N.J: Rutgers University Press, 2010. Internet resource.

Davis, Natalie Z. Slaves on Screen: Film and Historical Vision. Cambridge, Mass: Harvard

            Univ. Press, 2000. Print

Morris, Nigel. The Cinema of Steven Spielberg: Empire of Light. London: Wallflower, 2007.


Osagie, Iyunolu F. The Amistad Revolt: Memory, Slavery, and the Politics of Identity in the

United States and Sierra Leone. Athens: University of Georgia Press, 2000. Internet resource.

Sanello, Frank. Spielberg: The Man, the Movies, the Mythology. Lanham, Md: Taylor Trade Pub,

            2002. Print.

Schwartz, Barry. Abraham Lincoln in the Post-Heroic Era: History and Memory in Late

Twentieth-Century America. Chicago: University of Chicago Press, 2008. Internet resource.

York, Neil L. Fiction As Fact: The Horse Soldiers and Popular Memory. Kent, Ohio: Kent State

            University Press, 2001. Print.

Zafiris, Anna. The Representation of African Americans in Steven Spielberg’s ‘amistad’.

            München: GRIN Verlag, 2010. Internet resource.

Jones, Howard. Mutiny on the Amistad: The Saga of a Slave Revolt and its

Impact on American Abolition, Law and Diplomacy. Oxford University Press,1997.

Place this order or similar order and get an amazing discount.

Simple Steps to get your Paper Done
For Quality Papers

Live Music in Silent Film Era:

Live Music in Silent Film Era:


According to Cook (2005) the era of the silent film extends from the late 18th C, with the initial work by the Edison and Lumiere Brothers in America and France respectively, into the beginning of 1930s, when silent film paved way for the talkies. Nevertheless, a number of scholars locate the silent film era in America between 1910 and 1920, when it developed to a relatively organized film sector privileging the multi-real concept film following the nickelodeon’s waning, the move from original New Jersey and New York headquarters to Hollywood, and the competition decline from European filmmakers as a result of the World War I twelvereel feature by D.W Griffiths, (The Birth of a Nation 1915), which a major cinematic and commercial achievement indicating a number of the directions the sector was to adopt going into the 1920s. Whereas the term silent in respect to silent film refers to the lack of coordinated sound, early film was distinct from the silent film in other aspects (Cook, 2005).

 Live Music as an aspect of Silent Film Era

Presenting the silent films nearly all the time featured live music, beginning with a pianist at initial public show of film on December 28th, 1985 by Lumiere Brothers in Paris. At the beginning live music was viewed to be important contributing to the setting and offering the audience essential emotional cues. Small neighborhood and town cinema theaters normally had a pianist. As McCaffrey and Christopher (1999) point out at the start of the mid 1910s, huge city film theaters appeared to have ensembles or organists of musicians.  Huge theater organ were developed to bridge the gap between a huge orchestra and a mere piano soloist. The theater organs had a variety of unique effects, theatrical organs for instance the renowned Mighty Wurlitzer were capable of simulating certain orchestral sounds as well as various percussion effects for example the cymbals and bass drums and sound effects ranging from rolling thunder to galloping horses.

According to Greiveson and Peter (2004) starting from the era of the nickelodeon into the 190s, cinemas went along with live music performance, ranging from reed organs or single pianos to big orchestras, based on the location and nature of the venue that also varied from small front-store theatres to multi-seat picture palaces.   Certain studio features came with meticulously-composed melodic scores, and   nearly all with cue sheets, which hinted musical themes for particular scenes. In most cases, solo musicians that were professionals at reading and interpreting visual cues of the cinema improvised the score on the spot, and the exhibitors as well drew on huge published sheet music collections suitable for the stock scene forms.  The theaters within the silent era, apart from musical accompaniment, could deploy lecturers or descriptive talkers to narrate the cinema, in some instances from printed object of differing level of specificity. Some lecturers invented dialogue not included, for example on the inter-titles.  Within the urban immigrant communities, this element was depicted as a way of self-improvement, and it for a long time it continued to be used when the clarity of visual narrative was compromised.  With the feature cinema becoming the core product of the industry, the deployment of lecturers went down and the application of title cards for the purposes of dialogue got more realistic, and with time displacing exposition cards. Bowser (1994) posts that Warner Brothers in 1925 developed Vitaphone system, disc sound system which started the end of the silent cinema, producing The Jazz Singer, two years later, nevertheless silent cinema continue to be produced in the 1930s and the Modern Time (1936) of Charlie Chaplin is a number of occasions have been noted to be the last silent cinema. As a matter of fact, it is hard to envisage the cinematic experience in the course of the silent era due to the individualism in regard to the varieties both of projection and aural accompaniment.

