Search results

Abstract only
Fin-de-siècle gothic and early cinema
Paul Foster

/being looked at; a kind of fictional anticipation of the shot/reverse shot of classical Hollywood cinema, in fact. The sort of contemplative absorption embodied by the aesthete Wotton is possible the morning after, as Gray gazes at the portrait ‘with a feeling of almost scientific interest’ (Wilde, 2003 : 93). But it is provisional. His detachment collapses with the thought that the picture has

in Monstrous media/spectral subjects
Fact, fiction, and film
Kevin J. Harty

(ed.), The Vikings on Film: Essays on Depictions of the Nordic Middle Ages (Jefferson: McFarland & Co., 2011), pp. 193–214 (210–11). More recent discussions of the film can be found in Arne Lunde, Nordic Exposures: Scandinavian Identities in Classical Hollywood Cinema (Seattle: University of Washington Press, 2010), pp. 17–26; and in Jón Karl Helgason, Echoes of Valhalla: The Afterlife of the Eddas and Sagas , trans. Jane Victoria Appleton (London: Reaktion Books, 2017), pp. 163–71. 3 See H. T. Kalmus, ‘ Technicolor adventures in Cinemaland ’, Journal of

in From Iceland to the Americas
Abstract only
Andrew Spicer

narrative strategies, but what unites them is their shared difference with the norms of classical Hollywood cinema. Characteristically, film noirs are visually, aurally and narratologically complex, often with a degree of self-reflexivity that is unusual in popular culture. European film noirs are thematically varied, but have, at their core so to speak, a dystopian sensibility that is fundamentally existential, evoking a malign

in European film noir
Deborah Shaw

implied deterritorialised viewer to care about all the characters and empathise with their suffering, and is central to establishing an empathetic world cinema gaze. Babel: a politically conservative or progressive film? While the film does, then, decentre the white male gaze of classical Hollywood cinema, does it say something meaningful about ‘the world’ and the connections between societies within a coherent diegesis? Babel is a difficult film to assess definitively in terms of conservative or radical politics. Dolores Tierney’s reading of the film points to some of

in The three amigos
Abstract only
Sian Barber

still exist in much mainstream narrative cinema became firmly rooted in classical Hollywood cinema of the 1920s. Continuity editing, standard shots and camera angles, eyeline matching and adherence to the 180-degree rule all combined with plot resolution and accessible narratives to offer the spectator a visual experience which swiftly became the filmic norm and which was both easily understood and enjoyable to watch. Robert Allen and Douglas Gomery suggest that the classical Hollywood style allows for a certain ‘passivity’ on the part of the audience as the different

in Using film as a source
Marie Mulvey-Roberts

are faced with the intersection of cinema, stage and television, an intermedial reflection with carnavalesque overtones that re-examines the relationship between Shakespeare and Hollywood, as Carter explains in a 1988 review of The Classical Hollywood Cinema: ‘Hollywood was, still is, always will be, synonymous with the movies. It was the place where the United States perpetrated itself as a universal dream and put the dream into mass production’ (Carter, 1997b: 385). Hollywood was a place where ‘scandal and glamour’ were ‘an essential part of the product’ (Carter

in The arts of Angela Carter
Abstract only
Female body hair on the screen
Alice Macdonald

(Patricia Hodge) arrives in her white Rolls Royce clad in a gleaming evening dress which clings to her feminine figure, displaying a fragile and glamorous beauty which evokes the ‘perfect product’ – the immaculately groomed stars of classical Hollywood cinema. It is not until Mary and Bobbo are locked in a lover-like conversation that we are introduced to Ruth (Julie T. Wallace), who, as Bobbo’s conscientious wife, is offering drinks around. She towers over them – her height exaggerated because she is standing and they are sitting on a low settee. Dressed frumpily in a

in The last taboo
Darryl F. Zanuck’s Les Misérables (1935)
Guerric DeBona

ever gets. 20 See Christopher Booker, The Seven Basic Plots: Why We Tell Stories (New York: Continuum, 2004), esp. pp. 193–213. The ‘rebirth’ story is one of these basic plots, which recalls the overall fate of Valjean. But another one, ‘overcoming the monster’, represents the Valjean versus Javert relationship as well. 21 Quoted in Custen, Twentieth Century’s Fox, p. 192. 22 Roland Barthes, S/Z, trans. Richard Miller (New York: Hill and Wang, 1974), sec. 28, 41 and 81. 23 See David Bordwell, Janet Staiger, and Kristin Thompson, The Classical Hollywood Cinema

in French literature on screen
John Mundy and Glyn White

constructions of femininity offered in classical Hollywood cinema are not severely limited or to suggest that the female body is not fetishised and exploited. Yet a restatement of Mulvey’s argument in the context of film comedy must recognise that a female star’s iconicity is not merely a product of the camera, but depends both on the qualities of the individual actor and on investment in it by an audience

in Laughing matters
Abstract only
Andy Birtwistle

devices are repressed – a cinema that presents itself, in terms of construction, as transparent. This cinema is, of course, classical Hollywood cinema. For these three filmmakers the use of deconstruction has, at least in part, a counter-cultural, oppositional motivation; it forms part of a broader project to destabilise and challenge dominant, hegemonic models of cinema. For Burton, the adoption of ‘formalist’ techniques had a

in Cinesonica