This paper is an in depth visual and theoretical analysis of Quentin Tarantino’s 2009 film Inglourious Basterds. The central questions with which the essay contends are how Quentin Tarantino represents Nazis within his film, as represented by Colonel Hans Landa and Adolf Hitler and where the film fits within the American tradition of representing Nazis on-screen. Inglourious Basterds creates an argument that the Nazi regime itself was a type of performance; the regime’s politics are explicitly theatrical, and the only weapon (...) capable of taking it down is an equally powerful theatrical machine: Hollywood. (shrink)

Drawing on the critical theories of Jean Baudrillard, Cinema of Simulation performs close readings of key films to examine cinematic visions of mutational reality.

The Hollywood fiction places the spectators in an imaginal world, allows to actualize the mythologies which crossed the ages and to approach the representation of the dreams. The cinematographic device puts the spectators in an intermediary position between the sensible and the intelligible and creates, from this in-between, a new vector of fiction. Hollywood brings the public back to an original world where the moving image of reality pushes the creation of a mythological and dreamlike narrative. Thanks to (...) psychoanalysis and cinema, mythology and dreams, which are fundamental properties of the human mind, have been revisited and their representation has taken new forms. Hollywood has made an aesthetic adaptation of them by inscribing them in a new form of fictional narration that adds a space of communication between men outside the senses and the word in an attempt to approach and circumscribe what could constitute the inexpressible dimension of the human condition. (shrink)

ISBN 978-1-4384-9027-4 Argues that Nietzsche’s idea of the Übermensch was a central concern of filmmakers in the 1920s and 1930s. -/- Nietzsche in Hollywood offers a compelling and startling history of Hollywood film in which the German philosopher Friedrich Nietzsche and his idea of the Übermensch looms large. Though Nietzsche’s philosophy was attacked as egoistic and a sociopathic version of Darwinism in films from the 1910s, it undergoes a series of cinematic and philosophical transformations in the 1920s and (...) 1930s under the eye and pen of some of the most significant names in early Hollywood, including Erich von Stroheim, Josef von Sternberg, Ben Hecht, Howard Hawks, and Ernst Lubitsch. In addition to establishing historical connections between Nietzsche’s philosophy and these filmmakers, the book provides philosophical readings of many Hollywood films through the lens of the Nietzschean ideas of “perspectivism” and the critique of morality. Offering a new history of classic Hollywood films as well as a new approach to film philosophy, Nietzsche in Hollywood reveals a reading of the philosopher in American culture that has largely been ignored. (shrink)

What is called “time travel” cinema is but one aspect in a tripartite series of interweaving modes of disjunctive narration which is also – simultaneously – a cinema of “many worlds” and “altered states”. Exploiting Gilles Deleuze's three syntheses of time, space, and consciousness from Difference and Repetition (1968) allows a conceptual development of these cinematic series through three popular Hollywood film cycles beginning with Planet of the Apes (Franklin J. Schaffner, 1968), The Terminator (James Cameron, 1984), (...) and Back to the Future (Robert Zemeckis, 1985). In so doing, film and philosophy are deployed as two series which together create inexhaustible atemporal, aspatial, and ahuman disjunctions, ungrounding everyday spatio-temporal identities, and affirming productive images of cinematic thought. (shrink)

Demonstrates that slapstick film comedies display a canny and sometimes profound understanding of their medium. Slapstick film comedy may be grounded in idiocy and failure, but the genre is far more sophisticated than it initially appears. In this book, Burke Hilsabeck suggests that slapstick is often animated by a philosophical impulse to understand the cinema. He looks closely at movies and gags that represent the conditions and conventions of cinema production and demonstrates that film comedians display a canny (...) and sometimes profound understanding of their medium—from Buster Keaton’s encounter with the film screen in Sherlock Jr. (1924) to Harpo Marx’s lip-sync turn with a phonograph in Monkey Business (1931) to Jerry Lewis’s film-on-film performance in The Errand Boy (1961). The Slapstick Camera follows the observation of philosopher Stanley Cavell that self-reference is one way in which “film exists in a state of philosophy.” By moving historically across the studio era, the book looks at a series of comedies that play with the changing technologies and economic practices behind film production and describes how comedians offered their own understanding of the nature of film and filmmaking. Hilsabeck locates the hidden intricacies of Hollywood cinema in a place where one might least expect them—the clowns, idiots, and scoundrels of slapstick comedy. “From its analysis of the vaudevillian Victorian origins to early Hollywood expressions, and from defining classical performances by the likes of Keaton to recent postmodern recapitulations, Hilsabeck’s theoretically rigorous and wide-ranging study masterfully weaves a path through the historical, technical, and philosophical art of slapstick comedy. A must for scholars working in this field.” — Daniel Varndell, author ofHollywood Remakes, Deleuze and the Grandfather Paradox. (shrink)

