This paper makes links between Jamason's notion of the nostalgia film, Owen's artificial masterpiece, and Lawson's pastiche of historical consciousness.
2,150 words (approx. 8.6 pages), 1 source, 2002, $ 80.95
Abstract This paper makes links between Jamason's notion of the nostalgia film, Owen's artificial masterpiece, and Lawson's pastiche of historical consciousness. These three devices are basically all the same.
Tags: FILM STUDIES / HISTORY OF FILM, links between film
Abstract In a discussion on art theory, this paper examines the historico-temporal conceptual paradigm, which attempts to account for art making practices throughout the 20th and 21st centuries. The paper relates that this is the legacy of "modernism" versus what has come to be known as "postmodernism." The paper also relates that,
the two legacies, however, are intertwined and cannot be separated. Next, the paper identifies and explains the recognizable features of postmodernism, namely, the breaking of restrictive boundaries as seen by Marcel Duchamp's decision to display a urinal in an art gallery, the style of pastiche, and the erasing of boundaries that have traditionally separated high culture from popular culture.
From the Paper "A paradigm can be thought of as a theoretical framework which forms the foundation of critical analysis of a particular work of art. Generally, paradigms consist of a complex web of philosophical principles that define a particular worldview. Paradigms are not always successful in defining and analyzing works of art, however; as the literary critic Frank Kermode once wrote on the subject of paradigms, "If we cannot break free of them, we must make sense of them." Thus, a lot of the thinking on theoretical paradigms is self-reflective; in other words, a work of art may spurn an analysis that causes one to question the nature of the very paradigm being employed to analyze that work."
Abstract This paper explains that, while Baz Lurman's "Romeo and Juliet" presents the main theme of the play as a conflict between the bad values of the older generation and the disaffected but still hopeful younger generation, Shakespeare's play evolves more as a tale of fate and the fragile nature of love. The author points out that the film's images stem from a modern sense of alienation, an idea underlined in the overall design of the film, in which a Pluralist or post-modern pastiche of Hispanic, contemporary and some Renaissance images creates a sense of confusion mirrored in the lovers' own difficulties in finding meaning in their world. The paper relates that, although the themes of youthful alienation exist in both versions but are more present in Lurman's cinematic re-telling, Shakespeare, as is consistent with the Renaissance era, takes the example of the lovers to reflect upon the 'chance' nature of romance.
From the Paper "The unavoidability of fate was an important idea of the Renaissance era during which Shakespeare wrote. Also important, well into the Baroque era was the question of how much respect and deference a child owed his or her parents in terms of selecting a marital partner. Shakespeare sides with the lovers in their passion, but clearly shows how Romeo and Juliet's love upsets the rulership of Verona, and how society is harmed as well as helped. Good aspects to society, such as the kind prince, and Juliet's more loving father and mother are upset when Juliet decides to eschew parental care."
Abstract This paper explains that Swedish author Mikael Niemi's novel "Popular Music from Vittula", about coming of age in rural Sweden in the 1960s, is an example of postcolonialism literature that has a perfect blend of protagonist, subject and aesthetic. The paer describes postcolonialism literature as having a theme of ideological and psychological change; whereby, the original cultural world of the postcolonial author has been changed forever by an outside nation or culture so it cannot be rejected. The paper then states that in this book the harsh climate and the values of the land seem isolated from the rest of mainstream Swedish society; however, as in other novels of colonialism, the larger culture is always intruding in visible and invisible ways, just as the boys on the cusp of adolescence and adulthood are being forced to grow up.
From the Paper "Niemi's tale takes place in the Swedish town of Pajala, a place so remote it might be another nation to many readers, including Swedes. On reviewer observed that the residents are: "looked down upon by the Swedes for being too Finnish and by the Finnish for being too Swedish, the people of Pajala share a universally accepted inferiority complex that is dutifully passed on to the next generation." In short, the residents embody the colonial paradox of being despised for their origins, yet those who attempt to assume any of the culture or follow the rules of the occupiers or dominant culture are mocked by members of that culture."
