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Feb 27- The Movies Come Back I – Revisionist Genres --The Movies Come Back II– The Blockbuster Strategy .pdf

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York University
FILM 2401
Joseph Kispal- Kovacs

February 27
 The Movies Come Back I – Revisionist Genres &The Movies Come Back II– The Blockbuster Strategy Case Study: The Late Western Film andAmerican Empire - western narratives usually involved the use of traditional male heroes whose job it was to tame the wilderness - pacifying and conquering the native americans and making the wilderness safe for civilization as they defined it - part of americas mythology - attempt to rationalize the colonization of NAby largely english speaking settlers - manifestations of american individualism, an important part of american popular culture for more than 2 centuries - conflict into one between forces of big businesses and small businessmen trying to survive on the margins of the economy - parallels modern concerns about the disproportionate power of modern corporations over other institutions in american society - prologue of graduating class to show importance of growing class dvidid in post civil war america and confidence of ruling class Reading: Textbook Chapter 17 - long period of decline after ww2, american movie industry rebounded in 1970 - people began retiring to the movie theatres to see films that they couldn't see on tv, to see movies that spoke to the issues that concerned them - young people kept going to the movies - more young ppl in late 60s with baby boom - 70 movie going audience included older adults as their child raising years were coming to an end and rediscovering movie going experience - civil rights movement in 1950s and 60s - conditions for emergence of an african american cinema and for a transformation of how they were represented in all movies - womens movement, native rights movements, gay and lesbian liberation movement and green movement - youth culture flourished in mid to late 60s and this helped to inspire a faery large, national peace movement in response tot he emergence debacle in Vietnam - hollywood turns attention to audience and change ways it told stories to remain relevant - transformation of the genre system - audiences found comfort in the predictability of move genres, knew what to expect when they brought their tickets at the box office - this reassurance was further cemented in the way in which genre films upheld the social conventions of society— proper place - just as young people were questioning various institutions and calling into question the honesty of various political, business and military leaders, filmmakers attempted to speak to these concerns - social upheaval led to a crisis within the genre system - generic crisis: when society enters periods of social upheaval, flux and change, generic conventions tens to fall apart; they an no longer perform their conservative functions of rationalizing the status quo and providing comfort in it - crime films in 60s change —bonnie and clyde - criminals in a good light - film noir made a revival in the late 1960s - conscious constructed genre known as neo-noir these films resurrected the original noir films, depicted of a society hopelessly corrupt and unredeemable - crime films constructed out of the elements of the film noir system variants of earlier times - hollywood musical underwent changes in the 70s - they celebrated individualism, hard work and romance - baret & new york new york - realist musical situating the narrative of failed love between a singer and musician in the era of the great musicals - detective film underwent some important transformations in this period - traditional american film detective was often a lower an outsider who used his intuition and street smarts to get the job done - private eye—individual entrepreneur, often contrasted with the publicly funded detective of the police force who were shown to be far less effective - private eye was often an ex cop who left the force because he couldn't stomach the corruption and ineptitude of the force - 1970 traditional detective story was combined with political thriller genre to form a new generic hybrid, the conspiracy - traditional detective story, the detective is tasked with uncovering some truth - the quest, undertaken by a private eye or a reporter is usually small and local —the identity of a murderer, the location oaf a stet or an individual - - in the end his is usually successful - parallax view the generic and formal structures of film narrative can no longer contain the traditional styles of storytelling - the result is a crisis of the hero figure - it is only during the 80s with the political and cultural triumph of conservative ideas - murder and assassination become a service to be brought and sold - faceless parallax corporation triumphs oer the rebel hero detective - conspiracies are not something that happen among criminal individuals or even within government bureau caries but something that has been delegated to the free market - collective power of a capitalist world system greatly over matches the investigative powers of the hero/individual - everything is generic and even the political parties and politicians are not identified, suggesting there is no difference that
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