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.

Filmmakers, Movie directors, Movie producers (Persons), Motion pictures, Movies, Scorsese, Martin, Characters and characteristics in motion pictures, Movie characters, Taxi Driver (Motion picture), Raging Bull (Motion picture), The King of Comedy (Motion picture)

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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.

Evaluation, Horror films, Horror movies, Film genres, Movie genres

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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.

Motion pictures, Chinese, Chinese movies, Zhang Yimou, Not One Less (Motion picture)

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