Film-theory is in some aspects a very fickle research field. It concerns itself with a relatively new technology and as an academic field it does not exactly stand on its own. Like literature, academic research in film has to be a combination of various other research fields to give appropriate answers to the issues and questions of film studies. In a way, experts within film studies have to develop theory from a variety of other fields, such as psychology, sociology, economics or statistics to name a few. That is, if they want to produce theory that can be generalized for film study and as such it seems a gargantuan task.
For one, neo-noir used more “modern circumstances and technology, which were typically absent or unimportant in the classic film noir.” (CITE). Additionally, neo-noir films usually employ unconventional plot devices and camera movements. And unlike classic film noirs tendency to draw the viewer into the protagonist 's life and building a relationship, neo-noir constantly reminds the viewer they are just watching a film. Themes of “identity crisis, memory issues and subjectivity” are all common in neo-noir
As argued by Andrew Dix, ‘narrative reoccurrence may also denote the complexity and ambiguity of an event, its openness to multiple interpretations’ (2008, 114), and Pulp Fiction certainly supports this. An example would be in the prologue of Pulp Fiction, where the action and event isn’t resolved till the end, emphasising the films relationship between film time and real time. It is this which makes the shot chosen in the opening scene to be an essential part in the films overall narrative, something viewers are unaware of. Here, the minimal use of camera movement is to be crucial to the contribution to the storytelling within the sequence. The initial shot is of the two protagonists, Ringo and Yolanda who are sat at a table of what looks
Since Hollywood continues to whitewash their film, it prevents POC actors and actresses from rising above the ladder. In order them to become recognizable and successful they need to be given the chance to actually put their names out there. This way, movie makers have more choices to pick from and can make their movies more diverse. Even if the films are fantasy or fake, realism in some way, still needs to be a factor. To cut out that aspect is not only lazy but damaging.
What does it mean for something to be self-reflexive? In film terms, it means that the film has a varying level of self-awareness. This film will often attempt to make the audience aware of the film creation process, taking the viewer sometime by surprise as they are yanked directly from the world the movie had started to construct. There are several movies across the expanse of genre that attempt to pull of this sense of self-reference that range anywhere from Kelly and Donen’s Singing in the Rain (1952) to Jones and Gilliam’s Monty Python and the Holy Grail (1975). However, as time marches on and the “superhero” genre gains more and more popularity from the film-viewing public, a new face has taken the reigns of self-reflexive films and has completely run away from them.
An adaptation of a story usually accurately portrays the original work but may have its inconsistencies. The short film adaptation of The Lady, or the Tiger? portrays the original story 's characters, setting, conflicts, and plot transitions precisely like how Stockton intended it to be but with its own twist, making the film subconsciously different. The most important and influential adjustment in the movie is the plot transitions, which changes the perspective on how the film and story are viewed. The film has to create their own transitions in because a movie is visual, whereas a reader interprets a story their own way.
Post-modernity plays a huge role in terms of how we experience reality and life in itself (2004:48). As stated by Hart (2004:48), the postmodern society’s experiences are different from modern society’s experiences. According to Hart (2004:48) postmodern society does not just experience different experiences in comparison to modern society, but the experience itself is different form modern
Cubism was the response for the need to develop and represent the new modern reality. This new-fangled authenticity was intricate and abstruse, designed by innovative fabrications, metaphysical conjecture and cultural assortment. The latest machinery and scientific sightings were fundamentally altering the pace of life, and the society’s approach towards the nature of elements. These philosophical obscurantists stated that we breathe in the domain of fluctuating perspectives, in which the advent of matter is in a steady flux reliant on the point of view. Formally depicting this dynamic vision of life became a barrier for the modern artists.
►Postmodernism was a late-20th-century style and concept in the arts, architecture, and criticism that represents a departure from modernism and has at its heart a general distrust of grand theories and ideologies as well as a problematical relationship with any notion of art. Modernism is a style of art, architecture, literature, etc., that uses ideas and methods which are very different from those used in the past. 3. List 3 films that you consider Postmodern and provide specific examples from the films to support your choices. ►Training Day (2001) In the movie Training day, Alonzo was a corrupt police officer, a gambler, and a murder.