Portraits of the postmodern person in "Taxi Driver," "Raging Bull," and "The King of Comedy." (films)
Article Abstract:
Robert De Niro starred in such Martin Scorsese's films as the 'Taxi Driver,' 'Raging Bull' and 'The King of Comedy' which used an artistically revolutionary approach to show that the character of a person was acquired and developed through imitation. The characters portrayed by De Niro in the films were all products of 'impersonation,' which was a postmodern theory of identity that states that a person is influenced by external forces in understanding, realizing and discovering his true nature. Such concept in identity acquisition is considered outmoded in recent times because of cultural changes.
Publication Name: Journal of Film and Video
Subject: Motion pictures
ISSN: 0742-4671
Year: 1997
User Contributions:
Comment about this article or add new information about this topic:
Recreational terror: postmodern elements of the contemporary horror film
Article Abstract:
Postmodern horror films do not have well defined boundaries, and are irrational. Contrasting elements, like life and death, good and evil, and normal and abnormal, are sometimes indistinguishable. The post-1968 films produce an experience of fear through their environment and setting, and through the use of devices like comedy, and melodrama. The films portray an unstable world in which violence and irrationalism are a part of everyday life. The portrayal of violence in the films relies on exhibiting explicit violence, creative death, and mutilated body. They also lack narrative closure.
Publication Name: Journal of Film and Video
Subject: Motion pictures
ISSN: 0742-4671
Year: 1996
User Contributions:
Comment about this article or add new information about this topic:
From the indexical to the spectacle: On Zhang Yimou's postmodern turn in Not One Less
Article Abstract:
Zhang Yimou in Not One Less interweaves the indexical and the spectacular where those who either praise or criticize the film for its support for or complicity with the official Hope Project campaign are actually using the film to fight against each other's ideology rather than examining the film. It is concluded that by understanding Zhang Yimou's late 1990's cinematic maneuvers as reflecting a postmodern turn made in response to the multiple cultural and political determinants, both transnational and domestic.
Publication Name: Journal of Film and Video
Subject: Motion pictures
ISSN: 0742-4671
Year: 2005
User Contributions:
Comment about this article or add new information about this topic:
- Abstracts: Marx in a Texas love triangle: "Marrying up" and the classed gaze in Days of Haven. A River Runs Through It: Metanarrative and self-discovery
- Abstracts: The material poetry of acting: "Objects of Attention," performance style, and gender in The Shining and Eyes Wide Shut
- Abstracts: Represented in the margins: images of African American soldiers in Vietnam War combat films. Visible fandom: reading the X-Files through X-Philes
- Abstracts: Race, class, and the pressure to pass in American maternal melodrama: The case of Stella Dallas. From evidentiary presentation to art-ful re-presentation: Media images, civil rights documentaries, and the audiovisual writing of history
- Abstracts: Filmmaking, teaching, and the colonial experience: an immigrant's account from "English" Canada of a story of American success