The Case for Calling George Lucas the “White Tyler Perry”

2016 ◽  
Author(s):  
Paul N. Reinsch
Keyword(s):  
Critical Reception ◽  
Media Influence ◽  
Media Discourse ◽  
Hollywood Cinema ◽  
Star Wars ◽  
George Lucas ◽  
The Media ◽  
Classical Hollywood Cinema ◽  
Classical Hollywood ◽  
Reception Aesthetics

Incomparing and contrasting Perry’s media influence with that of another famous director, Paul Reinsch concludes the collection by reframing the media discourse around Tyler Perry’s work and career to consider him alongside a comparable media mogul: George Lucas. What might the creator of Star Wars and the creator of Madea possibly have in common (aside from a possible penchant for high fantasy)? In closely analyzing the critical reception, aesthetics, and ideologies of Perry’s For Colored Girls(2010) and Lucas’s Red Tails(2012), Reinsch exposes how each filmmaker ultimately negotiates a particular nostalgia for Classical Hollywood Cinema while also maintaining a particular intrusiveness.

Rewriting Ibsen for the big screen

2021 ◽  
Vol 11 (2) ◽  
pp. 177-193 ◽  
Author(s):  
Audun Engelstad
Keyword(s):  
Silent Film ◽  
Film Adaptations ◽  
Henrik Ibsen ◽  
Hollywood Cinema ◽  
Contemporary Cinema ◽  
Classical Hollywood Cinema ◽  
Classical Hollywood

Henrik Ibsen is regarded as the champion of realist theatre. In the early days of cinema, there were several silent film adaptations of Ibsen’s plays. One would think, given his standing as a playwright, that there would be a continuous interest in Ibsen’s work after the conversion to sound. This article examines how the realist theatre – heralded by Ibsen – relates to classical (Hollywood) cinema and how Ibsen in various ways has been rewritten and has recently re-emerged within contemporary cinema.

Classicism and Deviation in His Girl Friday and Double Indemnity

2017 ◽  
Author(s):  
Todd Berliner
Keyword(s):  
Hollywood Cinema ◽  
Cognitive Challenge ◽  
Classical Hollywood Cinema ◽  
Double Indemnity ◽  
Classical Hollywood

Chapter 2 illustrates an aesthetically productive balance between easy understanding and cognitive challenge in classical Hollywood cinema with extended analyses of His Girl Friday and Double Indemnity. These films combine classical narrative, stylistic, ideological, and genre properties with artistic devices that complicate formal patterning and thwart audience expectations.

Mediadiscourse and Communication in Society

2019 ◽  
Vol 8 (5) ◽  
pp. 53-56
Author(s):  
Е. Гнездилова ◽  
E. Gnezdilova
Keyword(s):  
Experimental Study ◽  
Public Opinion ◽  
Mass Media ◽  
Media Influence ◽  
Media Discourse ◽  
Discursive Analysis ◽  
The World ◽  
Russian Media ◽  
The Media ◽  
Tools And Techniques

The article discusses the media discourse, analyzes its role in shaping the picture of the world of modern person: the typological features of the media text, the means and techniques of speech impact on the audience are highlighted. In the study of media texts, the author used the method of discursive analysis. As a result of an experimental study, linguistic techniques and means were revealed by which mass media influence the formation of public opinion, control communication in society. After analyzing publications in Russian media, the author comes to the conclusion that many of the linguistic techniques used in socio-political discourse today are mostly manipulative in nature, and are a powerful tool in the information confrontation. The identification of these tools and techniques, their systematization allows us to understand the specifics of the formation of the picture of the world of modern person, especially communication in society.

An Aesthetics of Aggression: German Fascist vs. Classical Hollywood Melodrama

2017 ◽  
Author(s):  
Laura Heins
Keyword(s):  
Third Reich ◽  
Hollywood Cinema ◽  
Aggressive Form ◽  
Mise En Scene ◽  
The Face ◽  
Classical Hollywood Cinema ◽  
Classical Hollywood

This chapter attempts to delineate the generic and aesthetic differences between film melodrama in Third Reich and classical Hollywood cinema, and to a lesser extent, between German and Italian Fascist film. Hollywood cinema's greater emphasis on the communicative codes of mise-en-scène, dynamic editing, and camera movement was countered in Nazi cinema with a greater stress on bodily displays and a theatrical acting style that subordinated the intimacy of the face in close-up to the authority of the actor's voice and scripted dialogue. Subtle formal and narrative differences in the Nazi melodrama also encouraged a more aggressive form of voyeurism than was common in the Hollywood melodrama. Instead of the masochistic aesthetic of many Hollywood melodramas, therefore, the Nazi melodrama distinguished itself by its formally encoded appeals to spectatorial sadism and by the masculinity of its pathos.

Sign in / Sign up

Export Citation Format

Share Document