Classical Hollywood 1930–60

2021 ◽  
pp. 209-225
Author(s):  
Mark Dixon
Keyword(s):  
Classical Hollywood

Film Analysis: Image and Movement

2018 ◽  
Author(s):  
Hilary Radner ◽  
Alistair Fox
Keyword(s):  
Scientific Practice ◽  
Film Analysis ◽  
Hollywood Film ◽  
Poetic Expression ◽  
French Tradition ◽  
Classical Hollywood

This chapter assesses Raymond Bellour’s contribution to the area of research known as “film analysis,” arguing that it is best understood as an “art” rather than a scientific practice. Grounded in the French tradition of “explication du texte” as a means of approaching literature, Bellour was among the first film scholars to bring a French literary sensibility to the analysis of Classical Hollywood film, which enabled him to recognize the rhetorical refinements of the cinematic medium and its potential for poetic expression. The chapter explores the significant concepts that define Bellour’s approach: segmentation; “the unattainable text” (also referred to as “the undiscoverable text” or “le texte introuvable”); le blocage symbolique (also referred to as “the symbolic blockage”);“the textual volume”; Hitchcock and psychoanalysis; and enunciation.

Vampires of Color: A Critique of Multicultural Whiteness

2018 ◽  
Author(s):  
Dale Hudson
Keyword(s):  
United States ◽  
Civil Rights ◽  
White Privilege ◽  
Political Representation ◽  
White Trash ◽  
National Values ◽  
Lost Boys ◽  
Classical Hollywood

This chapter explores whiteness’s purported expansion through multiculturalism after Civil Rights and the Immigration Act of 1965. By yoking the inclusivity of multiculturalism and exclusivity of whiteness, multicultural whiteness sustains white privilege without acknowledging it, granting conditional or provisional inclusion to select nonwhite groups. It becomes a performative category (“white-identified-ness”) questioned in films like Blacula (1972), Ganja and Hess (1973), Martin (1976), Fright Night (1985), The Lost Boys (1987), Near Dark (1987), Interview with the Vampire (1994), and The Addiction (1995). Classical Hollywood whiteness is transformed by greater emphasis on so-called national values—individualism, consumerism, patriotism, secularism, and willful amnesia—that sustain foundational myths of a nation of immigrants, land of opportunity, and beacon of democracy. Within the proliferation of representations of a multicultural United States, films question limitations on political representation for anyone not identifying—or being identified—with whiteness, including so-called white trash.

Torn, Burned, and Yet Dancing

2017 ◽  
Author(s):  
Alix Beeston
Keyword(s):  
Literary Text ◽  
Female Characters ◽  
Literary Field ◽  
In Series ◽  
Studio Era ◽  
Classical Hollywood ◽  
Mode Of Production

This chapter discusses the collaborative and institutionalized mode of production in studio-era Hollywood through the lens of the two major projects that comprised the work of the final year of F. Scott Fitzgerald’s life: the screenplay “Cosmopolitan” and the unfinished novel The Last Tycoon. These texts modify the modernist literary trope of the woman-in-series in concert with classical Hollywood’s defining logic of substitution and repetition. Ultimately derived from the basic seriality of the photogrammatic track, this logic is incarnated by female characters in “Cosmopolitan” and The Last Tycoon who, in refusing to remain silent substitutes for other women, rupture the illusory conceits of seamless fictional narration in classical Hollywood—and its equally seamless discourse of femininity. Fitzgerald’s Hollywood writing thus confronts the gendered and racialized limits of the modernist literary field and, in the process, unravels the myth of the solitary author and the singular, stable literary text.

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.

scholarly journals FILM FIKSI PENDEK “DESAK TERDESAK”

2018 ◽  
Vol 15 (1) ◽  
Author(s):  
Gede Basuyoga Prabhawita ◽  
Rahayu Supanggah
Keyword(s):  
Short Fiction ◽  
Culture System ◽  
Social Conflict ◽  
The Other ◽  
Customary Law ◽  
Eastern Philosophy ◽  
System Form ◽  
Other Hand ◽  
Economic Depression ◽  
Classical Hollywood

