By Professor Timothy Corrigan, Anna Everett, Professor Sharon Willis, Professor Thomas Schatz, Linda Ruth Williams, Professor Dina Smith, Professor Bob Rehak, Professor Nora Alter, Professor Nigel Morris, Professor Karen Beckman, Dana Polan
The last decade from 2000 to 2009 is framed, at one finish, by way of the annoying disaster of the Sep 11 assaults at the global exchange middle and, on the different, by means of the election of the 1st African American president of the U.S.. In among, the USA and the area witnessed the quick enlargement of recent media and the web, such common mess ups as storm Katrina, political uprisings world wide, and a huge meltdown of worldwide economies.Amid those crises and revolutions, American movies replied in a number of methods, occasionally at once reflecting those turbulent occasions, and occasionally in a roundabout way couching background in conventional genres and tales. In American Cinema of the 2000s, essays from ten best movie students learn such well known sequence because the groundbreaking Matrix motion pictures and the gripping adventures of former CIA covert operative Jason Bourne; new, offbeat movies like Juno; and the resurgence of documentaries like Michael Moore’s Fahrenheit 9/11. every one essay demonstrates the complicated ways that American tradition and American cinema are sure jointly in refined and tough methods.
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Extra resources for American Cinema of the 2000s: Themes and Variations
The audience is told at the outset that the boat will sink with no survivors, but, as in a Greek tragedy, we watch as the drama unfolds, following its narrative detours. The question is not if disaster will strike, but how and when. The similarities between The Perfect Storm and Petersen’s breakthrough film, the German Das Boot (1981), are striking. The theme is once again a group of men alone at sea confronting a ruthless enemy. The only difference is that in the later film nature is the enemy, whereas in the earlier film (set in a U-boat during World War II) it is the British.
I want all of you to get up out of your chairs, go to the window, open it and yell, ‘I’m as mad as hell and I’m not going to take it anymore! ’ ” Of course, in 1976 this message was delivered by and for a white audience. Television programming was the target. ”—has a 1960s and 1970s sense to it, but it seems to have lost currency today. “The idiot box” that demands constant nourishment so that it will be able to churn out greater degrees of idiocy is driven by the networks’ pursuit of higher ratings—all of which translate into more advertisements and greater profits.
The spectator is left to connect the dots. ■■■■■■■■■■ Narrative Experiments: Timecode and Cecil B. Demented Along the same lines as Traffic, Mike Figgis’s Timecode experiments with parallel narrative worlds, albeit with an even more pronounced formal technique—the division of the screen into four discrete boxes. Figgis updates a formal innovation first introduced by Andy Warhol in Chelsea Girls (1966) and later used by Jean-Luc Godard and Anne-Marie Miéville in Numero Deux (1975). It was this millennial year, however, that marked a near completion of the digital revolution in film production, with the first film entirely produced on high-definition digital video—Videocoq— completed only months afterward.
American Cinema of the 2000s: Themes and Variations by Professor Timothy Corrigan, Anna Everett, Professor Sharon Willis, Professor Thomas Schatz, Linda Ruth Williams, Professor Dina Smith, Professor Bob Rehak, Professor Nora Alter, Professor Nigel Morris, Professor Karen Beckman, Dana Polan