Download e-book for kindle: 100 Years of European Cinema: Entertainment or Ideology? by Alison Smith, Diana Holmes

By Alison Smith, Diana Holmes

Cinema is leisure that still communicates a suite of values and a imaginative and prescient of the area. This e-book explores the complicated dating among leisure, ideology, and audiences from the Stalinist musicals of the Nineteen Thirties via cinematic representations of masculinity lower than Franco, to contemporary French motion pictures and their Hollywood remakes. It covers movie from the previous Soviet Union, Germany East and West, Czechoslovakia, France, and Spain, and the connection among Europe and Hollywood.

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Most important, of course, is that both encourage an alternative reading; both are in some regard anti-Hollywood. But they accomplish this opposition in different ways. Some aspects of independent film are shared with art cinema. There is an emphasis on realism in nonclassical cinema that goes back at least to the 1920s and that is an important aspect of indie film. Likewise, authorship is a key interpretive frame for both, with both being figured as “personal cinema” that demands to be read as the product of an individual’s artistic expression.

The most common exemplar in this case is Pulp Fiction, though it is neither the most original nor the most sophisticated example of a film using temporal disordering. Daughters of the Dust and The Limey are more challenging in their fluid movement among past, present, and future, while Memento and Primer (2004) are more thorough in their formal design and more demanding on the spectator. Independent films sometimes take an abstract formal pattern as a global design principle, as in Mystery Train.

19 Some aspects of indie film conventions are more contextually specific. I summarize indie cinema’s expectations as a set of three slogans: 1. Characters are emblems 2. Form is a game 3. When in doubt, read as anti-Hollywood Each of these signals a distinct conception of Off-Hollywood cinema, though in practice these strategies overlap with each other, often in mutually reinforcing ways. These strategies are what distinguish independent films from classical and art films, and they are the foundation for the audience’s engagement.

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