From Inception to The Lake House, moviegoers are increasingly flocking to narratologically complex puzzle films. These puzzle movies borrow techniques--like fragmented spatio-temporal reality, time loops, unstable characters with split identities or unreliable narrators--more commonly attributed to art cinema and independent films. The essays in Hollywood Puzzle Films examine the appropriation of puzzle film techniques by contemporary Hollywood dramas and blockbusters through questions of narrative, time, and altered realities. Analyzing movies like Source Code, The Butterfly Effect, Donnie Darko, (...) Déjà Vu, and adaptations of Philip K. Dick, contributors explore the implications of Hollywood's new movie mind games. (shrink)

Shares articles and interviews from the influential French film magazine about the New Wave, American cinema and the future of film making.

This article examines the relationship between technology and aesthetics in contemporary Hollywood, using experiments with frame rates and shutter speeds to show how deep, systemic changes in cinematic technologies can alter our relation to the image’s referential functions. For eighty years, cinema’s registration of movement relied upon a standardized frame rate and shutter speed, meaning that cinema’s sense of motion was constant. With the proliferation of ever more powerful digital capture systems, however, these formerly inflexible options are (...) made variable and put into question. By changing the registration of movement, the high frame rate experiments in The Hobbit and the open-shutter cinematography of Miami Vice offer an estranged relation to cinema’s presentation of worldly motion. I argue here that this altered sense of the image’s referentiality is well suited to depictions of our contemporary reality, which, being profoundly bound up in digital technologies, seems similarly disorienting, estranging, and aesthetic. In the first section of the article, I trace out the origins of this style of movement in the logics of the corporate tech industry, which rolls out continual upgrades in audio-visual technologies in order to justify new product lines. According to industry rhetoric, these upgrades ostensibly lead to a heightened sense of realism, but viewer response has been torn over whether this new sense of motion is realistic or unrealistic. In the second section, I closely analyze The Hobbit and the recent work of Michael Mann to show how established film form shifts in relation to this problem in digital cinema’s representation of worldly movement. In The Hobbit’s case, film form is altered in order to assimilate the HFR’s unfamiliar sense of motion, but the cinematography in Miami Vice embraces a productive aesthetic estrangement which is both realistic and hyperaestheticized, leaving the divide between immanent experience and technologized disorientation an open question. (shrink)

Publication date: 27 August 2018 Source: Author: Chadi Chahdi This article throws into relief the tropes by which Hollywood has come to churn out identical Arabs bent on destruction, yet ones that need to be salvaged. However, the salvation process is never complete because the Arabs are not worthy of redemption, which sinks them further into the abyss of darkness. The representation of Arabs in Hollywood movies mostly aims at disseminating a stereotypical image that demeaningly homogenizes their cultures (...) and identities. Hollywood here participates in a process of imperial hegemony. The repetition in producing such imagined culture of Arabs and Muslims is seen as a hegemonic act of naturalizing orientalist ideologies that tend to over-idealize the Western culture and relegate the Eastern counterpart. In this light, this article attempts to deconstruct the visual representations produced to malign and vilify Arabs in Hollywood movies. Such movies are always premised upon a structure of binary oppositions that establish a motion picture of a civilized center dominating the margins, the so-called uncivilized subjects. (shrink)

Lena Horne was the first African-American woman to be signed to a contract to a major Hollywood studio, who did however not know what to do with her. Her >colour< – in her voice as well as her looks – meant that she did not fit into the racial hierarchies of the day and she was largely confined oppressively to the margins. However, she was also able to some degree, and in collaboration with other African-American figures in Hollywood, (...) to use this to give a glimpse of African-American modernism in Hollywood cinema. This is thus a case study of cultural production as struggle. (shrink)