Cook (2005) argues that even though the standard speed for projection was 16fps, exhibitors could project cinemas slower or faster than the talking speed to make sure that the film started and ended within the proscribed time. As a medium developed from theater, vaudeville, and still photography, silent cinema adapted a number of their presentational techniques as the era progressed, nevertheless, the cinema industry diligently worked to become more reputable, trying to delink its products from the once peddled by nickelodeons and vaudeville houses. Whereas older distribution methods and venues persevered, the grand film palaces of the silent period exaggerated the uplift movement’s goals to create a friendly-family, clean and safe environment for the middle-class orderly audience in an economical style with impressive orchestras, elegant lobbies and vast seating areas. In spite of the growth of the picture palace, smaller theaters remained the most prevalent with a number of them having a seating capacity of less than 500 seats. The Roxy Theater situated at the heart of New York City, which showed off for its 6,214 seats were indeed opulent, however it represented a unique case.

At the onset of the 1920s, there were about fifteen thousand theaters in the US and charging admission fees of between 10 and 25 cents. Out of this number, most of them were in rural areas as opposed to urban settings.  The theaters presented different entertainments in a balanced method that increased in length as the era progressed. A classical mid-1920s bill could comprise combinations of a novelty film or brief comedy, a live revue, a lantern slide show, news weekly, a feature film and a musical overture (McCaffrey and Christopher, 1999). 

Cinema exhibitors sough to start and wind up the program at particular times, which in some instance implied, apart from speeding up the projection, removing reels from the feature, or even leaving out some menu items, to put up with the repeated group audiences. Within the increase of the large theaters, the need for quick audience turnover declined and the multireel feature cinema developed into the core attraction.

According to McCaffrey and Christopher (1999) film scores during the initial stages of the silent film were either complied or improvised with theatrical or repertory music. Once complete of features became humdrum, nonetheless music was developed from the photoplay music by orchestra conductor, organist, the movie studio or the pianist and also comprised of a cue sheet.  Such cue sheets were normally very lengthy, with well developed notes about the moods and effects to watch for. Beginning with the very initial score by Carl Joseph Breil for D.W Griffith’s (The Birth of a Nation 1915), a groundbreaking epic it became quite common for the huge-budgeted movies to get to the exhibition theater with specifically original scores.  Nevertheless, the original full blown designates scores were developed earlier in 1908, by Mikhail Ippolitov-Ivanov and Camille Saint-Saens for the Stenka Razin and The Assassination of the Duke of Guise.

When the pianists and organist used sheet music, they could still blend it with improvisatory flourishes to enhance the screen drama. Even if the special effects musical effects were not shown on the score, when an organist was performing a theater organ capable of producing a bizarre sound effect, for example the effects of galloping horses, it could be applied for theatrical horseback chases as Greiveson and Peter Kräme pointed out.

At the peak of the silent film era, movies were the main source of job o for the percussion musicians, mainly in America.  However, the overture of talkies, which simultaneously took place with the beginning of the Great Depression, was overwhelming to most musicians.  A couple o countries devised other processes of bringing creating sound to the silent film. The initial Brazilian cinema filmed fitas cantatas; featured operettas with musicians performing at the backstage. In Japan, movies not only had live music, but also a live narrator (the benshi) who provided character voices and commentary. The live narrator was a central feature of the Japanese silent film, and also offering translation for foreign mainly in American films.  The main reason for the persistent of the silent film in Japan well into the 1930s was due to the benshi’s popularity.

