When a technological divergent can teleport an individual into the past and reconstruct the previous time settings, a historical relation is explored as an American cultural context through the classical creation of the cinema. As a non-traditional presentation of a significant text, the film’s viewpoint is studied over the discourse of beauty, travelling through time in a motion picture captured on film. The science fiction comedy film released in 1985, “Back to the Future”, produced by Robert Zemeckis, tells the story of a teenage boy named Marty, who is navigated across space-time to the year 1955, where he encounters his future parents and unexpectedly, his mother becomes romantically interested in him. By the creation of the obstacle, he must determine a solution to get his parents to fall in love. When the past history is fixed with the help of a scientist Dr. Emmett, he assists Marty in finding his way back to the future of 1985.
In Relation to “Classical Hollywood Cinema: Narrational Principles and procedures”, David Bordwell presents the analysis of the how the cultural text can be of significance for formalism in controlling the film. He states, “the classical film respects the canonic pattern of establishing an initial state of affairs which gets violated and which must then be set right.” (Bordwell. 1986, p. 19.) Using Bordwell’s approach, for this paper I will be focusing on a clip from “Back to the Future” to determine the implications presented in creating that scene in relation to the American culture context. The topics that will be discussed throughout the essay are the studies of the narrative, Apparatus, and ideology as depicted in the context of American culture portrayed through the film use.
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...American cultural context, of what individuals like to interpret through the cinematic presentation of “Back to the Future.” By strong connectivity between Bordwell’s text, and the portrayal of the American cultural context, the scene demonstrates these interpretations.
References
David Bordwell, “Classical Hollywood Cinema: Narrational Principles and
Procedures,” in Narrative, Apparatus, Ideology, ed. Philip Rosen (New York; Columbia University Press, 1986), 17-34.
Sutherland Meghan, “Ideology & Formalism in Classical Hollywood Style,” (PDF document). Retrieved Lecture Notes Online Web site: https://portal.utoronto.ca/bbcswebdav/pid-3760169-dt-content-rid-20682759_2/xid-20682759_2
Zemeckis Robert, (Director). 1985. “Back to the Future,” (Motion picture). USA:
Universal. 4/10 (movie clip). Retrieved from: https://www.youtube.com/watch?v=95_DB6GgLQs
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...
poster typically has the white cowboy large, presented front and center, with the antagonists and co-stars all behind him. An iconic western, The Good, The Bad, and the Ugly, has a poster picturing the white cowboy alone. Clint Eastwood stands there tall, stoic, and singular. Typical of most other westerns, the white cowboy is the center of attention. Here, however, there are two non-white figures presented: Bart, the Black cowboy, and a large Native American chief. This movie poster has the same style as other westerns with the color and layout, but is unique in the fact that a black man is presented where a white man would normally be dominating. Once again, this makes a statement about racial improvements. Previously having a black man at
Keathley, Christian. "Trapped in the Affection Image" The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Ed. Thomas Elsaesser, Alexander Horwath, Noel King. Amsterdam: Amsterdam University Press, 2004. 293-308. Print.
...s at that time who have come of age. Perhaps no film in recent history has captured more attention and generated more controversial debate. This film resonates the feeling and question that common people had about the JFK assassination in the 60s. As a result, the debate about the validity of JFK extended much further into the war-torn cultural landscape of America in the 1990s than most observers noted. The JFK was a telling incident demonstrating the larger cultural conflict over values and meaning in America and the competition to define national identity. The whole affair demonstrated how effective a motion picture can be as a transmitter of knowledge, history, and culture. As a result, the debate about the validity of JFK extended much further into the war-torn cultural landscape of America in the 1990s than most observers have noted.
[1] Hollywood is no longer just a name, it is a business, a living entity holding America’s people in its grasp, and it is not about to let them go. Gradually taking on more responsibility and trying to build up its reputation over the years, Hollywood has progressively assumed the position of history-teller for the American public. This role, whether or not an appropriate one for an industry such as Hollywood to tackle, has catapulted actors and actresses into high paying, high visibility positions. History has and will continue to be one of the main subjects that the movie industry has been fascinated with. It is an alive and very fragile subject that, through its multi-dimensional character, requires careful attention by everyone involved in the project. Whenever Hollywood tackles an historical topic, whether portraying a non-disputable factual event or only a vaguely one, the industry is bound to encounter dispute and criticism.
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.
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 post-modern society is seen to be one in which we are prevented from connecting to others as we are subjected to the whims of time. Time identifies their ‘destiny’ which serves to illustrate that we are imprisoned inside of a ‘game’ and that the only way to escape is by taking risks and ‘gambling’. The uses of jump cuts, visual symbolism, repetition and camera angles such as overhead shots depicted through the graphical artistry of M.C Escher and his lithograph ‘Relativity’ and by the German film director Tom Tykwer through his cinematic film ‘Run Lola Run’ gives the audience the sense of shock and adrenalin.