In Sweet Liberty, writer and director Alan Alda dramatizes the process of turning a scholarly study about the American Revolutionary War into a Hollywood film; he does so in ways that bring out the ethical complexities of adaptation, and eventually takes them to a meta-filmic level rarely seen in non-experimental cinema. While Sweet Liberty initially comes off as a light comedy with a predictable plot and ending, on closer inspection it compels us to reflect on the relationship between (...) historical research and the popular entertainment industry. Although Alda appears to chastise the makers of period films who seek to capitalize on “history” without paying heed to historical facts, his professorial hero is not particularly critically minded either. Intentionally or not, Alda demonstrates that evaluating a mainstream history film cannot be reduced to a dichotomy between truth and fiction, and that research-based knowledge should also be viewed with a healthy skepticism. (shrink)

Does cinema express or engender political thought? Can we think of cinema, or certain specific cinematic texts, as bodies of political theory? In this paper I provide a positive response to such questions by arguing for a notion of, what I want to call, cinema as political critique. In order to make sense of this idea and render it more concrete, I will draw on fragments of the political theory of Jürgen Habermas and will discuss and give (...) an analysis of a popular and relatively recent Hollywood film: Gary Ross's Pleasantville . Reading Habermasian themes in and through Pleasantville, I will argue that this text can be seen as a concrete instance of political critique and, more particularly, as a form of political critique that ethically implies a certain conception of freedom. (shrink)

Archaeologists have been interested in Hollywood films for a few decades. What basically interested them was the theme of how cinema misperceives the practice of archaeology and its object of study (the past). In this paper I focus on How to Train Your Dragon (2010), 3-D animated film about Vikings for children. A film is always already a meta-film. Every film is, to use Hegelian distinction, a story in itself, presents more or less coherent story. At the same (...) time, a film is for itself, a meta-film, a meta-story which reflects on and encapsulates a more general context part of which is a particular film. In this paper both levels are scrutinised with regard to How to Train Your Dragon. My attention is paid especially to the ideological aspects of the film which presents a story about some vision of the past. It is an attempt of showing how archaeology, or more generally, the past is used to mask and stage at the same time elements of contemporary politics. (shrink)

Thomas Elsaesser’s recent scholarship has examined the “mind-game film”, a phenomenon in Hollywood that is broadly characterised by multi-platform storytelling, paratextual narrative feedback loops, nonlinear storytelling, and unreliable character perspectives. While “mind-game” or “puzzle” films have become a contentious subject amongst post-cinema scholars concerned with Hollywood storytelling, what is to be said of contemporary European independent cinema? Elsaesser’s timely publication, European Cinema and Continental Philosophy, examines an amalgam of politically inclined European auteurs to resolve this (...) query. Elsaesser concedes that there exists a phenomenological confluence between the mind-game film and contemporary European cinema. For instance, both produce characters afflicted by productive pathologies, designating new socially useful forms of agency and identity. One only needs to consult the amnesiac protagonist M (Markku Peltola) in Aki Kaurismäki’s The Man Without a Past (Mies vailla menneisyyttä, 2002) or, as regards Lars von Trier’s cinema, Beth (Emily Watson) in Breaking the Waves (1996), Selma (Björk) in Dancer in the Dark (2000), “She” (Charlotte Gainsbourg) in Antichrist (2009) or Joe (Charlotte Gainsbourg) in Nymphomaniac (2013) to evince this overlap. However, this book is more concerned with performative self-contradictions, whereby cinema-as-enunciator is put under erasure, thus aggravating the inherent discrepancies troubling Europe today. Elsaesser, indeed, evaluates a growing general disaffection with politics, the rise of populist nationalism and far-right fringe parties, as well as an increasing population of economic migrants, refugees, and asylum seekers. (shrink)

This article interprets David Lynch's Mulholland Drive (2001) to argue for the morphological influence cinematic images have on modernity's monstrous identity. It shows how Lynch's tactic of interweaving apparently discrete spaces of dream and reality – one often inverting or uncannily ironising the other – relies on the virtual space of cinema, which leaves a mark on understanding, irrespective of its apparent truth. To do so, I employ Peter Sloterdijk's philosophy of space – especially the spherology developed in his (...) Spheres trilogy – and Bernard Stiegler's approach to cinematic phenomenology to consider the transferential force of cinema, and its power to cultivate and shape popular consciousness. Mulholland Drive is acutely aware of this force, and its interplay with the expectations and disappointments of Hollywood monstrosity inserts itself into the sphere-forming traffic of modern meaning-making. In doing so, I argue, the film takes up Lynch's familiar approach to irony and the weird to unwind the destructive uniformity of Hollywood hegemony. The productive bifurcations that result, inscribed in between cinema and consciousness, and forgettable as the very spheric intimacy of memory, gesture to what might live beyond discrete forms. (shrink)

