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Author: Malte Can
Publisher: GRIN Verlag
ISBN: 364092696X
Category : Performing Arts
Languages : de
Pages : 25
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Book Description
Studienarbeit aus dem Jahr 2011 im Fachbereich Filmwissenschaft, Filmakademie Baden-Württemberg in Ludwigsburg, Sprache: Deutsch, Abstract: Der Stempel Mainstream verheißt in den seltensten Fällen etwas "Gutes"1. Im Gegenteil: Selbst in jenen Besprechungen, die einen massenwirksamen Film als gelungene Ausnahme markieren, stigmatisieren sie meist im gleichen Atemzug a priori die Gattung als Ganzes als etwas, was sich geistig nicht lohne.2 Oder unternehmen Versuche, die Ausnahme wieder ins stereotype Licht zurückzusetzen3, in dem auf die außergewöhnliche Voraussetzungen, die zu diesem einzigartigen Resultat geführt haben, mehr eingegangen wird, als auf den Film (als Text) selbst. A HISTORY OF VIOLENCE gehört als sog. Ausnahme in den Kern dieser Debatte, wird er von Kritikern als Cronenbergs kommerziellste Arbeit eingeschätzt4 und zugleich dafür kritisiert, wenn Der Tagespiegel gar fragt, ob Cronenberg sich etwa in den Mainstream verirrt habe5; suggerierend, dass dieser Begriff ein Universum sei, das man tunlichst zu meiden habe. Erstaunlich ist dabei, dass das mit Kitsch und Eskapismus assoziierte "Unwort" schwerlich von der Zielgruppe selbst verwendet wird, wird man den "Mainstreambegriff kaum im Foyer eines Multiplex"6 hören. Als habe die Kritik exklusiv für sich gepachtet um mittels dieses Vokabulars zwischen Kunst und Massenware zu polarisieren, wenn im Mainstream mal wieder ein minderwertiges "Kino der anderen"7 gesehen werden soll. Dabei wird selten selbst ein objektiver Begriff dieser Gattung vorgenommen. Am Beispiel von Cronenbergs A HISTORY OF VIOLENCE soll dargestellt und diskutiert werden, wie sich im Mainstreamkino Erzählweisen herausgebildet haben, die von den idealtypischen Merkmalen des Classical Cinema of Narration (nach David Bordwell) signifikant abweichen respektive ob diese "Flexibilisierungen der (Erzähl-)Konzepte"8 überhaupt noch von einem eindeutigen, abweichbaren Schemata des Unterhaltungskinos ausgehen können oder ob es selbst nicht vielmehr
Author: Malte Can
Publisher: GRIN Verlag
ISBN: 364092696X
Category : Performing Arts
Languages : de
Pages : 25
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Book Description
Studienarbeit aus dem Jahr 2011 im Fachbereich Filmwissenschaft, Filmakademie Baden-Württemberg in Ludwigsburg, Sprache: Deutsch, Abstract: Der Stempel Mainstream verheißt in den seltensten Fällen etwas "Gutes"1. Im Gegenteil: Selbst in jenen Besprechungen, die einen massenwirksamen Film als gelungene Ausnahme markieren, stigmatisieren sie meist im gleichen Atemzug a priori die Gattung als Ganzes als etwas, was sich geistig nicht lohne.2 Oder unternehmen Versuche, die Ausnahme wieder ins stereotype Licht zurückzusetzen3, in dem auf die außergewöhnliche Voraussetzungen, die zu diesem einzigartigen Resultat geführt haben, mehr eingegangen wird, als auf den Film (als Text) selbst. A HISTORY OF VIOLENCE gehört als sog. Ausnahme in den Kern dieser Debatte, wird er von Kritikern als Cronenbergs kommerziellste Arbeit eingeschätzt4 und zugleich dafür kritisiert, wenn Der Tagespiegel gar fragt, ob Cronenberg sich etwa in den Mainstream verirrt habe5; suggerierend, dass dieser Begriff ein Universum sei, das man tunlichst zu meiden habe. Erstaunlich ist dabei, dass das mit Kitsch und Eskapismus assoziierte "Unwort" schwerlich von der Zielgruppe selbst verwendet wird, wird man den "Mainstreambegriff kaum im Foyer eines Multiplex"6 hören. Als habe die Kritik exklusiv für sich gepachtet um mittels dieses Vokabulars zwischen Kunst und Massenware zu polarisieren, wenn im Mainstream mal wieder ein minderwertiges "Kino der anderen"7 gesehen werden soll. Dabei wird selten selbst ein objektiver Begriff dieser Gattung vorgenommen. Am Beispiel von Cronenbergs A HISTORY OF VIOLENCE soll dargestellt und diskutiert werden, wie sich im Mainstreamkino Erzählweisen herausgebildet haben, die von den idealtypischen Merkmalen des Classical Cinema of Narration (nach David Bordwell) signifikant abweichen respektive ob diese "Flexibilisierungen der (Erzähl-)Konzepte"8 überhaupt noch von einem eindeutigen, abweichbaren Schemata des Unterhaltungskinos ausgehen können oder ob es selbst nicht vielmehr
Author: Stephen Prince
Publisher: Rutgers University Press
ISBN: 9780813532813
Category : Performing Arts
Languages : en
Pages : 350
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Book Description
Examines the interplay between the aesthetics and the censorship of violence in classic Hollywood films from 1930 to 1968, the era of the Production Code, when filmmakers were required to have their scripts approved before they could start production. A stylistic history of American screen violence that is grounded in industry documentation. [back cover].
