Classical and post classical hollywood cinema

The Way Hollywood Tells It:

Classical and post classical hollywood cinema

Wednesday, 30 September Oxford University Press, pp.

Classical and post classical hollywood cinema

How should the student set about analysing contemporary American cinema? This book takes an innovative approach to film analysis: It then goes beyond the traditional theory by analysing the same movie using a more current theory and method.

Classical and post classical hollywood cinema

Traditional theories featured include mise en scene criticism, auteurism, structural analysis, narratology, studies of realism, psychoanalysis, and feminism.

More current theories include new and post-Lacanian approaches to subjectivity, cognitivism, computerised statistical style analysis, the philosophy of modal logic, new media theory, and deconstruction. All students of film and popular culture will find this book ideal preparation for writing clear, well-structured, detailed analysis of their favourite American movies.

Synopsis What are the most appropriate theories and methods for analysing contemporary American cinema? In this book Thomas Elsaesser and Warren Buckland answer this question by taking an innovative approach to writing about individual movies: They then go beyond the traditional theory by analysing the same movie using a more current theory and method.

This book has identically structured, coherent chapters, which overcomes the dogmatism of subscribing to one theory and method, and instead encourages students to adopt a comparative, pluralistic approach to film analysis.

The traditional theories include: The more current theories include: Finally, the authors address the issue of how to define classical and post-classical Hollywood cinemas, and also present students with a set of general procedures, strategies, and skills to write clear, well structured, and detailed analyses of their favourite American movies.

Reviews In the s a revolution took place in Hollywood film-making which changed the form and content of American movies. Spearheaded by a group of young directors who were nurtured by the new film schools and a legacy of televized Hollywood classicism, American film-making became more knowing and reflexive about what films are and what they can do.

This revolution coincided with the rise of a cinematically cosmopolitan spectator, one who had not only sampled a wider range of films but could talk about them in intelligent ways. The Last Picture Show Peter Bogdanovich, and Jaws Steven Spielberg, ransacked the American genre movie treasury and toyed with these genres, that they might speak to men and women in the closing decades of the 'American Century' about what life in the suburbs of a technocratic society had become.

For Bordwell and Carroll, the critical apparatus accompanying the rise of Film Studies, the 'Grand Theory' of psychoanalysis, semiotics, post-structuralism and Marxism, should be superseded by a theoretical culture of middle-range enquiry that is piecemeal and problem-driven. Its methodology is quite unique.

In each chapter the premises of a particular theory are explained, a method is distilled from the theory, and the method applied to a film.

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The same film is then analysed, using a different method derived from another theory. So, for example, the premises and purposes of mise-en-scene analysis are explained and a method applied to The English Patient Anthony Minghella, Statistical style analysis, in which style is discussed by measuring and quantifying stylistic variables, is then brought to bear on the same film.

Elsewhere, psychoanalysis is brought to bear on Back to the Future Robert Zemeckis, Then the anti-psychoanalytical thought of Foucault and Deleuze is used on the same film. The aim is to teach film and popular culture students a range of methods.

The outcome demonstrates that, whilst certain films lend themselves to particular theories, you can use different tools on the same film. It is some measure of the monolithic sway of Grand Theory in education that particular films become associated with certain theories.

In the days of classical realist theory, Italian neo-realism and American deep focus seemed tailor-made for this phenomenological approach, largely because Andre Bazin formulated the approach off the back of films he was reviewing week-on-week.

What if you moved from a thematic approach to a deconstructive strategy to examine Chinatown Roman Polanski,ask Elsaesser and Buckland. In other words, what if you freed the film from its historical moment and re-read it in another time and place?

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Video and DVD have now made this logistically possible, making Elsaesser and Buckland's a manual for its time. Bazin's realism fitted with a particular conception of film history; film was evolving towards the total revelation of real space and time.

This was right and proper, and those films which best exemplify this process were worthy of especial attention. This teleological conception of history fell by the wayside with the rise of the 'New Film History' of the s, with its emphasis on delimited and exacting revisions of history, based upon primary and archival sources rather than global theories.in Post-Classical Hollywood.

Published by Edinburgh University Press. One of the most significant features of the period — which distinguishes it from the modes of Hollywood cinema that preceded and followed it — is the extent to which form and narrative, answering to a specific and intense moment of industrial and social crisis, are.

He has published extensively on film, including work on classical and post-classical Hollywood cinema, film theory and genre.

He is the author of The Films of Martin Scorsese, Authorship and Context () and The Films of Martin Scorsese, Authorship and Context II ().

Barry Langford explains and interrogates the concept of "post-classical" Hollywood cinema - its coherence, its historical justification and how it can help or hinder our understanding of Hollywood from the forties to the present.

For a very useful overview, see Peter Krämer, 'Post-classical Hollywood', in John Hill, Pamela Church Gibson (eds.), The Oxford Guide to Film Studies (Oxford: Oxford University Press, ), A round-up of Hindi film songs based on classical ragas.

View Notes - Editing and Limits of Classical and Post-Classical Decoupage from MEDST at Queens College, CUNY. Scanned by CamScanner Scanned by CamScanner Scanned by CamScanner.

Studying Contemporary American Film