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2 produkter
2 produkter
E-bok
PDF, Engelska, 2006188 kr
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Seminar paper from the year 2005 in the subject Film Science, grade: A*, Indiana University (Communication and Culture), language: English, abstract: Run, Lola, Run by Tom Tykwer (1998) is a cinematically innovative film thatdeparts in many ways from usual standards of narrative construction by using a wide range of filmmaking techniques. Although its unique graphic and audiorepresentation as well as its plot technique confronts stereotypes that are produced by Hollywood, it can also be associated with principles of classical narrative form. In this paper I will discuss the complex structure and narrative of the movie as well as its extensive self-reflexivity by focusing on its different ramifications in art cinema, counter-cinema and classical Hollywood cinema. In an interview on a Belgian film website David Bordwell argues that a lot of films which seem to be unusual and innovative are actually rooted in the spirit of classical cinema: A movie like Lola Rennt for instance, which is very experimental in some ways, is in many ways also very traditional. Beginning-middle-end, she gets three chances, the last one is the right one, she looks at the audience in the end and acknowledges it's all been a game... I mean, this is very much in the spirit of classical cinema. Although this might be true, there certainly are devices in the film that can be aligned with art cinema. The categorization and analysis of Run, Lola, Run is a matter of how you define classical Hollywood cinema and of how much emphasis you put on the different characteristics that define the structure and the narrative of the film. [...]
E-bok
PDF, Engelska, 2006188 kr
Läs direkt efter köp
Seminar paper from the year 2005 in the subject Film Science, grade: A, Indiana University (Department: Communication and Culture), course: Introduction to Media Theory and Aesthetics, language: English, abstract: Men act and women appear. Men look at women. Women watch themselves being looked at. In the history of cinema Hitchcock appears as one who no longer conceives of the constitution of a film as a function of two termsthe director and the film to be made - but as a function of three: the director, the film and the public which must come into the film, or whose reactions must form an integrating part of the film. The interest of visual narrative in Alfred Hitchcock's movies is well-documented and widely-known. His films provide a context for the analyses of spectatorship which examine the theories, structures, and functions of the gaze. Furthermore, by letting the spectator negotiating and producing the film's meaning, Hitchcock's works acknowledge the presence of the audience. His film's calculated narrative style, the self-consciousness within his works, and the address of the spectator make his movies a prolific source for the examination of different approaches to the media viewer. In film theory, Hitchcock's concentration on the male character and the male gaze represents a specific and often problematic debate. In my paper I will examine some of the theories that shaped the discourse of identifying and positioning the spectator within the narrative of film by focusing on Alfred Hitchcock's filmMarnie(1964), since this movie is probably Hitchcock's most significant work to visualize the subjective psychological states of his problematic central character through the use of cinematic technique. First, I want to focus on a psychoanalytical interpretation by explaining the dynamics that Laura Mulvey describes in her analysis of conventional narrative films in the 'classical' Hollywood tradition that not only typically focus on a male protagonist in the narrative, but that also assume a male spectator. Theories that work within this tradition have cited Hitchcock as a director exemplary of the Freudian or Lacanian exegesis. By the 1980s Mulvey's theory generated considerable controversy amongst film theorists and was criticized to present an oversimplification of Hitchcock's agenda. Since then scholars shifted their interest to a strong empiric or historic focus on the spectator. The collapse of the psychoanalytic interpretation was replaced by heavily contextualized analyses that questioned universalizing categories. [...]