By Roberta Garrett (auth.)
Read Online or Download Postmodern Chick Flicks: The Return of the Woman’s Film PDF
Best film & television books
Winner of the 2009 Society for Cinema and Media reviews Katherine Singer Kovacs ebook AwardThe Midwest of well known mind's eye is a "Heartland" characterised by means of conventional cultural values and mass marketplace inclinations. no matter if forged certainly —; as genuine, pastoral, populist, hardworking, and all-American—or negatively—as backward, narrow–minded, unsophisticated, conservative, and out-of-touch—the fantasy of the Heartland endures.
Unusual solutions to universal questions about TV'Is television dumbing us down? ', 'what is a precinct drama? ', 'why does all television glance a similar? ', 'has television replaced politics? ', 'who regulates TV', 'is television entire? ' audience and scholars of television have a fit interest concerning the medium and ask every type of basic questions about it, yet you should glance tough to discover the solutions.
Saturday evening reside, Hollywood Comedy, and American tradition sheds new mild at the ways that Saturday evening reside s confrontational, boundary-pushing technique spilled over into movie creation, contributing to a few of the most important hits in Hollywood background, akin to nationwide Lampoon s Animal residence, Ghostbusters, and Beverly Hills Cop.
This groundbreaking and leading edge publication is set where of global Cinema within the cultural imaginary. It additionally repositions international Cinema in a much broader discursive house than is mostly the case and treats it as an item of theoretical enquiry, instead of as a advertisement label. The editors and unusual workforce of individuals, together with Laura Mulvey, John Caughie, Geoffrey Nowell-Smith, Ashish Rajadhyaksha, and Paul Julian Smith, provide quite a number methods and case stories whose organizing precept is the constructing notion of polycentrism as utilized to cinema.
- High Sierra
- Anne Francis: The Life and Career
- The Cowboy Way: The Western Leader in Film, 1945-1995
- Digital Video
- Film and the Ethical Imagination
Additional resources for Postmodern Chick Flicks: The Return of the Woman’s Film
While these critics also tend to neglect the relationship between allusionism, postmodernist cinema and feminism or women’s cinema, their emphasis on social and cultural movements takes us further towards these issues and suggests some possible reasons why women’s cinema did not ‘go mainstream’ in the manner of other experimental filmic forms during this period. To begin with, it is worth stressing that while cine-historical accounts of new Hollywood’s ability to expand and flourish under new conditions cannot fail to highlight its commercial success, those focusing on its artistic or creative development during the same period take a more critical view.
Feminism, postmodernist cinema and new Hollywood Looking at accounts of the development of new Hollywood alongside Carroll’s discussion of the rise of cinematic allusionism suggests three important factors concerning the relationship between new Hollywood, post-Fordism and postmodernism. Firstly, that the new Hollywood of the late 1960s provided the ideal industrial and cultural environment to nurture the emergence of a new mainstream cinematic mode later defined as postmodernist. Secondly, that while self-consciousness and the implementation of counter-cinematic distancing devices were aspects of this form, its most pronounced feature was its use of prior cinematic allusion linked to both the academic re-evaluation of classical Hollywood and its recirculation through new media exhibition outlets.
Features which were subsequently defined as postmodernist – such as allusionism or the self-conscious manipulation of generic expectation – were thus tested out and developed within popular Hollywood (albeit during an innovative period) and became widely recognised by a large section of the cinema-going public. For critics such as Carroll and Ryan and Kellner, these forms of nonrealist experimentalism were, initially at least, aligned with the youth movements and identity politics of the late 1960s (Carroll, 1982: 79; Ryan and Kellner, 1990: 17–48).