A couple of film scores thrive intact from this era and musicologist remain confronted with questions when they try to accurately reconstruct the remaining once. Scores could be differentiated as entire reconstructions of composed scores, lately composed for function, developed from the already existing theatrical libraries or can be improvised (Cook, 2005).

The enthusiasm in silent film scoring somewhat fell out o fashion in the course of 1960s and 1970s. Some argue that in a number of repertory cinemas and college film features, which audiences were to experience silent film as a visual pure medium, undisturbed by music. This notion could have been promoted by poor music track quality found in reprints of a number of silent films during that era. Of later, there has been restoration of interest in showcasing of silent films with excellent musical scores, either cue sheets or reworkings of epoch scores or composing of suitable initial scores.

A watershed occasion in this aspect according to McCaffrey and Christopher (1999), was Brownlow Kevin’s 1980s revival of Abel Gance’s Napoleon (1927), filming a score by Davis Carl. Brownlow’s rival was then after distributed in America shortened or re-edited by Ford Francis Coppola accompanied with live music score developed by his father Carmine Coppola.

The revival of Metropolis (1927) in 1984 with novel score by composer and producer Moroder Giorgio was also another great event in the contemporary interest in live music in the silent films.  Although the modern-day score that comprised of pop songs produced by Freddy Mercury of Pat Benatar, Queen and Anderson Jon of Yes was contentious, they open a new chapter for novel approach to showcasing of typical silent films. Johannes Heesters (1903-2012), the German-Dutch film star is such one of the handful silent era actors who still remain active in the 21st C (McCaffrey and Christopher, 1999). 

Currently music ensembles perform contemporary and traditional scores of the silent movies. The traditional approach of the purveyors comprised organists for example Dennis James and pianist for example Donald Sosin, William P. Perry, Ben Model, Philip Carli, Gunter Buchwald, and Neil Brand. Music conductors for instance Carl Davis have compiled and written scores for a number of silent films. A part from producing fresh film scores, Brock Timothy has revived a number of scores by Charlie Chaplin. Joana Seaton, the wife to Sosin Donald focused in adding voice to the silent cinema, especially where there was onscreen music that gains from hearing the actual music that is being performed (Bowser, 1994).Silent films of this category according to Bowser (1994), comprise Phantom of the Opera by Julian with Virginia Pearson and Mary Philbin, Evangeline by Carew with Dolores del Rio and Lady of the Pavements by Griffith with Lupe Velez. 

Greiveson and Peter (2004) assert that the other modern pianists (such as Gabriel Thibaudeau and Stephen Home) normally work in not so traditional styles. The modern day orchestral ensembles are assisting to reintroduce typical silent cinemas to wider audience by applying a wide range of approaches and musical styles. Certain performers develop fresh compositions deploying traditional percussion instruments whereas some add modern harmonies, electronic sounds, sound design, improvisation and rhythm elements to improve the experience of watching the film. Some of the modern day ensembles from this group include Silent Orchestra, Club Foot Orchestra, and Alloy Orchestra. Other performers have established this practice as Zaragoza (Jaime Lopez, Spain) free and public offering his musicmuda blog editions of the most popular films of the silent era film.

As earlier indicated a silent cinema is a cinema that comprises solely of the picture, meaning it does not have sound.  The concept of blending motion picture together with recorded vocals or sound is almost as old as the motion picture itself, however prior to 1920s, a number of cinemas were silent. The days prior to the arrival of sound to the films are referred to as the silent period, among the historians and film scholars. The motion picture concept developed into complete maturity before talking picture replaced the silent films and many cinema buffs argue that the quality of film in a sense declined for a couple of years, before a novel sound medium was adapted for the cinemas. Because the silent cinema were not able to take the advantage of harmonized sound for purposes of dialogue, titles had to be edited in to elucidate the on-screen presentation to the film and add or improve critical dialog.

