Edward Norton's Character
-Strange
-Insomniac
-Can only cry in the company of people with actual issues
-Can't enjoy it with another faker in the room.
-See's things
-Lost as a person
-Why is he like this?
-Office job/ on the road, boring
-we don't know his name
Martha Singer
-Strange/ Scary/ Tough
-Pale
-Dirty/ Unclean
-Intriguing
-Fearless
-Smokes alot
-Contradicting behaviour
Friday, 18 February 2011
Thursday, 17 February 2011
Postmodernism and Violence
-Since its 1999 release, Fight Club has solidified its place among American pop culture.
-Humor is often used as a means of accepting violent imagery.
-Fight Club is just one of many recent films that treats violence in an ironically humorous manner.
-"In the postmodern procession of simulacra, traditional images of violence have lost their affective power, and consequently have been replaced by a more neutral style" (Grant 24).
-The film's release was delayed because of the spring shooting at Columbine High School in Colorado.
-Prior to Fight Club's release, ultimate fighting clubs had been thriving in various American cities.
-Just as the men in Fight Club attempt to reclaim their masculinity through violence, "the contemporary wrestler exemplifies the thoroughly postmodern idea that human identity is purely a construction, a matter of choice, not nature" (Cantor 20).
-Fight Club the power exchange is purely competitive.
-Violence is not the answer.
In the first weekend Fight Club opened in 1999 it grossed $11 million in ticket sales placing it number one at the box office for the weekend of October 15-17. Sixty percent of the audience was male and 58% of the audience was under the age of 25.
David Ansen
This is not a movie that can be easily dismissed or forgotten. An outrageous mixture of brilliant technique, puerile philosophizing, trenchant satire, and sensory overload, Fight Club is the most incendiary movie to come out of Hollywood in a long time. It's a mess but one worth fighting about.
-Humor is often used as a means of accepting violent imagery.
-Fight Club is just one of many recent films that treats violence in an ironically humorous manner.
-"In the postmodern procession of simulacra, traditional images of violence have lost their affective power, and consequently have been replaced by a more neutral style" (Grant 24).
-The film's release was delayed because of the spring shooting at Columbine High School in Colorado.
-Prior to Fight Club's release, ultimate fighting clubs had been thriving in various American cities.
-Just as the men in Fight Club attempt to reclaim their masculinity through violence, "the contemporary wrestler exemplifies the thoroughly postmodern idea that human identity is purely a construction, a matter of choice, not nature" (Cantor 20).
-Fight Club the power exchange is purely competitive.
-Violence is not the answer.
In the first weekend Fight Club opened in 1999 it grossed $11 million in ticket sales placing it number one at the box office for the weekend of October 15-17. Sixty percent of the audience was male and 58% of the audience was under the age of 25.
David Ansen
This is not a movie that can be easily dismissed or forgotten. An outrageous mixture of brilliant technique, puerile philosophizing, trenchant satire, and sensory overload, Fight Club is the most incendiary movie to come out of Hollywood in a long time. It's a mess but one worth fighting about.
Fight Club and the Postmodern Dilemma of Manhood
-Men's role in society is vastly changing due to the feminist movement of the 1970's and women in the workplace.
-The primary subject and focus of the movie Fight Club is the generation of men born in America since the 60s, while certainly the film will appeal to both sexes, men and masculinity will be central to the discussion.
-The movie is primarily about the relationship between Tyler and Jack, which takes seems to be a father-son type relationship, in the sense that the father is a role model for the son.
-Through Tyler, Jack experiences an awakening from a group called Fight Club, in which men get together in a basement and fight one another for the simple pleasures of fighting and bonding with one another.
-Roger Ebert describes Fight Club as "the most frankly and cheerfully fascist big-star movie since 'Death Wish,' a celebration of violence in which the heroes write themselves a license to drink, smoke, screw and beat one another up.
-Fight Club is incredibly popular among young men because young men can identify with the film, men work the tedious jobs that Jack and Tyler suffer through to survive, and they are victims of the same feelings that Jack suffers from.
-Fight Club speaks to listless and directionless young men in a calculated attempt to shock and disturb them from their mundane slow deaths and it speaks to and shocks women in an attempt to wake them up to the way the change in society is damaging and killing their sons, brothers, and husbands.
-The primary subject and focus of the movie Fight Club is the generation of men born in America since the 60s, while certainly the film will appeal to both sexes, men and masculinity will be central to the discussion.
-The movie is primarily about the relationship between Tyler and Jack, which takes seems to be a father-son type relationship, in the sense that the father is a role model for the son.
