By Joseph Natoli
Uses satirical parodies of screenplays and political blogs to bare the cracks in our post-9/11 American psyche.
In this can be a photograph and never the area, Joseph Natoli employs the lingua franca of movie itself--screenplay dialogue--as good because the more moderen type of the political web publication to offer a hyperreal account of renowned movie as either a writer and a reflector of our post-9/11 mass psyche. Drawing on either vintage and modern movie examples, the ebook additionally deals a quasihistory of movie genres, together with technology fiction, the western, movie noir, and screwball comedy, emphasizing how those genres were shaken up, recontextualized, recombined, became self-reflexive, and parodied during the last couple of a long time. Taken jointly, those satirical parodies of screenplays and blogs show and practice how our very gaze has shifted from sleek to postmodern, from a right away view of the realm to a filtered one.
Read or Download This Is a Picture and Not the World: Movies and a Post-9/11 America (Suny Series in Postmodern Culture) PDF
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Extra info for This Is a Picture and Not the World: Movies and a Post-9/11 America (Suny Series in Postmodern Culture)
None of this will work at a premodern moment. Consider this: In presenting his argument to President Bush that the United States should not pre-emptively attack Iraq, Secretary of State Colin Powell was advised to reduce his position to one page and then be prepared to further condense that one page into a five-minute oral presentation. Message? This is not a moment when reading and criticism are in flower. We, in fact, went to war in spite of what knowledge was readily available. No, this is not a time to experiment with boundaries between the discursive and the nondiscursive, between reason and imagination, between fact and fiction, between creativity and criticism.
But it doesn’t multiplex reality. The whole world has gone screwball in these comedies, and everybody in the audience is trying to put it back together and having no chance of doing that. But in the postmodern world, the whole world doesn’t stay whole. ——— ——— Off Camera: KEY GRIP: Break. Hey guys, meet our film editor. Favorite comedy of all time? FILM EDITOR: Naturally it’s a film I edited. The Coen brothers’ The Big Lebowski (1998), which these two characters should talk about as an example of a postmodern comedy, but they won’t get around to it until I edit all their chat down.
And your comic sense comes out of the reality you’re in. The awareness of all this is what I call the postmodern awareness. And all these worlds are in motion, some just emerging, some fading, some clashing, some so privileged we assume they represent the whole world. It’s like saying screwball comedy captures reality as it is. Not melodrama, or tales of the wild West, or sci-fi, or mystery, or romance. But screwball. In the postmod view, all of a sudden at a certain time Hollywood put on a screwball lens and began to filter the world in that way.