Presentation of silent cinema normally were not in actual sense silent, they were usually accompanied with live performance. Originally in the course of the motion picture industry development, it was appreciated that music was an integral component of any film, since provided the audience with expressive cues for the screen actions taking place (Koszarski, 1994). 

The silent film medium needed a greater focus on facial expression and body language to allow the audience to better comprehend what the actor was portraying and feeling on the screen. The contemporary audiences who are not well versed with these cinemas may appear to be overacting to an extreme level. Due to this silent cinemas or comedies seem to be more common in contemporary era as opposed to drama, since overacting tend to be a natural style of comedy.

Literally a number of the film cinemas were developed during the period leading the sound introduction, however a significant percentage of those cinemas (historians approximate about 85%) have been forever lost. Films of the first half of the twentieth century were developed on highly flammable, unstable nitrate film stock that needed vigilant preservation to conserve them from decomposing as time went by. A lot of the movies were not preserved, and as a result their prints gradually crumbed into the dust. Some of them were recycled and a good number were wiped out in studio fires.


The importance of the silent film epoch in cinema history cannot be overemphasized. In the course of the beginning of the 20th Century, a truly money-making famous art emerged closely bound to the modern America image. Because of the established of synchronized sound, the silent film period drew to an end, however the modes of consumption, exhibition, distribution, and production inaugurated in the course of the silent cinema period persisted, making the film industry what is today known to be.  


Bowser, E.  (1994).The Transformation of Cinema: 1907-1915. History of the American Cinema.   Berkeley: University of California Press.

Greiveson, Lee and Peter Krämer. (2004). The Silent Cinema Reader.  New York: Routledge.

Koszarski, R. (1994).  An Evening’s Entertainment: The Age of the Silent Feature Picture, 1915-1928. History of the American Cinema. Berkeley: University of California Press.  . 

McCaffrey, D. W. and Christopher P. J.(1999).  Guide to the Silent Years of American Cinema.  London: Greenwood Press.

Cook, D. A. (2005). A History of Narrative Film, 2nd edition. New York: W.W. Norton.

Place this order or similar order and get an amazing discount.

Simple Steps to get your Paper Done
For Quality Papers

a film review

A movie review on The Twilight Zone: The Obsolete Man including a summary, analysis and evaluation. Questions to consider answering in the essay: What is the significance of the title? What sort of government is depicted and what are its principles? Who is the chancellor and what are his roles and beliefs? What bible verses are quoted and how are they significant? How does this society view faith or religious beliefs? Ironically the chancellor is obsolete, what does the author of this episodes seem to be saying?

I have provided the link below to the video.



“Looking for a Similar Assignment? Get Expert Help at an Amazing Discount!”

The post a film review first appeared on nursing writers.

Place this order or similar order and get an amazing discount.