Author: Christine Haase
Publisher: Camden House
ISBN: 9781571132796
Category : History
Languages : en
Pages : 240
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Book Description
Contemporary connections between German directors and Hollywood and their implications for German, American, and transnational film.The film histories of Germany and the United States have long been seen as intertwined, but scholarship has focused on émigré works of the 1930s and 1940s, on links between Weimar film and American film noir, and on the conflictedrelationship between directors of the New German Cinema and Hollywood. Recently, German film studies has begun reexamining the interconnection of the two film cultures and focusing on the internationalism of German cinema, but little research has been done on contemporary German directors'' involvement in American cinema, a gap in scholarship that this book fills. The study offers ways of understanding current German cinematic engagement with America and different directorial responses to the hegemonic pressures of Hollywood. It delineates the historical trajectory of German-American film relations in the 20th century, then analyzes the careers and works of four German-born directors who have significant ties with American cinema: Wolfgang Petersen, Roland Emmerich, Percy Adlon, and Tom Tykwer. A series of close readings of their productions isolates the cinematic practices and strategies with which these filmmakers negotiate the different national cultural and cinematic paradigms they traverse. The book analyzes constructions of national cultural identity, probes the boundaries of national cinemas, and expands our understanding ofemerging hybrid film cultures. It is a contribution to German film studies and to the emerging field of transnational film studies. Christine Haase is Associate Professor of German at the University of Georgia.s of four German-born directors who have significant ties with American cinema: Wolfgang Petersen, Roland Emmerich, Percy Adlon, and Tom Tykwer. A series of close readings of their productions isolates the cinematic practices and strategies with which these filmmakers negotiate the different national cultural and cinematic paradigms they traverse. The book analyzes constructions of national cultural identity, probes the boundaries of national cinemas, and expands our understanding ofemerging hybrid film cultures. It is a contribution to German film studies and to the emerging field of transnational film studies. Christine Haase is Associate Professor of German at the University of Georgia.s of four German-born directors who have significant ties with American cinema: Wolfgang Petersen, Roland Emmerich, Percy Adlon, and Tom Tykwer. A series of close readings of their productions isolates the cinematic practices and strategies with which these filmmakers negotiate the different national cultural and cinematic paradigms they traverse. The book analyzes constructions of national cultural identity, probes the boundaries of national cinemas, and expands our understanding ofemerging hybrid film cultures. It is a contribution to German film studies and to the emerging field of transnational film studies. Christine Haase is Associate Professor of German at the University of Georgia.s of four German-born directors who have significant ties with American cinema: Wolfgang Petersen, Roland Emmerich, Percy Adlon, and Tom Tykwer. A series of close readings of their productions isolates the cinematic practices and strategies with which these filmmakers negotiate the different national cultural and cinematic paradigms they traverse. The book analyzes constructions of national cultural identity, probes the boundaries of national cinemas, and expands our understanding ofemerging hybrid film cultures. It is a contribution to German film studies and to the emerging field of transnational film studies. Christine Haase is Associate Professor of German at the University of Georgia.paradigms they traverse. The book analyzes constructions of national cultural identity, probes the boundaries of national cinemas, and expands our understanding ofemerging hybrid film cultures. It is a contribution to German film studies and to the emerging field of transnational film studies. Christine Haase is Associate Professor of German at the University of Georgia.
Author: J. David Slocum
Publisher: Routledge
ISBN: 1135204918
Category : Performing Arts
Languages : en
Pages : 320
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Book Description
American cinema has always been violent, and never more so than now: exploding heads, buses that blow up if they stop, racial attacks, and general mayhem. From slapstick's comic violence to film noir, from silent cinema to Tarantino, violence has been an integral part of America on screen. This new volume in a successful series analyzes violence, examining its nature, its effects, and its cinematic and social meaning.
