Here is the synopsis of our sample research paper on Social Assumptions in “This is Spinal Tap” (1984). Have the paper e-mailed to you 24/7/365.
Essay / Research Paper Abstract
A 6 page paper which examines the film’s structure and devices to define the system of social assumptions the film and filmmaker seem to subscribe to, which includes ideas on race, class, gender, the nature of knowledge, interaction between individuals, and socially-held values. Bibliography lists 3 sources.
Page Count:
6 pages (~225 words per page)
File: TG15_TGspinetap.rtf
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Unformatted sample text from the term paper:
fads and trends, prevails in this unabashedly capitalist society - where everything and everyone is disposable, and equally able of achieving what pop artist Andy Warhol referred to as a
fleeting "fifteen minutes of fame." Celebrity and status are revered, and mortals who achieve fame and fortune are accorded God-like status. Social values have become more monetary than
moral, and the revelations of these so-called beautiful people contain little more than platitudes people want to hear at a given moment in time rather anything profound, deep, or insightful.
These are the basic social assumptions made by filmmaker Rob Reiner in his first feature film, This is Spinal Tap (1984). The way in which he portrays race,
class, gender, the nature of knowledge, interaction between individuals, and socially held values. Upon first glance, the viewer is tempted to believe that This is Spinal Tap is a documentary
or consideration of a real British rock group named Spinal Tap that is attempting to make a comeback in America. Documentaries, also known as cinema verit?s, became popular back
in the early 1960s, with filmmakers like D.A. Pennebaker taking deadly serious approaches to real-life subjects and situations in a blunt and uncompromising manner that demands to be interpreted as
truth (This is Spinal Tap PG). It is the perfect device for Rob Reiner to structure his scathing satire on a vacant society that is shockingly devoid of originality
or ideas. The premise of documentary filmmaker Marty DiBergi (played by Rob Reiner as yet another blurring of appearance and reality) making a movie on a band that is
struggling to recapture the luster of the 1960s enables the real-life director to chronicle the changing times that seem to change only in the sense that commodities have become even
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