-Through Tyler, Jack experiences an awakening from a group called Fight Club, in which men get together in a basement and fight one another for the simple pleasures of fighting and bonding with one another.
-Roger Ebert describes Fight Club as "the most frankly and cheerfully fascist big-star movie since 'Death Wish,' a celebration of violence in which the heroes write themselves a license to drink, smoke, screw and beat one another up.
-Fight Club is incredibly popular among young men because young men can identify with the film, men work the tedious jobs that Jack and Tyler suffer through to survive, and they are victims of the same feelings that Jack suffers from.
-Fight Club speaks to listless and directionless young men in a calculated attempt to shock and disturb them from their mundane slow deaths and it speaks to and shocks women in an attempt to wake them up to the way the change in society is damaging and killing their sons, brothers, and husbands.
Dust Brothers
The Dust Brothers are the Los Angeles, California based, Grammy Award winning producers, E.Z. Mike (Michael Simpson) and King Gizmo (John King) who met in 1983 while working at the Pomona College radio station, are famous for their sample-based music in the 1980s and 1990s, and specifically for their work on the album Paul's Boutique by the Beastie Boys. In the years to follow, the Dust Brothers emerged among the most sought-after remixers and producers in the industry. They also founded their own label, branching out even further, in 1997 they produced Hanson's chart-topping "MMMBop," as well as a handful of tracks from the Rolling Stones. Their first full-length solo record was the score for the 1999 film Fight Club.
David Fincher Filmography
Alien 3 (1992)
Seven (1995)
The Game (1997)
Fight Club (1999)
Panic Room (2002)
Zodiac (2007)
The Curious Case of Benjamin Button (2008)
The Social Network (2010)
The Girl with the Dragon Tattoo (2011)
Fight Club
An office employee and a soap salesman build a global organization to help vent male aggression.
Tuesday, 15 February 2011
Postmodern Elements of Inglorious Basterds
Quentin Tarantino uses alot of postmodern elements within his films, and Inglorious Basterds is no exception.
The film opens with 'once upon a time' and is split into chapters, this is not a convention you would typically associate with a War film, however you may expect to see it split up into dates/years. This element connotates that the story is a fairy tale and possible made up, which some of it quite clearly is, yet the idea is that you believe this happened during WW2.
In the first scene there is an intertextual reference from one of his other films 'Pulp Fiction', where he uses painted back drops as apposed to real ones, this like the getting ready scene with Shosanna in the cinema where the set is revealed is obviously used to show that it is only a film and however WW2 was real this film is not.
The music used in Inglorious Basterds is also postmodern. The use of italian composer, Ennio Morricone's music was used not only for the film but featured on the soundtrack aswell. There is music from Westerns during the film aswell, this also doesn't really fitt with the War genre of the film these elements could also be used for humour during fight scenes. This is completely contradictory of the genre of this film.
The film opens with 'once upon a time' and is split into chapters, this is not a convention you would typically associate with a War film, however you may expect to see it split up into dates/years. This element connotates that the story is a fairy tale and possible made up, which some of it quite clearly is, yet the idea is that you believe this happened during WW2.
In the first scene there is an intertextual reference from one of his other films 'Pulp Fiction', where he uses painted back drops as apposed to real ones, this like the getting ready scene with Shosanna in the cinema where the set is revealed is obviously used to show that it is only a film and however WW2 was real this film is not.
The music used in Inglorious Basterds is also postmodern. The use of italian composer, Ennio Morricone's music was used not only for the film but featured on the soundtrack aswell. There is music from Westerns during the film aswell, this also doesn't really fitt with the War genre of the film these elements could also be used for humour during fight scenes. This is completely contradictory of the genre of this film.
Monday, 14 February 2011
Promblems with intertextual references
As the movie ramps up for the lengthy, action-packed finale the music is clearly Murphy's. It's Murphy's music for 28 Days Later, one of the variants of In the House – In a Heartbeat. As the movie progresses there's more from Murphy, what sounds like his music from Sunshine. Kick-Ass reuses his scores, his highly recognisable scores that have previously been heard not only in the movies for which they were written, but also achieved omnipresence on trailers, adverts and TV - The Guardian.
Intertextual references can go wrong, especially when films like Kick-Ass use music that has been previously associated with other high profile texts, in this context intertextual references can ruin a film and make you think of a part of another film that is possibly better than the one you are watching. On the other hand they can be used well and input and interesting element to a film.
