Week 12 Modernist Film - Week 12 Modernist Film 02:56:00...

Info icon This preview shows pages 1–3. Sign up to view the full content.

View Full Document Right Arrow Icon
Week 12 – Modernist Film 02/03/2009 03:56:00 Modernist genre film (from lecture, Bordwell & Thompson and Casper &  Edwards), examples from "The Sting" and other relevant films Claire Keneally Conditions and Causes for Modernism in American Film The antiestablishmentarianism of the Age of Aquarius, 1963-1976 The impact of European film The end of censorship Conglomerate takeover of the studios Director as auteur Modernism Modernism and the other arts; modernism and film Modernism’s two basic tenets Thematically: self-conscious engagement with social and moral values Every work self-consciously engages itself and questions with social and moral  values Formally: experimentation with formal strategies of the respective art  form/medium You will see all aesthetics of film making techniques change You will find a protagonist in the world who will question the norms of the world.  The might accept the things or create new ones Protagonist on literal or metaphorical journey of self to find meaning In classical the world is homogenous, one truth and its absolute
Image of page 1

Info icon This preview has intentionally blurred sections. Sign up to view the full version.

View Full Document Right Arrow Icon
In modernist there are no absolutes and everything is relative Modernist substitutes law morality with situational ethic.  For Modernist there is no extrinsic meaning. In classical there is natural order law  where things that occur naturally in nature are just and things that oppose those are  evil. New ways of telling stories The narrative will be very different in modernist because anything can happen or  oppose the natural order of law Point of view The only truth that exist in modernism is what works for the individual. There are  multiple points of view in modernist films to show how a situation relates to an  individual.  Reflexivity Could be in passages, the entire work. The work embodies consciousness  turning back on itself. Formal characteristics turned around by director. We will see all  forms of formal design being used and manipulate, Shows the machinery of film making  a film. (Singing in the Rain) Part of the experience is to see the movie make itself. Open Texture Filmic intertextuality When a movie steps out of itself and shows other films (Singing in the Rain  montage of other sound films) Non-filmic intertextuality Use materials or other structures to help make itself. Painting, literature,  photography Extra-filmic intertextuality Uses structures that are non-aesthetic in nature to help make the film. Look to  crime technology, detective technology
Image of page 2
Image of page 3
This is the end of the preview. Sign up to access the rest of the document.

{[ snackBarMessage ]}

What students are saying

  • Left Quote Icon

    As a current student on this bumpy collegiate pathway, I stumbled upon Course Hero, where I can find study resources for nearly all my courses, get online help from tutors 24/7, and even share my old projects, papers, and lecture notes with other students.

    Student Picture

    Kiran Temple University Fox School of Business ‘17, Course Hero Intern

  • Left Quote Icon

    I cannot even describe how much Course Hero helped me this summer. It’s truly become something I can always rely on and help me. In the end, I was not only able to survive summer classes, but I was able to thrive thanks to Course Hero.

    Student Picture

    Dana University of Pennsylvania ‘17, Course Hero Intern

  • Left Quote Icon

    The ability to access any university’s resources through Course Hero proved invaluable in my case. I was behind on Tulane coursework and actually used UCLA’s materials to help me move forward and get everything together on time.

    Student Picture

    Jill Tulane University ‘16, Course Hero Intern