Author: David Cotner
Publisher: Nine-Banded Books
ISBN: 9781735643847
Category :
Languages : en
Pages : 0
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Book Description
Once in a century, a book comes along that both defines a genre - and defies it. This is that century. This is that book. The book is A History of Violence (1973). A memoir of the human race. Its concept is simple: take the date in 1973 on which a violent film was first screened - and go beyond the film to see the world that exists outside the theatre. It's a book that realizes that the line between life and cinema is as much a horizon as it is a terminator. A History of Violence (1973) takes you across that horizon to places in time you never even imagined existed. Because bombs don't explode in only one direction. 169 films. The brutal and transgressive sex films (Forced Entry; High Priestess of Sexual Witchcraft; Teenage Jailbait). The films of cinematic masters like Brian De Palma (Sisters), Terence Malick (Badlands), and Nicolas Roeg (Don't Look Now). The Italian crime films (Death Carries a Cane; The Flower With the Deadly Sting; Torso). The police procedurals (Blade; The Laughing Policeman; The Marcus-Nelson Murders). The flat-out shocking and bizarre films that can only be appreciated by surviving them (The Hunchback of the Morgue; The Night God Screamed; The Sinful Dwarf).1973. The year that the War in Vietnam ends, military coups convulse Afghanistan and Chile and Rwanda, and the specter of Watergate looms large.1973. The year that a teen thinks his neighbor is using telepathy to make him gay - so he strips him nude, kills him and his entire family, and burns down their house. The year that a husband kidnaps young men and holds them at gunpoint - while they have sex with his wife. The year that a man goes out for a night on the town with a friend - and comes home to find that his wife has murdered their children, then killed herself. 1973. The year of the deaths of writers W.H. Auden and Victor Jara; actors Bruce Lee and Lon Chaney Jr.; and artists Robert Smithson and Pablo Picasso. The year of Skylab and Pioneer and Kohoutek. The year of the mass murders of Edmund Emil Kemper, Herbert William Mullin, Charlie Chop-Off, and The Alphabet Killer. A History of Violence (1973) also stands as a testament to the tireless efforts of law enforcement to solve the violent crimes that grip America. In 1973, America sees the first blue flashing lights that complete the lightbars of today's police cruisers; the breathalyzer comes into common usage; and Dr. Lester Luntz becomes the first forensic odontologist to try to crack a case by obtaining a search warrant to get a cast of a suspect's teeth. A History of Violence (1973). A history book for the history books. A History of Violence (1973) represents the culmination of 20 years of exhaustive research, employing the digital advances that have thrown wide the doors of archives everywhere for a greater understanding of the human condition - both scaling the heights of creation and plunging to the depths of annihilation. With an audience as wide-ranging as true-crime enthusiasts, police detectives and horror movie buffs, A History of Violence (1973) also presents a seething array of lurid and alluring movie advertising art - some unseen for more than 40 years. This isn't the book about violence you thought you wanted. This is the book about violence you knew you needed.
Author: William H. Phillips
Publisher: Macmillan
ISBN: 0312487258
Category : Language Arts & Disciplines
Languages : en
Pages : 780
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Book Description
This clear, well illustrated text takes the reader through the basics of film analysis, drawing on a wide range of film for discussion. Questions of genre and the contexts and meanings of film are considered.
Author: John Wagner
Publisher: Vertigo
ISBN: 9781401231897
Category : Assassins
Languages : en
Pages : 0
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Book Description
Originally published: New York: Paradox Press, 1997.
Author: Édouard Louis
Publisher:
ISBN: 0374170592
Category : Fiction
Languages : en
Pages : 225
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Book Description
"Originally published in French in 2016 by Seuil, France, as Historie de la violence"--Title page verso.
Author: Peter Bondanella
Publisher: Bloomsbury Publishing USA
ISBN: 1501307657
Category : Performing Arts
Languages : en
Pages : 753
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Book Description
A History of Italian Cinema, 2nd edition is the much anticipated update from the author of the bestselling Italian Cinema - which has been published in four landmark editions and will celebrate its 35th anniversary in 2018. Building upon decades of research, Peter Bondanella and Federico Pacchioni reorganize the current History in order to keep the book fresh and responsive not only to the actual films being created in Italy in the twenty-first century but also to the rapidly changing priorities of Italian film studies and film scholars. The new edition brings the definitive history of the subject, from the birth of cinema to the present day, up to date with a revised filmography as well as more focused attention on the melodrama, the crime film, and the historical drama. The book is expanded to include a new generation of directors as well as to highlight themes such as gender issues, immigration, and media politics. Accessible, comprehensive, and heavily illustrated throughout, this is an essential purchase for any fan of Italian film.
Author: B. Hagin
Publisher: Springer
ISBN: 0230275079
Category : Performing Arts
Languages : en
Pages : 211
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Book Description
Boaz Hagin carries out a philosophical examination of the issue of death as it is represented and problematized in Hollywood cinema of the classical era (1920s-1950s) and in later mainstream films, looking at four major genres: the Western, the gangster film, melodrama and the war film.