Intertextual references can go wrong, especially when films like Kick-Ass use music that has been previously associated with other high profile texts, in this context intertextual references can ruin a film and make you think of a part of another film that is possibly better than the one you are watching. On the other hand they can be used well and input and interesting element to a film.
Tuesday, 8 February 2011
World War 2 - Time Line
1939
Hitler invades Poland on 1 September. Britain and France declare war on Germany two days later.
1940
Rationing starts in the UK.
German 'Blitzkrieg' overwhelms Belgium, Holland and France.
Churchill becomes Prime Minister of Britain.
British victory in Battle of Britain forces Hitler to postpone invasion plans.
1941
Hitler begins Operation Barbarossa - the invasion of Russia.
The Blitz continues against Britain's major cities.
Japan attacks Pearl Harbor, and the US enters the war.
1942
Singapore falls to the Japanese in February - around 25,000 prisoners taken.
American naval victory at Battle of Midway, in June, marks turning point in Pacific War.
Mass murder of Jewish people at Auschwitz begins.
1943
Surrender at Stalingrad marks Germany's first major defeat.
Allied victory in North Africa enables invasion of Italy to be launched.
Italy surrenders, but Germany takes over the battle.
British and Indian forces fight Japanese in Burma.
1944
Allies land at Anzio and bomb monastery at Monte Cassino.
Soviet offensive gathers pace in Eastern Europe.
D Day: The Allied invasion of France. Paris is liberated in August.
1945
Auschwitz liberated by Soviet troops.
Russians reach Berlin: Hitler commits suicide and Germany surrenders on 7 May.
Truman becomes President of the US on Roosevelt's death, and Attlee replaces Churchill.
After atomic bombs are dropped on Hiroshima and Nagasaki, Japan surrenders on 14 August.
Hitler invades Poland on 1 September. Britain and France declare war on Germany two days later.
1940
Rationing starts in the UK.
German 'Blitzkrieg' overwhelms Belgium, Holland and France.
Churchill becomes Prime Minister of Britain.
British victory in Battle of Britain forces Hitler to postpone invasion plans.
1941
Hitler begins Operation Barbarossa - the invasion of Russia.
The Blitz continues against Britain's major cities.
Japan attacks Pearl Harbor, and the US enters the war.
1942
Singapore falls to the Japanese in February - around 25,000 prisoners taken.
American naval victory at Battle of Midway, in June, marks turning point in Pacific War.
Mass murder of Jewish people at Auschwitz begins.
1943
Surrender at Stalingrad marks Germany's first major defeat.
Allied victory in North Africa enables invasion of Italy to be launched.
Italy surrenders, but Germany takes over the battle.
British and Indian forces fight Japanese in Burma.
1944
Allies land at Anzio and bomb monastery at Monte Cassino.
Soviet offensive gathers pace in Eastern Europe.
D Day: The Allied invasion of France. Paris is liberated in August.
1945
Auschwitz liberated by Soviet troops.
Russians reach Berlin: Hitler commits suicide and Germany surrenders on 7 May.
Truman becomes President of the US on Roosevelt's death, and Attlee replaces Churchill.
After atomic bombs are dropped on Hiroshima and Nagasaki, Japan surrenders on 14 August.
Monday, 7 February 2011
Hollywood Grand Narratives
Marshall McLuhan view that 'the medium is the message', this is certainly the case with Hollywood cinema. In terms of medium, film genre serves as the medium
There is a view that only 7 narratives exist
Overcoming the Monster A terrifying, all-powerful, life-threatening monster whom the hero must confront in a fight to the death. An example of this plot is seen in Beowulf, Jack and the Beanstalk, and Dracula.
Rags to Riches Someone who has seemed to the world quite commonplace is shown to have been hiding a second, more exceptional self within. Think the ugly duckling, Jane Eyre and Clark Kent.
The Quest From the moment the hero learns of the priceless goal, he sets out on a hazardous journey to reach it. Examples are seen in The Odyssey, The Aeneid, The Count of Monte Cristo, and Raiders of the Lost Ark.
Voyage and Return The hero or heroine and a few companions travel out of the familiar surroundings into another world completely cut off from the first. While it is at first marvellous, there is a sense of increasing peril. After a dramatic escape, they return to the familiar world where they began. Alice in Wonderland and The Time Machine are obvious examples; but Brideshead Revisited and Gone with the Wind also embody this basic plotline.
Comedy Following a general chaos of misunderstanding, the characters tie themselves and each other into a knot that seems almost unbearable; however, to universal relief, everyone and everything gets sorted out, bringing about the happy ending. Shakespeare’s comedies come to mind, as do Jane Austen’s perfect novels.