Meneghetti, Michael. “Review: Ellis Cashmore (2009) Martin Scorsese’s America.” Film Philosophy 14.2 (2010). 161-168. Web. 6 Apr. 2014
Over the many years of English literature and various forms of media, the ideals of the times and of the creators of these works have changed; some drastically, some possibly not as much. The genre of science fiction is no exception. Take, for example, two of the most widely-known science fiction novels in the history of English literature: The Time Machine and The War of the Worlds, written in the late 1800s in Victorian England by H.G. Wells—novels which, quite arguably, revolutionized the science fiction genre—and their modern theatrical counterparts. While it may be more beneficial to compare two works of the same medium, the differences in themes and style are still evident. The former two reflect Wells’ own views in society and his comments on them using allegories, while the latter two tend to appeal to a more general audience and appear to have a theme based on emotions, family and more recent world issues. The modern films The Time Machine and War of the Worlds directed by Simon Wells and Steven Spielberg respectively are indeed adaptations of the original novels. Obvious differences in the storylines aside, the films tend to introduce aspects that would appeal to a broader audience today, such as more action, fighting, adventure and romance than was in the books, helping to develop some of the themes. The ideas and themes that appear in media are often based on events that occurred during the time in which the work was created, as well as the creator’s own ideals. As a result, through the comparison of the original novels by Wells and their film adaptations, it is possible to see how society as a whole has changed over a century’s time, and how the themes present in these works of science fiction have changed as ...
Through most of the characters’ passion for filmmaking, this movie teaches the audience the great significance of film history. Many people in modern day tend to take film and its history for granted, but they do not realize the depth and effort that mankind has put into such a development. In Hugo, the theme of film history revolves around the entire production, and the audience sees flashbacks of Georges Méliès’ past that reveal his vital role in movie-making. By investing a deep meaning to the tale, viewers start to understand the great emotional and intellectual characteristics of movies. Additionally, Hugo himself delivers a message to his counterpart characters, which also serves as a lesson for the onlookers. He shows the audience that everyone has a part and purpose in this world. Protagonist Hugo Cabret says that “everything has a purpose, even machines. Clocks tell the time, trains take you places. They do what they’re meant to do.” Voicing through Hugo, the filmmakers illustrate how every individual has a reason to live and discover their calling. With a statement about the forgotten grandeur of film history and a valuable message to the crowd regarding one’s purpose, Hugo inspires and presents itself as a noteworthy and unforgettable
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’.
Have you ever had one of those days that were so bad that you desperately needed a night at the ice cream or candy store? The 1970’s was that really bad day, while the night of self- indulgence was the 1980’s. Americans love to escape from our daily stress, and of all the products that allow us to do so, none is more popular than the movies. Movies are key cultural artifacts that offer a view of American culture and social history. They not only offer a snapshot of hair styles and fashions of the times but they also provide a host of insights into Americans’ ever-changing ideals. Like any cultural artifact, the movies can be approached in a number of ways. Cultural historians have treated movies as a document that records the look and mood of the time that promotes a particular political or moral value or highlights individual or social anxieties and tensions. These cultural documents present a particular image of gender, ethnicity, romance, and violence. Out of the political and economic unrest of the 1970’s that saw the mood and esteem of the country, as reflected in the artistry and messages in the movies, sink to a new low, came a new sense of pride in who we are, not seen since the post-World War II economic boom of the 1950’s. Of this need to change, Oscar Award winner Paul Newman stated,
The culture and philosophy of Ridley Scott (pp. 231-243. United States: Lexington Books, Inc. Pramaggiore, M., & Wallis, T. (2005). Film: A critical introduction to the film.
Of all the 1980’s films, that can be described as “Eighties Teen Movies” (Thorburn, 1998) or “High School Movies” (Messner, 1998), those written and (with the exception of “Pretty In Pink” (1986) and “Some Kind of Wonderful”(1987)) directed by John Hughes were often seen to define the genre, even leading to the tag “John Hughes rites de passage movies” as a genre definition used in 1990s popular culture (such as in “Wayne’s World 2” (1994 dir. Stephen Surjik)). This term refers to the half dozen films made between 1984 and 1987; chronologically, “Sixteen Candles” (1984), “The Breakfast Club” (1985), “Weird Science” (1985), “Ferris Bueller's Day Off” (1986), “Pretty In Pink” (1986) and “Some Kind Of Wonderful” (1987) (the latter two being directed by Howard Deutch). For the purpose of this study, “Weird Science” and “Some Kind of Wonderful” shall be excluded; “Weird Science” since, unlike the other films, it is grounded in science fiction rather than reality and “Some Kind of Wonderful” as its characters are fractionally older and have lost the “innocence” key to the previous movies: as Bernstein states “the youthful naivete was missing and the diamond earring motif [a significant gift within the film] was no substitute” (Bernstein, 1997, p.89). Bernstein suggests that the decadent 1980s were like the 1950s, “an AIDS-free adventure playground with the promise of prosperity around every corner … our last age of innocence” (Bernstein, 1997, p.1). The films were very much a product of the time in terms of their production (“suddenly adolescent spending power dictated that Hollywood direct all its energies to fleshing out the fantasies of our friend, Mr. Dumb Horny 14 Year Old” Bernstein, 1997, p.4), their repetition (with the growth of video cassette recorders, cable and satellite with time to fill, and also the likes of MTV promoting the film’s soundtracks) and their ideologies.