The Classical Hollywood Cinema: Film Style & Mode of by Kristin Thompson, David Bordwell, Janet Staiger

By Kristin Thompson, David Bordwell, Janet Staiger

How movies are conceived,planned, and produced leaves a mark upon the movies, without delay and structurally. The family members among movie kind and mode of construction are, in line with the authors, reciprocal and together influencing. The authors hint such issues as variety, economics, and expertise over the years, demonstrating how major alterations occurrred in Hollywood from the earliest days in the course of the sixties.
(American Film )

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By Kristin Thompson, David Bordwell, Janet Staiger

How movies are conceived,planned, and produced leaves a mark upon the movies, without delay and structurally. The family members among movie kind and mode of construction are, in line with the authors, reciprocal and together influencing. The authors hint such issues as variety, economics, and expertise over the years, demonstrating how major alterations occurrred in Hollywood from the earliest days in the course of the sixties.
(American Film )

Show description

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If spectacle is not so motivated, its function as artistic motivation will be isolated and intermittent. Artistic motivation can emphasize the artificiality of other art works; this is usually accomplished through the venerable practice of parody. Hollywood has, of course, never shrunk from parody. In Animal Crackers (1930), Groucho Marx shows up the soliloquys in Strange Interlude, while in Hellzapoppin (1941), Olson and Johnson mock Kane’s Rosebud sled. In *My Favorite Brunette (1947), Ronnie Johnson tells Sam McCloud he wants to be a tough detective like Alan Ladd; McCloud is played by Alan Ladd.

Will typically be motivated realistically. Realistic motivation extends to what we will consider plausible about the narrative action: in *The Black Hand, Gio’s quest for revenge is presented as ‘realistic,’ given his personality and circumstances. Thirdly, we can identify intertextual motivation. Here the story (or the plot’s representation of it) is justified on the grounds of the conventions of certain classes of art works. For example, we often assume that a Hollywood film will end happily simply because it is a Hollywood film.

Hollywood’s use of artistic motivation imputes a considerable alertness to the viewer: in order to appreciate certain moments, one must know and remember another film’s story, or a star’s habitual role, or a standard technique. To some extent, artistic motivation develops a connoisseurship in the classical spectator. Yet most artistic traditions show off their formal specificity in some way. We must ask what limits classical cinema imposes on artistic motivation. Generally, moments of pure artistic motivation are rare and brief in classical films.

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