Simple Steps to get your Paper Done
For Quality Papers

film recommendation 1 – Essay Writers

Example : I have chosen film, cinema, in my work in order to theorize difficult questions regarding democracy and difference. There are, however, many points of caution in choosing to use film. Films often can reinforce and affirm stereotyped and demeaning images of others; that is, film is as effective a tool for installing as it is for challenging and overcoming oppression. However, as I write in Chapter One, the fictionalized realism of film can allow for a sharing of the different experiences that individuals live through and can serve as a helpful tool to uncover the raw materials that make up our various social or cultural identities. In other words, and more specifically, film and film criticism facilitate the search for a location from which to envision a democratic politics in ways that are respectful of difference and that quite possibly can contribute to the transformation of one’s sensibilities by providing an opportunity to theorize and imagine a new or emerging politics from a position of eyewitness
Identify two American films not presented in class that you believe have the potential to transform one’s political sensibilities pertaining to deep differences. In addition to your recommendations, be sure to give a full citation and a short abstract for each of the two films you suggest. ( Film has to be released within in 5 years.)
Please DO NOT choose any film from the list below :
Beach Rats, 2017; Directed by Eliza Hittman
Boys Don’t Cry, 1998; Directed by Kimberly Pierce
Boyz ‘N the Hood, 1991; Directed by John Singleton
Call Me By Your Name, 2017; Directed by Luca Quadagnino Cesar Chavez: An American Hero, 2014; Directed by Diego Luna Do the Right Thing, 1989; Directed by Spike Lee
Get Out, 2017; Directed by Jordan Peele
Loving, 2016; Directed by Jeff Nichols
Milk, 2008; Directed by Gus Van Sant
Moonlight, 2016; Directed by Barry Jenkins
My Own Private Idaho, 1991; Directed by Gus Van Sant Selma, 2014; Directed by Ava DuVernay
Smoke Signals, 1998; Directed by Chris Eyre
Stonewall: Where Pride Began, 2015; Directed by Roland Emmerich Straight Outta Compton, 2015; Directed by F. Gary Gray
The Birth of a Nation, 2016; Directed by Nate Parker
Twelve Years a Slave, 2013; Directed by Steve McQueen
*13th, 2016; Directed by Ava DuVernay
A Place of Rage, 1991; Directed by Pratibha Parmar
America in Black & White: A Question of Identity, 2003; Films for Humanities and Science
A Family Portrait, 2011; Directed by Melissa Leu and Jeff Haig (Student Film)
Cultural Criticism & Transformation, 1997; Featuring bell hooks and Directed by Sut JhallyEthnic Notions, 1986; Directed by Marlon Riggs
Exploring Society: Gender, 2005
Exploring Society: Race and Ethnicity, 2005
Exploring Society: Social Class, 2008
Further Off the Straight and Narrow: New Gay Visibility on Television, 2006; Katherine SenderGeneration M: Misogyny in Media and Culture, 2013; Directed by Thomas Keith
How Racism Harms White America, 2013; Directed by John Bracey
*I Am Not Your Negro, 2016; Directed by Raoul Peck
Latinos Beyond Reel: Challenging a Media Stereotype, 2012
Off the Straight and Narrow: Lesbians, Gays, Bisexuals & Television, 1998
On White Privilege, 2008; Featuring Tim Wise
Reel Bad Arabs: How Hollywood Vilifies a People, 2006; Directed by Sut Jhally
Responding to Diversity; 2011; Directed by Rise Sanders Weir and Tracy Ullman
Soundtrack for a Revolution, 2009; Directed by Bill Guttentag
The Brandon Teena Story, 1998; Directed by Susan Muska and Greta Olafsdottir
The Bro Code: How Contemporary Culture Creates Sexist Men, 2011; Directed by Thomas Keith*The Celluloid Closet, 1995; Directed by Rob Epstein and Jeffrey Friedman
The Empathy Gap: Masculinity & The Courage to Change, 2015; Directed by Thomas Keith
The Origins of Cultural Studies, 1989 ; Featuring Stuart Hall
*The Times of Harvey Milk, 1984; Directed by Rob Epstein
White Like Me, 2013; Featuring Tim Wise and Directed by S. Morris
Do you need a similar assignment done for you from scratch? We have qualified writers to help you. We assure you an A+ quality paper that is free from plagiarism. Order now for an Amazing Discount!Use Discount Code “Newclient” for a 15% Discount!NB: We do not resell papers. Upon ordering, we do an original paper exclusively for you.

Place this order or similar order and get an amazing discount.

Simple Steps to get your Paper Done
For Quality Papers

What was the film about? Did the film accurately portray the historical evidence found in your research?

