The Distortion of Classical Narrative Techniques in Modern Film Using the Example of Vanilla Sky PDF Download
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Author: Christian Schlütter
Publisher: GRIN Verlag
ISBN: 3640365828
Category : Performing Arts
Languages : en
Pages : 41
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Book Description
Seminar paper from the year 2005 in the subject Communications - Movies and Television, grade: 1,3, University of Siegen (Forschungskolleg 615), course: Narration and Film, 10 entries in the bibliography, language: English, abstract: For a long time, most Hollywood directors stuck to a certain kind of narrative strategies to convey their view of the world to the recipient. Movie-conventions were therefore set from the beginning of profitable movie making and were fastened by the rise of big movie studios. In recent modern movies however, some directors have laid extreme interest on not sticking to the conventions and established a kind of non-narrative technique. As a result some of the most astonishing movies of the 90ies and the new millennium were created. The success of some of these movies can be explained by two facts. First of all, the abolishing of movie conventions resulted in the filmic reproduction of stories that had before been said to be unfit for filmic expression. Secondly the movies created drew their fascination from a non-understanding. With no classical movie conventions aligned, these movies seemed disturbing and frightening but it is also this disturbance that mesmerizes the viewer. In this essay I will try to outline in which way narrative conventions are abolished in modern productions and what effect this has on the spectator. To reduce the amount of information and to exemplify certain points I will stick to Cameron Crowe's movie Vanilla Sky (2001) which is based on the motion picture Arbre los Ojos (1997) by Alejandro Amenabar. The choice is justified by a rather confusing structure of the film which corresponds perfectly to the new way of moviemaking and also by the roots of the motion picture in an Off-Hollywood production area. These roots show that, although many non-classical movies have earned a lot of reputation, most moviemakers stick to conventions and that inventions are still entrenched in alternative cinema.
Author: Christian Schlütter
Publisher: GRIN Verlag
ISBN: 3640365828
Category : Performing Arts
Languages : en
Pages : 41
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Book Description
Seminar paper from the year 2005 in the subject Communications - Movies and Television, grade: 1,3, University of Siegen (Forschungskolleg 615), course: Narration and Film, 10 entries in the bibliography, language: English, abstract: For a long time, most Hollywood directors stuck to a certain kind of narrative strategies to convey their view of the world to the recipient. Movie-conventions were therefore set from the beginning of profitable movie making and were fastened by the rise of big movie studios. In recent modern movies however, some directors have laid extreme interest on not sticking to the conventions and established a kind of non-narrative technique. As a result some of the most astonishing movies of the 90ies and the new millennium were created. The success of some of these movies can be explained by two facts. First of all, the abolishing of movie conventions resulted in the filmic reproduction of stories that had before been said to be unfit for filmic expression. Secondly the movies created drew their fascination from a non-understanding. With no classical movie conventions aligned, these movies seemed disturbing and frightening but it is also this disturbance that mesmerizes the viewer. In this essay I will try to outline in which way narrative conventions are abolished in modern productions and what effect this has on the spectator. To reduce the amount of information and to exemplify certain points I will stick to Cameron Crowe's movie Vanilla Sky (2001) which is based on the motion picture Arbre los Ojos (1997) by Alejandro Amenabar. The choice is justified by a rather confusing structure of the film which corresponds perfectly to the new way of moviemaking and also by the roots of the motion picture in an Off-Hollywood production area. These roots show that, although many non-classical movies have earned a lot of reputation, most moviemakers stick to conventions and that inventions are still entrenched in alternative cinema.
Author: Christian Schlütter
Publisher: GRIN Verlag
ISBN: 3638379795
Category : Performing Arts
Languages : en
Pages : 19
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Book Description
Seminar paper from the year 2005 in the subject Communications - Movies and Television, grade: 1,3, University of Siegen (Forschungskolleg 615), course: Narration and Film, language: English, abstract: For a long time, most Hollywood directors stuck to a certain kind of narrative strategies to convey their view of the world to the recipient. Movie-conventions were therefore set from the beginning of profitable movie making and were fastened by the rise of big movie studios. In recent modern movies however, some directors have laid extreme interest on not sticking to the conventions and established a kind of non-narrative technique. As a result some of the most astonishing movies of the 90ies and the new millennium were created. The success of some of these movies can be explained by two facts. First of all, the abolishing of movie conventions resulted in the filmic reproduction of stories that had before been said to be unfit for filmic expression. Secondly the movies created drew their fascination from a non-understanding. With no classical movie conventions aligned, these movies seemed disturbing and frightening but it is also this disturbance that mesmerizes the viewer. In this essay I will try to outline in which way narrative conventions are abolished in modern productions and what effect this has on the spectator. To reduce the amount of information and to exemplify certain points I will stick to Cameron Crowe’s movie Vanilla Sky (2001) which is based on the motion picture Arbre los Ojos (1997) by Alejandro Amenabar. The choice is justified by a rather confusing structure of the film which corresponds perfectly to the new way of moviemaking and also by the roots of the motion picture in an Off-Hollywood production area. These roots show that, although many non-classical movies have earned a lot of reputation, most moviemakers stick to conventions and that inventions are still entrenched in alternative cinema.
