Science Fiction, Melodrama and Western Intersect in David Lynch’s Dune
A genre is a grouping of works, in this context a grouping of films, that are somehow similar or related in content or style. Genres are not strictly uniform over a period of time and do allow for growth and adaptation of their definitive characteristics. As the film industry has developed through the past century, various genres of films have emerged and are still evolving. Aspects of genres have been redefined and intermingled through the history of film. There have also been, throughout the progression of filmmaking, films which do not strictly fall into one genre or which combine elements of several genres. David Lynch’s 1984 film Dune is a fascinating case study of a film which blends together principles of several genres. Initially the film is and has been classified as science fiction, but through closer observation it is revealed to contain strong characteristics of melodrama or even those of classic western films. Dune, in several ways, closely resembles the family and aristocratic melodramas of the 1950’s such as Written on the Wind and The Cobweb. Additionally, the oppositions which William Wright delineates as being integral to the western film are present in Dune as well as most of the defining plot devices of Wright’s classic western. In this respect, Dune bears some small resemblances to the film Shane. Thus, neither the melodrama nor the western are static genres of film, for they can clearly be seen to develop and change over time and to commingle with other genres. Further, Dune functions as an illustration of a film which falls into the genre of science fiction yet also serves as a melodrama and, in certain ways, a western. The film also...
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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
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Realism can be described as a theoretical approach used to analyze all international relations as the relation of states engaged in power (Baylis, Owens, Smith, 100). Although realism cannot accommodate non-state actors within its analysis. There are three types of realism which include classical (human
...Realist International Theory and the Study of World Politics.” in New Thinking in International Relations Theory. ed. Doyle, Michael w. and G. John Ikenberry (eds.) (Westview Press: 1997).
One of the fundamental aspects that determine the genre of a film is the iconography and the
Williams juxtaposes the three genres together, to reveal similarities and differences, and, in turn, their similar and different desire effects on the audiences. Specifically, she points out the physical reaction of characters in the films, and how the audience members mimic them. Firstly, in regards to the physical body, Williams discusses the similar uncontrollable “convulsion or spasm,” that comes with the different genres; a body on the screen is “’beside itself’ with sexual pleasure, fear and terror, or overpowering sadness.” (729) Next, she dissects the sound of these bodily reactions – the overpowering moan, scream, or sob that the chara...
Classical realism focuses on the balance of power whereas the neorealist’s theory examines the balance of power as it relates to the structure of an overall system. Realists examine “human nature at the individual level, aggressive states at the domestic level, leaders pursuing domestic and international power at the foreign policy level, and the balance of power at the systemic level” (Nau, 2012, p. 10); and, further argues that polarity between powers...
The prominent scholar of Political Science, Kenneth N. Waltz, founder of neorealism, has proposed controversial realist theories in his work. Publications such as "Man, the State, and War: A Theoretical Analysis", "Theory of International Politics” and “The Spread of Nuclear Weapons: A Debate,” demonstrate how Waltz's approach was motivated by the American military power. In acquaintance of this fact, the purpose of this paper is to critically analyze Waltz theoretical argument from the journal "Structural Realism after the Cold War". Firstly, this paper will indicate the author's thesis and the arguments supporting it. Secondly, limitations found in theoretical arguments will be illustrated and thirdly, synergies between the author's thesis and this analysis will be exposed.
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.
Since the late 1890’s films have been constantly changing the history of pop culture and the way people view war, politics, and the world as a whole. As the timeline of the history of film progressed, there were many different phases: gothic noir, slapstick comedy, tragedy vs. love, romance, and many more. Towards the more recent times, the central ideas of films started drifting to the greatness of the directors. Directors such as Stanley Kubrick, Martin Scorsese, Steven Spielberg, and many more were noted as outstanding directors of action and cinematography. In this paper I will speak about Wes Anderson, Martin Scorsese, and the ever so infamous Baz Luhrmann. These directors have changed the way filmmaking has been and will be looked at from this point on.
When discussing whether or not a nation-state should enter a war and when to do so, three beliefs on foreign policy and war exist. The three different diplomatic stances are that of pacifism, just war theory, and political realism. Political realism, or realpolitik as it is often referred to, is the belief war should only occur when it is in the national interest of the particular nation-state. Henry Kissinger, a political realist, in his book Diplomacy argues that realism is the only logical answer. Just war theorists, along with pacifists, on the other hand oppose these arguments and therefore critique of this form of diplomatic action. To construct a valid understanding of the realist perspective the arguments Kissinger puts forth in his book Diplomacy will be examined, and then a critique of those arguments will be offered through a just war theorist perspective.
The study of international relations takes a wide range of theoretical approaches. Some emerge from within the discipline itself others have been imported, in whole or in part, from disciplines such as economics or sociology. Indeed, few social scientific theories have not been applied to the study of relations amongst nations. Many theories of international relations are internally and externally contested, and few scholars believe only in one or another. In spite of this diversity, several major schools of thought are discernable, differentiated principally by the variables they emphasize on military power, material interests, or ideological beliefs. International Relations thinking have evolved in stages that are marked by specific debates between groups of scholars. The first major debate is between utopian liberalism and realism, the second debate is on method, between traditional approaches and behavioralism. The third debate is between neorealism/neoliberalism and neo-Marxism, and an emerging fourth debate is between established traditions and post-positivist alternatives (Jackson, 2007).