In the art of filmmaking there is a number of reoccurring doubt that stain the theory of genre and if genre really exists, or if it’s a re-enactment of different people’s views and analysis, alongside this is also the question about cultural and transcultural genre. Proceeding with this argument that hangs in our society is that if British cinema constitutes as a true distinctive form of filmmaking. In film there are many Identities that distinguish the culture and define multiple dominant cultural integrities, Film has started moving types of cinema away from national cinema as a whole and separating it into certain sub-culture genre’s showing the difference from one national identity to another often giving a reproduction of a countries image …show more content…
A contributing factor to this was the fact that actors from all over the nation were being starred in films allowing the national differences to all form as one which brought in realism to the audience as they believed what was being portrayed on screen about different races from around the nation and audiences were led to believe that this was what the character on the screen was really like and that they really lived in the way being shown. British films started to show the adventures of an individual which allowed the audience to gain more knowledgeable information on the protagonist allowing access to a higher state of connection and more realistic aspects of life were shown when the focus was on an individual as opposed to on a group. New wave films in Britain brought a subjective reality into the cinema and following this the audience got to see the characters develop on screen and go through everyday life and see how they overcome them and saw their conclusions unfold in the cinema which they could then link aspects into their everyday life making audience involvement more enhanced which allowed the audience to think it’s as realistic as it gets. Other aspects in the New wave British film movement that brought the screen to realistic life was the cinematic style of camera shots, the angling of the camera and very well placed point of view shots made the audience gain feeling that their involvement is huge, as if the protagonist may in fact be speaking directly at you. This was a big step in British cinema as it enhanced the Social realist style to higher levels of understanding. As what all British cinema seems to use as podium to stand on and get the point across which creates an outstanding style of cinema recognised nationally as well as
Film Noir, as Paul Schrader integrates in his essay ‘Notes on Film Noir,’ reflects a marked phase in the history of films denoting a peculiar style observed during that period. More specifically, Film Noir is defined by intricate qualities like tone and mood, rather than generic compositions, settings and presentation. Just as ‘genre’ categorizes films on the basis of common occurrences of iconographic elements in a certain way, ‘style’ acts as the paradox that exemplifies the generality and singularity at the same time, in Film Noir, through the notion of morality. In other words, Film Noir is a genre that exquisitely entwines theme and style, and henceforth sheds light on individual difference in perception of a common phenomenon. Pertaining
Barry, , Keith, and Grant, ed. Film Genre Reader III. Austin, TX: University of Texas Press,
BIBLIOGRAPHY An Introduction to Film Studies Jill Nelmes (ed.) Routledge 1996 Anatomy of Film Bernard H. Dick St. Martins Press 1998 Key Concepts in Cinema Studies Susan Hayward Routledge 1996 Teach Yourself Film Studies Warren Buckland Hodder & Stoughton 1998 Interpreting the Moving Image Noel Carroll Cambridge University Press 1998 The Cinema Book Pam Cook (ed.) BFI 1985 FILMOGRAPHY All That Heaven Allows Dir. Douglas Sirk Universal 1955 Being There Dir. Hal Ashby 1979
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
Friedman, L., Desser, D., Kozloff, S., Nichimson, M., & Prince, S. (2014). An introduction to film genres. New York, London: W.W. Norton & Company.
In Shohat and Stam’s article, Unthinking Eurocentrism: Multiculturalism and the media (2013), they discuss the issue of racism within the media and entertainment industry, such as Hollywood films. More importantly, Shohat and Stam’s discuss the assertion of racial politics in casting within the Hollywood films industry. The interesting idea to their argument is that they suggest that for a film to become financially successful, the casting of the protagonist must consist of a white star as they are seen to be ethnically universal (Shohat & Stam, 190). They further suggest that the ethnic minority have been limited to designated roles which ultimately perpetuate their ethnic stereotype (Shohat & Stam, 190). They concern this issue by critically analysing and contrasting western Hollywood films against other ethnic films.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
The 'Standard' of the 'Standard Mathijs, Ernest, and Jamie Sexton. Cult Cinema: An Introduction. Chichester, West Sussex: Wiley-Blackwell, 2011. Print.
The concept of ‘cinema of attractions’ encompasses the development of early cinema, its technology, industry and cultural context. The explanation of how it is perceived by early cinema audiences is closely related to the effects of history at that time. How Gunning coined the term ‘cinema of attractions’ pertains to the history of the film industry at the turn of the 20th century and his interpretation of the audience and their reaction film technology. Single shots, the process of creating a moving picture and the juxtaposition of limited techniques, coupled with a new invention of showing a moving picture.
In this essay the following will be discussed; the change from the age of classical Hollywood film making to the new Hollywood era, the influence of European film making in American films from Martin Scorsese and how the film Taxi Driver shows the innovative and fresh techniques of this ‘New Hollywood Cinema’.
Lacey, N. (2005). Film Language. Introduction to film (pp. 16-22). Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
In Hollywood today, most films can be categorized according to the genre system. There are action films, horror flicks, Westerns, comedies and the likes. On a broader scope, films are often separated into two categories: Hollywood films, and independent or foreign ‘art house’ films. Yet, this outlook, albeit superficial, was how many viewed films. Celebrity-packed blockbusters filled with action and drama, with the use of seamless top-of-the-line digital editing and special effects were considered ‘Hollywood films’. Films where unconventional themes like existentialism or paranoia, often with excessive violence or sex or a combination of both, with obvious attempts to displace its audiences from the film were often attributed with the generic label of ‘foreign’ or ‘art house’ cinema.
Hitherto, filmmakers considered African cinema to be a purely instructional form of art and thus repudiated the idea of African films as entertaining. Early african filmmakers used films for the sole purpose of pursuing political persuasions and instigating national reformation. As such, entertainment was likened to Western Cinema which was deemed an ‘escapist cinema’ as it neglected real-life complexities and thus, decelerated the perception process. (Tcheyuap pp 9). They believed that the superficiality of entertainment films digressed from the ‘mission’ of African filmmaking as an instrument of transformation. However, modern filmmakers are embracing these new genres, techniques and stylistic devices to achieve their own transformational goals.
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.
Originally published in Cinema Journal 40, No. 3, Spring 2001, Jason Mittell’s “A Cultural Approach to Television Genre Theory” conceives of television genre as a cultural category rather than merely a textual component. In the decade since the original publishing of the article, television has evolved out of the multi-channel era and into the post-network era. In this new television landscape, genres are no longer a fixed entity1, and there is great academic potential in the in the study of television genres. The text, Thinking Outside the Box: A Contemporary Television Genre Reader, aims to explore and analyze genre in the current television landscape, and the Mittell article, republished in the book, serves as an entry point to such scholarship.