The range of topics in this volume covers a multitude of historical periods and topics, which in turn figure in the new media environments of contemporary life. These include discussions of the Aristotelian and classical models of a "good life" that inform animated fairy tales today, 1930s French and Hollywood films which respond to the dire need for productive human relationships in a turbulent decade, the polemical positions of black film criticism through the lens of James Baldwin's work, a (...) discussion of contemporary filmic quests for happiness, the challenges for women filmmakers today in mapping the values of their own world, landscapes of austerity and poverty in the cinematic homelands today, the scientific, psychological, and philosophical base for human value, and the shifting media frames of modern society and selves. (shrink)

Film Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focussing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the (...) world. This volume collects the major European ÒwavesÓ and figures ; Latin American Third Cinemas ; radical art and the avant-garde ; and world cinemas. It also contains previously untranslated manifestos co-written by figures including Bolla’n, Debord, Hermosillo, Isou, Kieslowski, PainlevŽ, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture. (shrink)

This article seeks to bring small talk about cinema – the type of conversation that can begin with the question “Have you seen any good movies lately?” – into the analytical ambit of cinema and media studies. In order to do so, I argue that such conversation is relevant to the philosophical project of Stanley Cavell. Throughout his attempts to wed film analysis and philosophical reflection, including his seminal studies of Hollywood genres, Cavell has remained committed to (...) the idea that philosophy is not a search for objective absolutes or momentous conclusions. This is a characteristic inconclusiveness that small talk shares. While small talk is often derided as unimportant on account of this very inconclusiveness, the work of Cavell provides a propitious framework for appreciating small talk's underacknowledged philosophical stakes and for reconsidering assumptions about the relative value of communicative practices. In order to better illustrate this relation between small talk and philosophy, this art... (shrink)

Pour promouvoir son cinéma, Hollywood bataille sur plusieurs fronts: la publicité, les codes moraux et le lobbying. Quand leurs succès érigent le « Made in Hollywood» en marque de qualité, Hollywood réussit à s'arroger un avantage stratégique sur le cinéma mondial.To promote his film, Hollywood battle on several fronts: advertising, lobbying and moral codes. When their successes erect "Made in Hollywood" brand in quality, Hollywood managed to assume a strategic advantage on world cinema. (...) marketing, Hollywood, MPEA. (shrink)

Hollywood films partially construct how Americans think about education. Recent work on the representation of schools in American cinema has highlighted the role of class difference in shaping school film genres. It has also advanced the idea that a nuanced understanding of American individualism helps to explain why the different class genres are shaped as they are. This article attempts to refine this theoretical approach by focusing on the paradox of individualism, which suggests that individualism must always be (...) dependent on community. We examine 5 films (Rushmore 1988, The Breakfast Club 1985, Mona Lisa Smile 2003, School of Rock 2003, and Stand and Deliver 1988) and argue that, although the values of individualism are certainly celebrated, these films also show, perhaps unwittingly, that the achievements of individualism require robust student communities. We describe how student communities function in these films, what achievements they make possible, and what obstacles they face. (shrink)

One has the distinct feeling that Deleuze and World Cinemas was already in the works when David Martin-Jones published Deleuze: Cinema and National Identity in 2006. In that earlier study, he married Deleuze with Homi K. Bhabha to produce constructive readings of both canonical and popular films. He considers these texts to be hybrid films that display qualities of both the movement-image and time-image, two Deleuzian concepts he deploys in showing how narrative time fashions national identity in distinctive ways. (...) The final chapter of this earlier work departed abruptly from discussion of Hollywood and Western European cinema to engage with films from East Asia, a move that charted a specific future course. In... (shrink)

It is well known that the American director Terrence Malick studied philosophy under Stanley Cavell and translated the work of Martin Heidegger. He eventually traded Harvard and Oxford for Hollywood, though. This essay traces Malick's evolution from budding academic philosopher to cinematic innovator. It suggests that Malick's cinematic career should be viewed as both a rejection of academic philosophy and a celebration of the examined life.