<p><span>“Desak Terdesak” merupakan sebuah film fiksi pendek yang berangkat dari isu tentang kurangnya “penghargaan” <span>terhadap perempuan Bali. Karya ini mengangkat posisi serta status perempuan Bali dalam hukum adat yang<br /><span>selalu berada di bawah kekuasaan laki-laki. Hal tersebut berkaitan erat dan didasari oleh keyakinan mayoritas <span>penduduk Bali, sistem kekerabatan patrilineal, sistem wangsa dan petuah-petuah orang tua. Dalam film fiksi <span>pendek ini pengkarya berusaha menghadirkan konflik sosial yang lebih tajam dengan menggabungkan <span>permasalahan kekerasan dalam rumah tangga, tekanan ekonomi, dan ketidakberdayaan melawan hukum <span>adat yang membuat posisi perempuan Bali bernama Desak semakin terdesak. Sejak kecil perempuan Bali<br /><span>dididik untuk mandiri, bekerja keras dan bukan mahkluk lemah yang harus dilindungi. Orang tua mengajarkan <span>untuk selalu menjunjung tinggi martabat dan siap berkorban demi nama baik keluarga. Perempuan Bali telah <span>diberikan persamaan hak dalam memperoleh pendidikan, pekerjaan dan mengutarakan pendapat, namun <span>disisi lain mereka tetap diikat oleh berbagai sistem yang berlaku di Bali. “Desak Terdesak” berdurasi 20 menit, <span>menggunakan pendekatan Realis medan Hollywood Klasik sebagai bentuk karya dengan plot linier yang<br /><span>sesuai aksi peristiwa. Dialog dalam film ini menggunakan bahasa Bali dialek Singaraja untuk memperkuat <span>setting dan penokohan yang dibangun dalam cerita. Beberapa sumber pustaka seperti Filsafat Timur, Sebuah <span>Pengantar Hinduisme dan Buddhisme, Perempuan Bali, Hukum Adat Bali, Hak Waris Perempuan Bali dan <span>Kesalahpahaman Kasta digunakan sebagai rujukan dalam menciptakan karya ini. Film yang diilhami dari <span>kisah nyata ini memberikan sedikit pengetahuan, informasi, pemahaman kepada pembaca serta penonton<br /><span>terkait posisi perempuan dalam hukum dan pergaulan adat masyarakat Bali yang menganut sistem kekerabatan <span>patrilineal.<br /><span><strong>Kata kunci: </strong><span>film, perempuan, Bali, budaya, sistem, bentuk.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></p><p><span><span><span><em>“Desak Terdesak” is a film of short fiction based on the issues of the lack of “appreciation” towards Balinese </em><span><em>women. This work tells about the position and status of Balinese women in the custom that they are always </em><span><em>under the men’s power. It is closely related to and based on the most Balinese belief, the patrilineal kinship </em><span><em>system, </em><span>wangsa <span><em>system, and the parental teachings. In the short fiction film, the creator tries to present the </em><span><em>sharper social conflict by combining the problems of domestic violance, economic depression, and the</em><br /><span><em>helpnessness against customary law that makes Balinese women namely Desak is more distressed. Sinceyoung, </em><span><em>Balinese women have been educated to be independent, working hard, and not to be a poor being that must</em><br /><span><em>be protected. Parents teach to always uphold dignity and to be ready to sacrifice in the name of family’s </em><span><em>reputation. Balinese women have been given similar rights in getting education, employment and proposing </em><span><em>opinion, on the other hand, they are tied by various systems held in Bali. “Desak Terdesak” has 20 minutes </em><span><em>duration using Realism and Classical Hollywood approach as a form of work with linear plots corresponding to </em><span><em>the action of events. Dialogue in the film uses Balinese language with Singaraja dialect to strengthen setting</em><br /><span><em>and characterization built in the story. Library sources like Eastern Philosophy, An Introductory To Hinduism </em><span><em>AndBuddhism, Balinese Women, Balinese Custom, Hereditary Right Of Balinese Women And Misconceptions Of Caste is used as a reference in creating this work. The film that has been inspired by a real story</em><br /><span><em>provides little knowledge,informations, the reader as well as the audience understanding related to the women </em><span><em>position in law and in customary intercommunication of Balinese community that follow patrilineal kinship</em><br /><span><em>system.</em><br /><span><strong><em>Keywords: </em></strong><span><em>film, woman, Bali, culture, system, form.</em></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br /></span></span></span></span><br /></span></span></p>

Mad Max

2020 ◽  
Author(s):  
Martyn Conterio
Keyword(s):  
Critical Reception ◽  
New Wave ◽  
Cultural Impact ◽  
Artistic Vision ◽  
The Creation ◽  
Rock N Roll ◽  
Action Cinema ◽  
Classical Hollywood

Mad Max (1979) is a freak picture. Too classy and well-crafted to be lumped in with low-budget Ozploitation titles, yet completely unlike other films made during the 1970s Australian New Wave, George Miller's directorial debut is a singular piece of action cinema, one that had a major cultural impact and spawned a movie icon in Max Rockatansky (played by Mel Gibson). This monograph examines the film's considerable formal qualities in detail, including Miller's theory of cinema as “visual rock 'n' roll” and his marriage of classical Hollywood editing and Soviet-style montage. George Miller is arguably the single most important filmmaker in Australia's history, bringing a commercial and artistic vision to the screen few of his compatriots have ever managed before or since. Taking in everything from the film's extremely controversial critical reception to its legacy today via a string of sequels and the creation of an entire subgenre—postapocalyptic action—this book is for film students and fans alike.

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