For your second course project, I want you to find a film that reflects history of another country of your choosing. The film should be older than ten years and should depict an issue or a historical event of that country.
It should be between 3-5 pages using a film, research material (academic journals and/or newspaper articles), and cited.
1. Select a film that best represents another country’s history produced at least 10 years ago (no recent films).
2. Consider the time frame, the social, political or economical issues of the  piece.
3. Conduct research on the time frame, issue or historical event it is based on (people, place, time, issues) by looking up articles, journals, etc (cite your sources).
4. Questions to consider: What was the film about? Did the film accurately portray the historical evidence found in your research?


“Looking for a Similar Assignment? Get Expert Help at an Amazing Discount!”

The post What was the film about? Did the film accurately portray the historical evidence found in your research? first appeared on nursing writers.

Place this order or similar order and get an amazing discount.

Simple Steps to get your Paper Done
For Quality Papers

paper about the film quot the ballad of gregorio cortez quot relating to chicano history

Please type a two-page, double space, with one inch margins summary and experience of
The Ballad of Gregorio Cortez.

a. you must identify the novel, film/documentary, play, event or art exhibit in the
introduction. This includes the date, location, time and short description of your topic.
b. explain what you learned, this does not mean you give a play by play of an entire
book, documentary, book
c. how it relates to the course,
d. and your experience/reaction
Do you need a similar assignment done for you from scratch? We have qualified writers to help you. We assure you an A+ quality paper that is free from plagiarism. Order now for an Amazing Discount!Use Discount Code “Newclient” for a 15% Discount!NB: We do not resell papers. Upon ordering, we do an original paper exclusively for you.

Place this order or similar order and get an amazing discount.

Simple Steps to get your Paper Done
For Quality Papers

What are the arguments made in each film regardingtransgenderhistory andcurrenttransgenderissues?

What are the arguments made in each film regarding transgender history and current transgender issues?

Then for homework, you must answer the following questions in ESSAY FORMAT (350 words minimum):

  • What are the arguments made in each film regarding transgender history and current transgender issues?
  • According to the films, what do transgender people want and need today?
  • How do the films relate to topics we’ve been discussing in class?
  • What did you learn from the films in relations to course discussions, the eText, and other resources we’ve covered?
  • Would you recommend these films for use in other human sexuality classes? Why or why not?

Place this order or similar order and get an amazing discount.

Simple Steps to get your Paper Done
For Quality Papers

3-4 pagesSimilar to film and music reviews which

3-4 pagesSimilar to film and music reviews which analyze and critique the whole work, a review of a play or musical should also critique the production as a whole, in addition to its variety of elements. The purpose of a review is to provide a potential audience with an unbiased opinion of the production, supported by facts.This last written assignment requires you to attend one UT Department of Theatre and Film production this semester — THE IMAGINARY INVALID or THE IMPORTANCE OF BEING EARNEST. This assignment is to analyze and critique the production, using theatrical terminology, not merely liking or disliking the play (do not turn in a rewritten version of the plot summary)Like any written essay, a theatre review should contain an introduction, body and conclusion. Elements that could be discussed in this review (but are not limited by) include:introductory material (name of the play or production, playwright, performance location, date)the productions themes and/or playwrights voice (what he/she was trying to say)expected audience responsevisual elements (set design, costumes, lighting, sound and/or music) and how they support (or dont support) the productionartists performances (actors and their roles, director, designers), including their honesty/believabilitysuccessful moments in the play vs. unclear onesconclusion or overall impression of the productionThis theatre review should be based on the live theatrical performance seen here at UT, not a film version or other school’s production. In general, your assignment should be typed and proofread, at least 3-4 pages in length. Think creativity, originality (such as images, links, etc.) and presentational choices (such as Word, Powerpoint, Prezi, audio files, etc.) — reviews are no longer just printed in newspapers or magazines, reviews are also found on television, radio and the internet. Be careful of spelling, grammar, capitalization, punctuation, and MLA guidelines. Remember to document any outside sources you use. Early submissions are always accepted.

Place this order or similar order and get an amazing discount.

Simple Steps to get your Paper Done
For Quality Papers

This assignment provides an opportunity to apply psychological theory in the exploration of a book or film. Students choose a film or book of special interest.

