Science Fiction, Melodrama and Western Intersect in David Lynch’s Dune
A genre is a grouping of works, in this context a grouping of films, that are somehow similar or related in content or style. Genres are not strictly uniform over a period of time and do allow for growth and adaptation of their definitive characteristics. As the film industry has developed through the past century, various genres of films have emerged and are still evolving. Aspects of genres have been redefined and intermingled through the history of film. There have also been, throughout the progression of filmmaking, films which do not strictly fall into one genre or which combine elements of several genres. David Lynch’s 1984 film Dune is a fascinating case study of a film which blends together principles of several genres. Initially the film is and has been classified as science fiction, but through closer observation it is revealed to contain strong characteristics of melodrama or even those of classic western films. Dune, in several ways, closely resembles the family and aristocratic melodramas of the 1950’s such as Written on the Wind and The Cobweb. Additionally, the oppositions which William Wright delineates as being integral to the western film are present in Dune as well as most of the defining plot devices of Wright’s classic western. In this respect, Dune bears some small resemblances to the film Shane. Thus, neither the melodrama nor the western are static genres of film, for they can clearly be seen to develop and change over time and to commingle with other genres. Further, Dune functions as an illustration of a film which falls into the genre of science fiction yet also serves as a melodrama and, in certain ways, a western. The film also...
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.... http://www.fortunecity.com/x-stream/scullyst/18/masculinity.htm 3 March 2002
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Nowell-Smith, Geoffrey. “Minnelli and Melodrama”. Home is Where the Heart Is: Studies in Melodrama and the Woman’s Film. Ed. Christine Gledhill. BFI Publishing, 1987. 70-74
Schatz, Thomas. Hollywood Genres: Formulas, Filmmaking, and the Studio System. Boston: McGraw Hill. 1981: 221-228, 235-245
Westfahl, Gary. “‘Man against man, brain against brain’: the transformation of melodrama in science fiction.” Themes in Drama: Melodrama. Ed. James Redmond. Cambridge: Cambridge University Press, 1992. 193-211
Wright, William. Six Guns and Society: A Structural Study of the Western. Berkeley, Los Angeles, London: University of California Press. 1975: 29-59
Jacobs, Lewis. “Refinements in Technique.” The Rise of the American Film. New York: Teachers College Press, 1974. 433-452. Print.
In Hollywood today, most films can be categorized according to the genre system. There are action films, horror flicks, Westerns, comedies and the likes. On a broader scope, films are often separated into two categories: Hollywood films, and independent or foreign ‘art house’ films. Yet, this outlook, albeit superficial, was how many viewed films. Celebrity-packed blockbusters filled with action and drama, with the use of seamless top-of-the-line digital editing and special effects were considered ‘Hollywood films’. Films where unconventional themes like existentialism or paranoia, often with excessive violence or sex or a combination of both, with obvious attempts to displace its audiences from the film were often attributed with the generic label of ‘foreign’ or ‘art house’ cinema.
BIBLIOGRAPHY An Introduction to Film Studies Jill Nelmes (ed.) Routledge 1996 Anatomy of Film Bernard H. Dick St. Martins Press 1998 Key Concepts in Cinema Studies Susan Hayward Routledge 1996 Teach Yourself Film Studies Warren Buckland Hodder & Stoughton 1998 Interpreting the Moving Image Noel Carroll Cambridge University Press 1998 The Cinema Book Pam Cook (ed.) BFI 1985 FILMOGRAPHY All That Heaven Allows Dir. Douglas Sirk Universal 1955 Being There Dir. Hal Ashby 1979
Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.
Neill, Alex. “Empathy and (Film) Fiction.” Philosophy of film and motion pictures : an anthology. Ed. Noel Carrol and Jinhee Choi. Malden, MA: Blackwell Publishing, 2006. 247-259. Print.
...Realist International Theory and the Study of World Politics.” in New Thinking in International Relations Theory. ed. Doyle, Michael w. and G. John Ikenberry (eds.) (Westview Press: 1997).
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
Williams juxtaposes the three genres together, to reveal similarities and differences, and, in turn, their similar and different desire effects on the audiences. Specifically, she points out the physical reaction of characters in the films, and how the audience members mimic them. Firstly, in regards to the physical body, Williams discusses the similar uncontrollable “convulsion or spasm,” that comes with the different genres; a body on the screen is “’beside itself’ with sexual pleasure, fear and terror, or overpowering sadness.” (729) Next, she dissects the sound of these bodily reactions – the overpowering moan, scream, or sob that the chara...
Classical realism focuses on the balance of power whereas the neorealist’s theory examines the balance of power as it relates to the structure of an overall system. Realists examine “human nature at the individual level, aggressive states at the domestic level, leaders pursuing domestic and international power at the foreign policy level, and the balance of power at the systemic level” (Nau, 2012, p. 10); and, further argues that polarity between powers...
Realism can be described as a theoretical approach used to analyze all international relations as the relation of states engaged in power (Baylis, Owens, Smith, 100). Although realism cannot accommodate non-state actors within its analysis. There are three types of realism which include classical (human
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.
The prominent scholar of Political Science, Kenneth N. Waltz, founder of neorealism, has proposed controversial realist theories in his work. Publications such as "Man, the State, and War: A Theoretical Analysis", "Theory of International Politics” and “The Spread of Nuclear Weapons: A Debate,” demonstrate how Waltz's approach was motivated by the American military power. In acquaintance of this fact, the purpose of this paper is to critically analyze Waltz theoretical argument from the journal "Structural Realism after the Cold War". Firstly, this paper will indicate the author's thesis and the arguments supporting it. Secondly, limitations found in theoretical arguments will be illustrated and thirdly, synergies between the author's thesis and this analysis will be exposed.
When discussing whether or not a nation-state should enter a war and when to do so, three beliefs on foreign policy and war exist. The three different diplomatic stances are that of pacifism, just war theory, and political realism. Political realism, or realpolitik as it is often referred to, is the belief war should only occur when it is in the national interest of the particular nation-state. Henry Kissinger, a political realist, in his book Diplomacy argues that realism is the only logical answer. Just war theorists, along with pacifists, on the other hand oppose these arguments and therefore critique of this form of diplomatic action. To construct a valid understanding of the realist perspective the arguments Kissinger puts forth in his book Diplomacy will be examined, and then a critique of those arguments will be offered through a just war theorist perspective.
The study of international relations takes a wide range of theoretical approaches. Some emerge from within the discipline itself others have been imported, in whole or in part, from disciplines such as economics or sociology. Indeed, few social scientific theories have not been applied to the study of relations amongst nations. Many theories of international relations are internally and externally contested, and few scholars believe only in one or another. In spite of this diversity, several major schools of thought are discernable, differentiated principally by the variables they emphasize on military power, material interests, or ideological beliefs. International Relations thinking have evolved in stages that are marked by specific debates between groups of scholars. The first major debate is between utopian liberalism and realism, the second debate is on method, between traditional approaches and behavioralism. The third debate is between neorealism/neoliberalism and neo-Marxism, and an emerging fourth debate is between established traditions and post-positivist alternatives (Jackson, 2007).