Exploring the modern category of history in relation to film theory, film textuality, and film history, Change Mummified makes a persuasive argument for the centrality of historicity to film as well as the special importance of film in historical culture. What do we make of the concern for recovering the past that is consistently manifested in so many influential modes of cinema, from Hollywood to documentary and postcolonial film? How is film related to the many modern practices that (...) define themselves as configuring pastness in the present, such as architectural preservation, theme parks, and, above all, professional historical research? What is the relation of history in film to other media such as television and digital imaging? How does emphasizing the connection between film and modern historicity affect the theorization and historicization of film and modern media culture? Pursuing the full implications of film as cultural production, Philip Rosen reconceptualizes modern historicity as a combination of characteristic epistemological structures on the one hand, and the social imperative to regulate or manage time on the other. Emphasizing a fundamental constellation of pursuit of the real, indexical signification and the need to control time, he interrogates a spectrum of film theory and film texts. His argument refocuses the category of temporality for film and cultural theory while rethinking the importance of historicity. An original and sustained meditation on the historiographic status of cinematic signs, Change Mummified is both an intervention in film and media studies and an argument for the continuing necessity of modern historical thinking in its contradictions. (shrink)

Cahiers du Cinema is the most prestigious and influential film journal ever published. An anthology devoted entirely to its writings, in English translation, is long overdue. The selections in this volume are drawn from the colorful first decade of Cahiers, 1951-1959, when a group of young iconoclasts racked the world of film criticism with their provocative views an international cinema--American, Italian, and French in particular. They challenged long-established Anglo-Saxon attitudes by championing American popular movies, addressing genres such as (...) the Western and the thriller and the aesthetics of technological developments like CinemaScope, emphasizing mise en scéne as much as thematic content, and assessing the work of individual filmmakers such as Hawks, Hitchcock, and Nicholas Ray in terms of a new theory of the director as author, auteur, a revolutionary concept at the time. Italian film, especially the work of Rossellini, prompted sharp debates about realism that helped shift the focus of critical discussion from content toward style. The critiques of French cinema have special interest because many of the journal's major contributors and theorists Godard, Truffaut, Rohmer, Rivette, Chabrol were to become same of France's most important film directors and leaders of the New Wave. Translated under the supervision of the British Film Institute, the selections have far the most part never appeared in English until now. Hillier has organized them into topical groupings and has provided introductions to the parts as well as the whale. Together these essays, reviews, discussions, and polemics reveal the central ideas of the Cahiers of the 1950s not as fixed doctrines but as provocative, productive, often contradictory contributions to crucial debates that were to overturn critical thinking about film. (shrink)

Through exploring transatlantic film history, this book uncovers the ways in which these men were presented in media and on screen, arguing that they carry with them, even in films made at the height of censorship, an appealing and attractive queerness. Owen-King expands on Eve Kosofsky Sedgewick's theory of homosocial/homosexual continuum and offer readings of film texts that use her theories to survey gender and sexual identities within Hollywood's Golden Era.

The most important modes of film practice, in my view, are art-house cinema and the avant-garde, both of which contrast with the classical Hollywood mode of film practice. While the latter is characterized by its commercial imperative, corporate hierarchies, and a high degree of specialization as well as a division of labor, the avant-garde is an “artisanal” or “personal” mode. Avant-garde films tend to be made by individuals or very small groups of collaborators, financed either by the filmmakers (...) alone or in combination with private patronage and grants from arts institutions. Such films are usually distributed through film cooperatives and exhibited by film societies, museums, and universities. (Consequently .. (shrink)

Jonathan Rosenbaum _Essential Cinema: On the Necessity of Film Canons_ Baltimore and London: The Johns Hopkins University Press, 2004 ISBN 0-8018-7840-3 hb xxi + 445 pp. _Movie Mutations: The Changing Face of World Cinephilia_ Edited by Jonathan Rosenbaum and Adrian Martin London: British Film Institute, 2003 ISBN 0851709834 hb; 0851709842 pb 224 pp. Jonathan Rosenbaum _Movie Wars: How Hollywood and the Media Limit What Films We Can See_ London: Wallflower Press, 2002 ISBN 1-903364-23-X pb 192 pp.