Abstract This paper explores the various meanings of both postmodernism and postmodernity, specifically in reference to Don DeLillo's novel "White Noise", which is in many ways emblematic of both phenomena. Thus, while the paper begins with a delineation between postmodernism and postmodernity, it also shows how the two concepts unite within the course of "White Noise", a postmodernist novel encompassing the postmodern condition.
From the Paper "What is more, postmodernism also seeks to erase the boundaries that have traditionally separated high culture from popular culture. This came to the forefront most notably in the Pop Art of Andy Warhol. Many other writers and artists incorporate elements of popular culture into their work, whereas Modernists would have merely quoted elements of popular culture. By integrating these seemingly antagonistic qualities into their art work, the postmodern artists and writers effectively make it difficult to tell which "category" their work is meant to fit into."
Tags:pastiche, popular culture, nietzschean, mysterious toxic cloud, hitler
Abstract In this article, the writer discusses that the protagonists of the film "Thelma and Louise" illustrate a paradox. The writer points out that on one hand, the relatively disempowered women in the introduction of the film find a sense of autonomy and friendship in their quest to avoid the law over the course of the film and that this suggests that "Thelma and Louise" can be classified as a feminist film. The writer then points out that, in contrast, the protagonists also assume a traditional male role and their quest is death-driven rather than life-driven. This suggests that "Thelma and Louise" uses the road picture conventions to invert, but not really question, the American belief in phallic, violent power and gender norms. The writer concludes that although the atmosphere and emotional tone of the film is feminist, the structure of the film is really more of a recapitulation, a pastiche, and homage to earlier films than a truly innovative statement about violence and gender relations.
From the Paper " The disempowerment of the two women of the beginning of the film shifts as they find empowerment through the use of a symbol of masculine, phallic power, that of a gun, which they can wield against the male, elemental sexual presence. At the beginning of the film, Thelma, the original victim depicted in the film, is particularly oppressed. She is in a confining relationship with her husband Darryl who evidently does not appreciate her efforts to make herself or her home look beautiful. In the first scenes, Thelma rushes around the home, nervously tending to the house and preparing for her short, brief respite from her mundane life with her friend Louise."
An examination of how the satire "A Modest Proposal," by Jonathan Swift, James Joyce's novel "Ulysses," and Frank McCourt's autobiography "Angela's Ashes" concur in implying that progress and freedom from oppression can be achieved by the practice of art.
Abstract This paper discusses how, in response to centuries of British occupation and oppression in Ireland, the Irish writers Jonathan Swift, in his satire "A Modest Proposal," James Joyce, in his novel "Ulysses," and Frank McCourt, in his autobiography "Angela's Ashes," and by articulating the feelings of helplessness and stagnation of the Irish people, and by creating works in the form of literary pastiche, provided models for Ireland to redefine its national identity and overcome the trauma of its past. The writer shows how Swift exposes Irish passivity under exploitation, how Joyce further refined and added depth to the discussion begun by Swift, creating an alternative path to self, and how McCourt drove home the same failure to resolve the nightmares of history, and the Irish inability to achieve artistic distance, wherein lies the path to freedom and progress.
From the Paper "The colonial rule of the British Empire undoubtedly had a heavy hand in shattering Irish identity. In his satirical pamphlet A Modest Proposal, Swift, experiencing Ireland's struggle to deal with its own problems firsthand, jabs unsparingly at the British rulers, who failed to assume responsibility for their dependant. Exploiting Ireland's already scarce resources, British rule instead contributed to aggravating poverty and suffering in Ireland. In fact, Swift suggests they may even have facilitated it: "Perhaps I could name a country which would be glad to eat up our whole nation." (Paragraph 30) The accusation also illuminates Swift's perception of the etat des choses between Ireland and the United Kingdom."