Author: David Bordwell
Publisher: Univ of California Press
ISBN: 0520932323
Category : Performing Arts
Languages : en
Pages : 309
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Book Description
Hollywood moviemaking is one of the constants of American life, but how much has it changed since the glory days of the big studios? David Bordwell argues that the principles of visual storytelling created in the studio era are alive and well, even in today’s bloated blockbusters. American filmmakers have created a durable tradition—one that we should not be ashamed to call artistic, and one that survives in both mainstream entertainment and niche-marketed indie cinema. Bordwell traces the continuity of this tradition in a wide array of films made since 1960, from romantic comedies like Jerry Maguire and Love Actually to more imposing efforts like A Beautiful Mind. He also draws upon testimony from writers, directors, and editors who are acutely conscious of employing proven principles of plot and visual style. Within the limits of the "classical" approach, innovation can flourish. Bordwell examines how imaginative filmmakers have pushed the premises of the system in films such as JFK, Memento, and Magnolia. He discusses generational, technological, and economic factors leading to stability and change in Hollywood cinema and includes close analyses of selected shots and sequences. As it ranges across four decades, examining classics like American Graffiti and The Godfather as well as recent success like The Lord of the Rings: The Two Towers, this book provides a vivid and engaging interpretation of how Hollywood moviemakers have created a vigorous, resourceful tradition of cinematic storytelling that continues to engage audiences around the world.
Author: Wickham Clayton
Publisher: Springer
ISBN: 1137496479
Category : Performing Arts
Languages : en
Pages : 159
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Book Description
Style and Form in the Hollywood Slasher Film fills a broad scholastic gap by analysing the elements of narrative and stylistic construction of films in the slasher subgenre of horror that have been produced and/or distributed in the Hollywood studio system from its initial boom in the late 1970s to the present.
Author: David Bordwell
Publisher: Routledge
ISBN: 1134988095
Category : History
Languages : en
Pages : 791
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Book Description
Acclaimed for its breakthrough approach and its combination of theoretical analysis and empirical evidence, this is the standard work on the classical Hollywood cinema style of film-making from the silent era to the 1960s.
Author: Gautam Kundu
Publisher: McFarland
ISBN: 0786431342
Category : Literary Criticism
Languages : en
Pages : 205
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Book Description
This work explores the many ways in which the developing film industry of the early twentieth century influenced the writings of F. Scott Fitzgerald, focusing specifically on his novels This Side of Paradise, The Great Gatsby, Tender Is the Night, and the incomplete The Last Tycoon. The Beautiful and the Damned is also discussed briefly. Early chapters examine Fitzgerald's literary adaptation of visual film techniques (pans, freeze frames, slow motion) and aural cinematic concepts (sound effects, diegetic sound) within his most popular novels. The final chapter summarizes the effect such techniques had in augmenting and defining Fitzgerald's unique literary style.
Author: Noël Carroll
Publisher: Springer Nature
ISBN: 3030196011
Category : Philosophy
Languages : en
Pages : 1047
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Book Description
This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with contemporary social issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject.
Author: David Bordwell
Publisher: Routledge
ISBN: 1136099166
Category : Performing Arts
Languages : en
Pages : 385
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Book Description
In this study, David Bordwell offers a comprehensive account of how movies use fundamental principles of narrative representation, unique features of the film medium, and diverse story-telling patterns to construct their fictional narratives.
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.
Author: Evdokia Stefanopoulou
Publisher: Bloomsbury Publishing USA
ISBN: 1501380214
Category : Performing Arts
Languages : en
Pages : 241
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Book Description
The Science Fiction Film in Contemporary Hollywood focuses on the American science fiction (SF) film during the period 2001-2020, in order to provide a theoretical mapping of the genre in the context of Conglomerate Hollywood. Using a social semiotics approach in a systematic corpus of films, the book argues that the SF film can be delineated by two semiotic squares -the first one centering on the genre's more-than-human ontologies (SF bodies), and the second one focusing on its imaginative worlds (SF worlds). Based on this theoretical framework, the book examines the genre in six cycles, which are placed in their historical context, and are analyzed in relation to cultural discourses, such as technological embodiment, race, animal-human relations, environmentalism, global capitalism, and the techno-scientific Empire. By considering these cycles -which include superhero films, creature films, space operas, among others-as expressions of the genre's basic oppositions, the book facilitates the comparison and juxtaposition of films that have rarely been discussed in tandem, offering a new perspective on the multiple articulations of the SF film in the new millennium.