Tragedy A character through some flaw or lack of self-understanding is increasingly drawn into a fatal course of action which leads inexorably to disaster. King Lear, Madame Bovary, The Picture of Dorian Gray, Bonnie and Clyde—all flagrantly tragic.
Rebirth There is a mounting sense of threat as a dark force approaches the hero until it emerges completely, holding the hero in its deadly grip. Only after a time, when it seems that the dark force has triumphed, does the reversal take place. The hero is redeemed, usually through the life-giving power of love. Many fairy tales take this shape; also, works like Silas Marner and It’s a Wonderful Life.
There is a view that only 7 narratives exist
Overcoming the Monster A terrifying, all-powerful, life-threatening monster whom the hero must confront in a fight to the death. An example of this plot is seen in Beowulf, Jack and the Beanstalk, and Dracula.
Rags to Riches Someone who has seemed to the world quite commonplace is shown to have been hiding a second, more exceptional self within. Think the ugly duckling, Jane Eyre and Clark Kent.
The Quest From the moment the hero learns of the priceless goal, he sets out on a hazardous journey to reach it. Examples are seen in The Odyssey, The Aeneid, The Count of Monte Cristo, and Raiders of the Lost Ark.
Voyage and Return The hero or heroine and a few companions travel out of the familiar surroundings into another world completely cut off from the first. While it is at first marvellous, there is a sense of increasing peril. After a dramatic escape, they return to the familiar world where they began. Alice in Wonderland and The Time Machine are obvious examples; but Brideshead Revisited and Gone with the Wind also embody this basic plotline.
Comedy Following a general chaos of misunderstanding, the characters tie themselves and each other into a knot that seems almost unbearable; however, to universal relief, everyone and everything gets sorted out, bringing about the happy ending. Shakespeare’s comedies come to mind, as do Jane Austen’s perfect novels.
Tragedy A character through some flaw or lack of self-understanding is increasingly drawn into a fatal course of action which leads inexorably to disaster. King Lear, Madame Bovary, The Picture of Dorian Gray, Bonnie and Clyde—all flagrantly tragic.
Rebirth There is a mounting sense of threat as a dark force approaches the hero until it emerges completely, holding the hero in its deadly grip. Only after a time, when it seems that the dark force has triumphed, does the reversal take place. The hero is redeemed, usually through the life-giving power of love. Many fairy tales take this shape; also, works like Silas Marner and It’s a Wonderful Life.
Theorists
Jacques Derrida proposed that a text cannot belong to no genre, it cannot be without... a genre. Every text participates in one or several genres, there is no genreless text
(Derrida 1981, 61).
Levi Strauss and his theory of 'binary opposites', he also however developed the theory of 'bricolage'.
Baudrillard's idea of hyperreality was heavily influenced by phenomenology, semiotics, and Marshall McLuhan who coined the phrase 'the medium is the message'. By this he means that the manner in which the message is shown becomes more important than the meaning of the message itself.
Some examples are simpler: the McDonald's "M" arches create a world with the promise of endless amounts of identical food, when in "reality" the "M" represents nothing, and the food produced is neither identical nor infinite.
Frederic Jameson sees postmodernism as vacuous and trapped in circular references. Nothing more that a series of self referential 'jokes' which have no deeper meaning or purpose.
Jean-François Lyotard
rejected what he called the “grand narratives” or universal “meta-narratives.”
Grand narratives refer to the great theories of history, science, religion, politics. For example, Lyotard rejects the ideas that everything is knowable by science or that as history moves forward in time, humanity makes progress. He would reject universal political ‘solutions’ such as communism or capitalism. He also rejects the idea of absolute freedom.
In studying media texts it is possible also to apply this thinking to a rejection of the Western moralistic narratives of Hollywood film where good triumphs over evil, or where violence and exploitation are suppressed for the sake of public decency.
Lyotard favours ‘micronarratives’ that can go in any direction, that reflect diversity, that are unpredictable.
Rosenau (1993)
1. Its anti-theoretical position is essentially a theoretical stand.
2. While Postmodernism stresses the irrational, instruments of reason are freely employed to advance its perspective.
3. The Postmodern prescription to focus on the marginal is itself an evaluative emphasis of precisely the sort that it otherwise attacks.
4. Postmodernism stress intertextuality but often treats text in isolation.
5. By adamently rejecting modern criteria for assessing theory, Postmodernists cannot argue that there are no valid criteria for judgment.
