The star-studded romantic comedy Midnight in Paris is one of Woody Allen’s most recent films which he did both, wrote and directed. It is a film about a man named Gil (Owen Wilson) who travels to Paris with his fiancée’s parents in order to expand his imagination and he ends up embarking on a journey to the 1920s while walking the streets of Paris at night. Not only is this film engaging and witty, but it also manages to provide both, overt and covert examples of postmodernism in film. By analyzing Woody Allen’s 2011film Midnight in Paris, we can identify the presence of many underlying motifs in both the narrative and the characterization of the film when using some of Frederic Jameson and Jean Baudrillard’s concepts on postmodernism.
One of the main concepts that postmodernism relies on is bricolage, which is reflected in Midnight in Paris through the usage and mixtures of the different styles and genres. It is not exactly simple to pinpoint or even categorize the type of film Midnight in Paris is, the assemblages of genres include romance, comedy, fantasy, adventure, history, and time travel. There is certainly a blurred line to which genre dominates this film because all these genres are seamlessly blended in together making it difficult to distinguish where each decides to be featured. Allen managed to extenuate the use of long and still shots in order to highlight the city of Paris towards the beginning of the film as his opening shots, a technique that is not used very often in mainstream Hollywood films. He then brings the city to life at midnight; where his cinematography is soften for the shots which were intended to take place in the golden age. The other modern day shots are very vivid and sharp compared to those of t...
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...ts how it is meaningless to yearn for the past, something that can no longer exist and be retrieved. By presenting spectators with all these postmodern elements in Midnight in Paris, he not only shows us what is wrong with our society, but also how we can move forward instead of looking backwards.
Works Cited
Bruno, Giuliana. “Ramble City: Postmodernism and Blade Runner.” In Alien Zone, ed. Annette
Kuhn. London; New York: Verso, 1990. 183-195.
Hayward, Susan. Cinema Studies: The Key Concepts. New York: Routledge, 2006. Book.
Hill, John. "Film and postmodernism." Hill, John and Pamela Gibson Church. Film Studies:
Critical Approach . New York: Oxforce University Press , 2000. 94-102. Book.
Midnight in Paris. Dir. Woody Allen. Perf. Owen Wilson, Rachel McAdams, Kurt Fuller. 2011.
DVD.
Wysocki, Jonathan. "FEA 401: Postmodernism." Class notes. 13 November 2013.
The noir style is showcased in Sunset Boulevard with its use of visually dark and uncomfortable settings and camera work, as well as its use of the traditional film noir characters. In addition, the overall tone and themes expressed in it tightly correspond to what many film noirs addressed. What made this film unique was its harsh criticism of the film industry itself, which some of Wilder’s peers saw as biting the hand that fed him. There is frequent commentary on the superficial state of Hollywood and its indifference to suffering, which is still a topic avoided by many in the film business today. However, Sunset Blvd. set a precedent for future film noirs, and is an inspiration for those who do not quite believe what they are being shown by Hollywood.
Film Noir is a genre of distinct and unique characteristics. Mostly prominent in the 40s and 50s, the genre rarely skewed from the skeletal plot to which all Film Noir pictures follow. The most famous of these films is The Big Sleep (1946) directed by Howard Hawks. This film is the go to when it comes to all the genre’s clichés. This formula for film is so well known and deeply understood that it is often a target for satire. This is what the Coen brothers did with 1998’s The Big Lebowski. This film follows to the T what Film Noir stands for.
...f one defies the natural law and strives to recover the loss, he or she is already on the road to a tragic end. More ironically, the efforts draw the character farther from what they wanted; the rape made Blanche even less credulous, the funeral made Willy even less respected, the request made Gatsby less favorable by Daisy. All three modernist pieces presented false beliefs about life and showed the consequences of obeying those believe. The consequences revealed a bloody truth – the loss of the hope cannot be recovered. What is lost is already the past; only the future can be earned by the hard work done in the present.
This paper has attempted to investigate the ways in which Alfred Hitchcock blended conventions of film noir with those of a small town domestic comedy. It first looked at the opening scenes of the film in which the two conventions were introdruced. It then went on to analyse the film with the aid of Robin Wood's article Ideology, Genre, Auteur. From these two forms we can see that film noir and small town comedy were used as a means of commenting on the contradictions in American values.
Adapted from the novella written by James M. Cain, Double Indemnity is a melodramatic film noir that highlights the conflict its characters face through adultery and murder which develops from the dissatisfaction and alienation that arose in the era of modernity as shown in most noir films. Unlike most noir films, Double Indemnity set the bar in terms of structural themes to follow and elements that eventually came to be considered essential in the noir genre. The film was seen to be a full embodiment of what the genre should be. Double Indemnity is an archetypal noir film, which portrays noir elements through its style, the characters, its writers’ backstory and the history of Los Angeles, the city in which it is set. This essay will examine how Los Angeles is integrated not only into the location but also into the storyline of the characters and their motivations but also the filmmakers’ lives. It does this through characteristic noir motifs like “the urban cultural landscape, the lack of rootedness of the characters, and the self-deceptions that center their world” (p. 437) affect the protagonists in the film. Double Indemnity’s use of Los Angeles as its primary location exposes the innate decadence and decay of the city through film noir stylistic elements. Billy Wilder directed Double Indemnity and the film became the archetypal noir film because it embodied all the characteristics of a typical noir film, which include “claustrophobia, paranoia, despair and nihilism” (Place and Peterson, p. 327) course kit source. Los Angeles, the city used primarily as the location in the film becomes not merely a backdrop but a character in the film through its physical and implied characteristics. The context through the stories of Wild...
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.
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
Connelly, Marie. "The films of Martin Scorsese: A critical study." Diss. Case Western Reserve University, 1991. Web. 07 Apr 2014.
... 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.
Ten years before Tarantino made Pulp Fiction, the academic and critic Frederic Jameson identified some of the key features of postmodernism, and debated whether these were a true departure from modernism, or just a continuation of the same rebellious themes. His paper on postmodernism tends towards the latter view, but at the same time prophetically pinpointed the essential departures that postmodernism has made from what has gone before. Tarantino’s film does not continue the debate in an academic way, but instead presents a virtuoso visual performance of the ideas that Jameson could only dimly perceive. These ideas include pastiche, a crisis in historicity and a blurring of the distinction between high culture and low culture.
In Wim Wenders’ 1984 film, Paris, Texas, we find its theme of loneliness harboured in Travis Henderson, but very much so in the film’s imagery, eloquently captured by Dutch cinematographer, Robby Müller, “When I choose to work on a film, the most important thing to me is that it is about human feelings. I try to work with directors who want their films to touch the audience.” And his imagery does just that in Paris, Texas.
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’.
...“Some Common Themes and Ideas within the Field of Postmodern Thought: A handout for HIS 389,” last modified May 13,2013,
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.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.