This assignment provides an opportunity to apply psychological theory in the exploration of a book or film. Students choose a film or book of special interest..

This assignment provides an opportunity to apply psychological theory in the exploration of a book or film. Students choose a film or book of special interest. The book or film should have content that can be meaningfully explored through application of psychological theory and research. Students can look at some of the later chapters in the text that deal with emotion, motivation, personality, the development of the individual over the life span, health and stress, and psychological disorders and treatment, so that they have a more complete idea of different concepts that might apply.

Students might pick a movie or book in which the main character suffers from a psychological disorder or is merely trying to cope with the everyday stress of life. Students might discuss defense mechanisms or refer to developmental stages in the person’s life that might have been important, or consider the effects of abuse, alcoholism and addiction, etc. Students can approach the subject matter from different perspectives—psychoanalytical, biological, behavioral, cognitive, and/or sociocultural. They can discuss the role emotion, memory, or motivation plays in the character’s development, or the importance of the environment, and
influences such as racism and sexism.

This is a research-based paper, and the film or book
provides only the backdrop for research on a psychological topic. You should use at least one psychological, peer-reviewed reference in addition to the textbook.

The paper should be 1,200 to 1,500 words, about 5 double-spaced pages


This assignment provides an opportunity to apply psychological theory in the exploration of a book or film. Students choose a film or book of special interest.

Place this order or similar order and get an amazing discount.

Simple Steps to get your Paper Done
For Quality Papers

Evaluate the impact of the ethical issue(s) portrayed in the film on the nursing profession

Evaluate the impact of the ethical issue(s) portrayed in the film on the nursing profession.

Genetics: My sisiter’s Keeper PG-13


Assignment: Ethical Principles: Film Review Paper The practice of professional nursing challenges nurses to navigate ethical dilemmas in practice as they advocate for effective, ethical health care. Ethical principles provide guidance for the nurse charged with making ethical decisions while caring for their patients.

As stewards of ethical practice, nurses are responsible to uphold the professional standards outlined in the Code of Ethics for Nurses with Interpretative Statements ‘The Code’ (American Nurses Association, 2015). The ability of the nurse to identify and analyze ethical dilemmas is a critical professional competency. The opportunity to demonstrate an understanding of the four classic ethical principles: autonomy, beneficence, non-maleficence, and justice assists the nurse to meet ethical obligations of care. Reference: American Nurses Association (2015) Code of ethics for nurses with interpretative statements . Silver Spring, MD: Fowler. Assignment Criteria: After viewing the selected film from the list of films provided by the instructor, develop a scholarly paper that includes the following: 1. Provide a brief introduction of the selected film that includes a title, year released, genre, and main theme. 2. Provide a one paragraph summary of the selected film. 3. Identify and discuss the ethical issue(s) identified in the film. 4. Define each of the four ethical principles: autonomy, non-maleficence, beneficence, and justice a.

Provide examples from the film that relate to each relevant principle b. Note: If the film does not address one of the principles acknowledge the omission in the paper 5. Compare the film’s portrayal of the issue to current legal and ethical issues in the practice of professional nursing. 6. Evaluate the impact of the ethical issue(s) portrayed in the film on the nursing profession. 7. The scholarly paper should be 4-5 pages excluding the title and reference page. 8. Include an introductory paragraph, purpose statement, and a conclusion. 9. Include level 1 and 2 headings to organize the paper. 10. Write the paper in third person, not first person (meaning do not use ‘we’ or ‘I’) and in a scholarly manner. To clarify I, we, you, me, our may not be used. In addition, describing yourself as the researcher or the author should not be used. The exception to this rule is if/when you do the reflective piece as it relates to your position (values) at the end.

Evaluate the impact of the ethical issue(s) portrayed in the film on the nursing profession

Place this order or similar order and get an amazing discount.

Simple Steps to get your Paper Done
For Quality Papers