6. Postmodernism criticizes the inconsistency of modernism, but refuses to be held to norms of consistency itself.
7. Postmodernists contradict themselves by relinquishing truth claims in their own writings.
(Derrida 1981, 61).
Levi Strauss and his theory of 'binary opposites', he also however developed the theory of 'bricolage'.
Baudrillard's idea of hyperreality was heavily influenced by phenomenology, semiotics, and Marshall McLuhan who coined the phrase 'the medium is the message'. By this he means that the manner in which the message is shown becomes more important than the meaning of the message itself.
Some examples are simpler: the McDonald's "M" arches create a world with the promise of endless amounts of identical food, when in "reality" the "M" represents nothing, and the food produced is neither identical nor infinite.
Frederic Jameson sees postmodernism as vacuous and trapped in circular references. Nothing more that a series of self referential 'jokes' which have no deeper meaning or purpose.
Jean-François Lyotard
rejected what he called the “grand narratives” or universal “meta-narratives.”
Grand narratives refer to the great theories of history, science, religion, politics. For example, Lyotard rejects the ideas that everything is knowable by science or that as history moves forward in time, humanity makes progress. He would reject universal political ‘solutions’ such as communism or capitalism. He also rejects the idea of absolute freedom.
In studying media texts it is possible also to apply this thinking to a rejection of the Western moralistic narratives of Hollywood film where good triumphs over evil, or where violence and exploitation are suppressed for the sake of public decency.
Lyotard favours ‘micronarratives’ that can go in any direction, that reflect diversity, that are unpredictable.
Rosenau (1993)
1. Its anti-theoretical position is essentially a theoretical stand.
2. While Postmodernism stresses the irrational, instruments of reason are freely employed to advance its perspective.
3. The Postmodern prescription to focus on the marginal is itself an evaluative emphasis of precisely the sort that it otherwise attacks.
4. Postmodernism stress intertextuality but often treats text in isolation.
5. By adamently rejecting modern criteria for assessing theory, Postmodernists cannot argue that there are no valid criteria for judgment.
6. Postmodernism criticizes the inconsistency of modernism, but refuses to be held to norms of consistency itself.
7. Postmodernists contradict themselves by relinquishing truth claims in their own writings.
Postmodern Dictionary.
Bricolage
Bricolage is a processes by which traditional objects or language are given a new, meaning and context, for example, geeky clothing from the 1980's is now seen as cool and unique when worn.
Homage
Not to be confused with a pastiche, the homage is a far kinder and more respectful way of making use of an existing style. Tarantino makes use of homage is all his films. When watching a postmodern text you need to decide whether what you're witnessing is a pastiche or a homage.
Hyperreality
Hyperreality is a symptom of postmodern culture where a person loses their ability to distinguish reality from fantasy, examples could include reality television like Big Brother, pornography, or multi-player online games.
Pastiche
Pastiche is a tongue-in-cheek imitation or tribute used in literature, art, music, movies. Used with respect to, or in homage to, other works. An example is Family Guy especially the Star Wars based episodes.
Pluralism
is simply a belief that there is no one answer to anything, this is much like postmodernism.
Simulacra
A simulacra is a copy of a copy, so far removed from its original, that it can stand on its own and even replace the original for example is the cartoon Betty Boop, who has now become an icon for the long forgotten actresses she was based on.
Pluralism
simply a belief that there is no one answer to anything, this is much like postmodernism.
Bricolage is a processes by which traditional objects or language are given a new, meaning and context, for example, geeky clothing from the 1980's is now seen as cool and unique when worn.
Homage
Not to be confused with a pastiche, the homage is a far kinder and more respectful way of making use of an existing style. Tarantino makes use of homage is all his films. When watching a postmodern text you need to decide whether what you're witnessing is a pastiche or a homage.
Hyperreality
Hyperreality is a symptom of postmodern culture where a person loses their ability to distinguish reality from fantasy, examples could include reality television like Big Brother, pornography, or multi-player online games.
Pastiche
Pastiche is a tongue-in-cheek imitation or tribute used in literature, art, music, movies. Used with respect to, or in homage to, other works. An example is Family Guy especially the Star Wars based episodes.
Pluralism
is simply a belief that there is no one answer to anything, this is much like postmodernism.
Simulacra
A simulacra is a copy of a copy, so far removed from its original, that it can stand on its own and even replace the original for example is the cartoon Betty Boop, who has now become an icon for the long forgotten actresses she was based on.
Pluralism
simply a belief that there is no one answer to anything, this is much like postmodernism.
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