香艳迷醉李浩轩,gongkoumanhua,性虐电影
好莱坞电影影片—电影研究论文模板
好莱坞的主题和类型是多方面的,拥有不同的定义、特点和社会文化角色类型。史蒂夫·尼尔流派、好莱坞电影类型(2000)、里克奥特曼的电影类型(1999)等，这些电影流派均是针对研究主题提供不同的理论方法,通过这些研究，将得出独具特色的理论结论。全部的研究表明,电影类型在电影制造业中是极为重要的，是好莱坞电影历史发展中有效的思维方式,满足不同的观众类型。每个研究每本作品都会提出新研究、新思想流派,针对不同的电影类型提出不同的新想法，并能够适当应用不同的电影风格。
针对现有的账户提出相关的问题:电影类型的定义是极具限制性的，狭窄的,传统电影流派是不准确的,从广义的角度上看，文化理论并没有什么显著的特点。利用一些参数，针对一些细节，对有关主题的问题进行相关的争论，并针对这些账户提出自己的意见。
电影类型是一个复杂的主题,在很多情况下,我们能够打破这一主题,首先可以先了解电影类型的定义和应用到各个流派的一般概念。有关电影流派的不同类型的理论，不同的人都会有不同的观点。集合我们对电影类型知识的把握和理解,我们将在本文中重点讨论具有悲观色彩的影片,关键分析好莱坞电影行业类别。 Hollywood Genre Film - Film Studies Dissertations
The topic of Hollywood and genre is multifaceted, dealing with definitions, characteristics and the social cultural roles genre performs. Steve Neales Genre And Hollywood (2000), and Rick Altman's Film/Genre (1999) take on board these a genders both offering a different theoretical approach to the topic, which I will analyze then voice my own conclusion on my findings. Both show that genre is an important, productive way of thinking about Hollywood's film history, and its audience. Each book presents new research, new thinking on genre that will be investigated and applied to its appropriate film style.
Questions are raised from these existing accounts: that definitions of genre are restrictive and narrow, that traditional genres are inaccurate and that cultural theories are often over generalized. The arguments on the subject will be looked into detail, presenting my own opinions on these accounts.
As genre is a complex subject, with many contexts, I will be breaking the subject up, firstly looking at definitions of genre, and general concepts applying them into individual genres. I will be looking at theories on genre by a number of people all different in there opinion. With the knowledge and understanding of genre, I will look into film noir, a critical category within the Hollywood film industry.
Genre has occupied an important part in the study of cinema for years. 'Genre 'is French word, meaning 'kind' or 'type'. The term sub-genre is also used to refer to specific traditions within a genre ( as in gothic horror, slapstick comedy and so on). When genre is discussed or defined it is usally focused on commercial mainstream films, Hollywood films in particular. Barry Keith Grant states that genres are exclusively identified with commercial cinema:
Genre movies are those commercial feature films which through repetition and venation, tell familiar stories with familiar characters in familiar situations
Books and articles were being published in the 1940s and 1950s, in Europe and the USA, talking about individual Hollywood genres, establishing its self more, becoming an academic formal discipline in film studies.
Theorists, critics and teachers of film at this time wanted to engage in the appearance of genre and genres inparticular with popular Hollywood cinema, offering a critical approach with a desire to displace or compliment films.
Hollywood films had always been discussed by reviwers and critics, usally hostile to to the films Hollywood produced, arguing they aimed at mass market, conservative,commercially produced films lacking in realism, over loaded in fantasy.
During the early 1970s a generation of critics began to value elements of popluar American culture, re-assesing its value. Here the 'auteur theory' began, more simply known as auteurism. Based around three basic premises, firstly that cinema is a personal and individual expression. The second is that individual could be the director, a figure equivalent to an artist in painting. Lastly was that cinematography authorship wasn't to be found in just Hollywood cinema.
An auteur is a director who's work is characterized by distinctive elements and traits in there films, stamping each piece of work with there own personality. The criticism is that films are just the personal expression of the director. Interpreting each film in the context of the film makers style makes the director responsible for the major creative descisions. The concept of the auteur theory is a crucial development in film theory, moving away from literary analyses of films narrative content to aspects of art and style specific in film.
Many questions are raised on genre as a term, with little agreement on what it exactly means, if it can be clearly defined.
Genre criticism firstly began from the notion that there are many kinds of literature, with different contexts. Aristotle tried to separate his poetry , from what we call lieterature into categories such as epic, lyric, tradgedy and so on. Distinguieshing each piece of works properties, working out particular properties of each distinctive kind trying to establish their relative importance, applying these into categories. Aristotles ideas were taken up during the Renaissance placed into a set of rules so that each style, were prescribed for each kind.
This codeification evolved in the seventeenth and eighteenth centuries, literature was being divided more into categories, each with there own subject matter. Such a doctorial approach became frowned upon. In the late 1930s a Chigargo based school of critisicm known as the neo-Aristiteians, spoke out against this new criticism, which repudiated a historical approach to literature, believing literature exists by itself without contemporary or historical refrence.
An attempt was made to rescue literature from isolation, resureting the theory of genres. Now that genre has become much more of a phenomenon, expanding hugly in Hollywood encompassing ' the cartoon', ' the B movie', 'the gangster' film and many others. Now that genre has become multi dimensional the building of generic corpuses and audience expectations need to be addressed.
Verisimilitude is a theory addressing the point of what justifies a genre, its systems of plausabilty, motivation, and justifications of belief. It is these systems of expectation which the spectator brings to the cinema, in which to interact with the film its self while viewing, providing the spectator with means of recognition and understanding. Verisimilitude helps render individual films of there generic corpuses, working out the significance of what is taking place on screen, why characters are dressed the way they are, why they are acting in a certain stlye.
For example if a character bursts into song, the viwer will recognize that this particular film is a musical. Its plot is liable to follow certain directions rather then others, so these systems of expectation involve a knowledge of Verisimilitude which the viewer takes with them to the cinema.
Todrov explains different regimes of Verisimilitude, with notions of propriety, of what is 'probable' in a film 'therefore appropriate'. In a musical bursting into song is appropriate therefore probable, there for believable in a musical, but not in a sci-fi or horror film. Murder is possible in westerns, gangster, and thrillers but unlikely in romantic comedy. Singing is obligatory in a musical, likely to be seen within its narrative, the spectator interacts with this being able to acknowledge its genre.
Todrov explains how there are two types of Verisimilitude. Generic Verisimilitude and cultural Verisimilitude. Work is said to have Verisimilitude in relation to two chief kinds of norms. The first we call the rules of genre: for a work to be said to have Verisimilitude, it must conform to these rules. These rules Todrov refers to stem back to the idea of regimes within genres, with notions of probability. Todrovs second type of Verisimilitude has a more social context.
But there exisits another Verisimilitude…that the Verisimilar is not a relation between discourse and its referent, but between discourse and what readers believe is true.
Defined Hollywood genres arguably involve transgressions of social cultural Verisimilitude, for the entertainment and aesthetic pleasure. Individual genres have a balance between both social cultural and generic Verisimilitude, some genres appealing more to the generic context. War films mark this appeal by using discourses, maps, memories, and so on. Horror films operate much less to this authenticity, for example the discourses they cite, like the book of revelations in the Omen, is obviously fictional. Inbetween these two cases lie science fiction, films such as Them, draw an authentic status of science and technology to motivate an otherwise non-Verisimilitude event. A relevnt theory is that of Todrovs work on 'The Fantastic' existing of different regimes of Verisimilitude. |
