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Classical hollywood cinema and new hollywood cinema
Classical hollywood cinema and new hollywood cinema
Classical hollywood cinema and new hollywood cinema
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1- Classical Hollywood Cinema in transition (a+b) Casablanca can be considered a prime example of Classical Hollywood Cinema due to many of the film’s goals, its narration, style, sounds, visuals, and subject matters. Looking first to the goals of the film, Polan claims in her essay, “Casablanca comes closest to for many fans to embodying Hollywood cinema in its classic moment insofar as we imagine this classic cinema to encapsulate a certain high level of achievement in escapist entertainment and story telling accomplishment” (Polan 343). The film’s goals fit with the time’s wartime ideals and achievements, and coincide with topics that many people are very interested in. In this way Casablanca is able to uphold its reputation as an example …show more content…
However, the subject matter also refers to the “potential limits” Polan discusses in his essay. Casablanca is an overall very accurate depiction of Classical Hollywood Cinema, but it also has subject matter and elements that make it a more modern story, unique from others of its type. Polan explains that although Casablanca remains the prime example of Classical Hollywood Cinema, “Casablanca announces the more-than-partial irrelevance of romance to the new present and future needs of a world that is growing up” (Polan 357). Casablanca no longer follows the stereotype that the characters will easily just fall in love and there will be a happy ending. Rather, the subject matter of Casablanca keeps the audience guessing for the duration of the film. In fact, the audience is even unable to make a clear moral judgment on which man in the film Ilsa should end up with (Polan 353). This complex subject matter is “giving in to suspicion about love and romantic commitment” (Polan 353) which Polan also discusses was a thought that began to dominate in the times of
In the essay “Beautiful Friendship: Masculinity & Nationalism in Casablanca”, Peter Kunze lavishly explains the magnificence of Michael Curtiz’s 1942 film Casablanca. Kunze focuses on how the movie not only highlights an exchange of relationships, but how the film has an underlying meaning between these relationships. He also implies that there is a more complex meaning behind every character in regards to their gender, economic, and social roles. The overall thesis of his reading is “the patriarchal ideology underlying the narrative commodifies Ilsa, leading Rick to exchange her with other men in an act of friendship and solidarity as well as to dissuade any perception of queerness between the strong male friendships in the narrative” (Kunze
In 1982, the journalist Chuck Ross, in an experiment for Film Comment, mailed the script of Casablanca to 217 agencies under a different title and under a different authorship name. Although many rejected it for external reasons, eighty-one agencies read it and of those, fifty-three did not recognize it as the classic. But here’s the cherry on top: forty-one agencies criticized the iconic, Oscar-winning script with harsh words. One wrote, “Story line is thin. Too much
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
One can gather that socialism was on the rise and supported by many of the working class. From the co-op in The Crime of Monsieur Lange to the Communist party’s support of Madame Nozière, public opinion was shifting away from supporting a patriarchal society. What was once taboo became more popular topics of discussion, such as the pornography in Baptiste’s possession, Estelle’s miscarriage of Batala’s child, fathers taking their daughters’ innocence, and ousting men of unnecessary power. A film, while not necessarily factual, focuses on culture and values. Cinema is an art form that reflects what the directors and actors, and by extension, the general public, believe.
...o survive and flee the inevitable evil. With World War II raging, viewers in the United States could feel the fear and anxieties as well as compassion for the characters. Although some movies can be rewritten to obtain a better effect over the viewers, Casablanca cannot be redone. The mere fact that the evil of the day was a reality of the time prevents this movie from ever having the same effect on the audience.
Casablanca remains a wonderful film no matter the time difference. Bogart and Bergman’s performance clearly portrays a love that could never be, although they will always keep the love that they had. It is made clear that once married, the spouse has an obligation and responsibility to their significant other forever. The themes of true love’s burdens and responsibilities, a hometown war resistance setting, and the nationalistic view points will ‘stand the length of time.’
The film’s story does not simply shines forth, but is also the foundation of the plot. The film’s plot makes the traditional guidelines applicable...
The many debates about art cinema versus classical cinema have been going around for a while. The mainstream Hollywood classical film and the art cinema are frequently presented as opposites. In one, the style of the film is bland, while the other seeks to center its focus on the visual becoming central as narrative unity. Throughout the movie directed by Stanley Kubrick called 2001: A Space Odyssey, we see that this film can be classified as an art film. On the other hand, it can also be seen as classical film. Even though these two are the complete opposite and they contradict themselves, they are both apparent in the film.
The characters, settings, soundtrack, wardrobes, and musical numbers all reflect a more classical feel, bringing the romance of older films into the modern world. The attitudes and personalities are even partially classic with being set on their passions as opposed to fitting into today’s world. What makes this classical-modern mix so special is that it has never been done before. The older films have political issues of underappreciated and recognized, driven women, and are relatable to modern day audiences. Modern films are dry, repetitive, and predictable, lacking in style and creativity, despite filmmakers having access to larger audiences and resources. So by taking the classical style of older films and putting it with a modern mindset and in a today’s world, a wonderful film is
...t it is clearly obvious what is about to happen using an establishing shot. Casablanca also uses camera angle specifically portraying Captain Renault and Strasser as less powerful people in the office scene. Editing allows for smooth transitions between shots and allows for us as viewers to experience the scene like we are seeing through the characters eyes. Lighting provides us a mood of the scene, specifically when Rick first sees Ilsa for the first time since Paris. The Music plays a role in how we as audiences should feel while watching the movie. And without production design movies would not flow correctly. Every setting is specifically chosen to depict the location where the scene takes place. Casablanca is a quintessential film because it ties up all the formal elements of classical Hollywood. Without this movie Hollywood may be a completely different place.
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...
... movie stars like royalty or mythical gods and goddesses, viewing the drama between great archetypal characters in a personal psychic realm. By considering the statements made and their societal impact from a Marxist perspective, Benjamin’s method is highly effective, as it does not simply consider art in terms of pure aesthetics anymore, but considers art’s place in a society capable of mechanically reproducing and endlessly duplicating film, photography, and digital art. His qualm with losing the aura and mystique of an original work is negated by the cult of movie stars, the adoration of fame, the incorporation of soundtracks which embody a particular time period, cinematographic allusions, and time-capsule-like qualities of a film such as Basquiat, a 90s tribute to the 80s, produced both as a part of and resulting from the art movements and trends it addresses.
This is an extremely basic concept that is impossible to miss. Implicit meaning in a film is an idea that isn’t directly expressed but still should be understood by the viewers that are watching. Implicit meaning in Casablanca: In Michael Crutiz’s Casablanca (1943) we see that the characters are trying to outrun their pasts.
Robert B. Ray categorizes Casablanca as "the most typical" American film. Ray uses Casablanca as a tutor text for what he calls the formal paradigm of Classical Hollywood as well as the thematic paradigm that addresses the conflict between isolationism and communitarian participation. The film is typical in its appropriation of an official hero Laszlo, who stands for the civilizing values of home and community, and an outlaw hero Rick, who stands for individu...
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’.