Film Theory and Contemporary Hollywood Movies
Film theory no longer gets top billing or plays a starring role in film studies today, as critics proclaim that theory is dead and we are living in a post-theory moment. While theory may be out of the limelight, it remains an essential key to understanding the full complexity of cinema, one that should not be so easily discounted or discarded.
In this volume, contributors explore recent popular movies through the lens of film theory, beginning with industrial-economic analysis before moving into a predominately aesthetic and interpretive framework. The Hollywood films discussed cover a wide range from 300 to Fifty First Dates, from Brokeback Mountain to Lord of the Rings, from Spider-Man 3 to Fahrenheit 9/11, from Saw to Raiders of the Lost Ark, and much more. Individual essays consider such topics as the rules that govern new blockbuster franchises, the ‘posthumanist realism’ of digital cinema, video game adaptations, increasingly restricted stylistic norms, the spatial stories of social networks like YouTube, the mainstreaming of queer culture, and the cognitive paradox behind enjoyable viewing of traumatic events onscreen.
With its cast of international film scholars, Film Theory and Contemporary Hollywood Movies demonstrates the remarkable contributions theory can offer to film studies and moviegoers alike.
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At that point a cartel of global media giants—Time Warner, Disney, News Corp,
Sony, Viacom, and GE—owned all six of the major film studios, all four of the U.S.
broadcast TV networks, and the vast majority of the top cable networks, along ...
The average domestic box-office gross per release for the six major studios was
$52.5 million, although averages mean relatively little in a sector that relies so
heavily on “tentpole” hits—i.e., the top two or three runaway hits that generate
Prospects improved even more on Oscar night in late February, when the voting
members of the Academy displayed a pronounced bias against the major studios
and in favor of the conglomerate-owned indies. “The Oscars have become the ...
The only 2007 studio release to receive significant Oscar attention was Warner
Bros.' Michael Clayton (with seven nominations and one win), although it was
scarcely a major studio film. Independently financed and produced, Michael
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