Film Theory and Contemporary Hollywood MoviesWarren Buckland Routledge, 2009 M06 3 - 368 páginas 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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... filmmaking realm have been quite consistent with the rest of the Big Six. Indeed, a key development in the new millennium has been the increasing uniformity of the conglomerates ... filmmaking by the hollywood filmmaking in the new ...
... filmmaking operations are closely tied to (and determined by) the structure and strategies of the parent conglomerate. The prime objective of these studios is the production of franchise-spawning blockbusters budgeted in the $100–$250 ...
... filmmaking talent. In this sense the conglomerate-owned subsidiaries have provided a safe haven for Hollywood's indie auteurs, and particularly for established writer-directors who are firmly ensconced in the indie-division sector—a ...
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