Post Comment|Liked It: 15
Analyse the relationship between style and commentary in the Hollywood melodramas of Douglas Sirk.
“…there is only one way out, the irony of the ‘happy end’.” – Douglas Sirk.
Post Comment|Liked It: 9
The 1950s are often understood by feminist critics as a period of retrenchment when women were recast as wives and mothers in the domestic sphere, or as sexualised pin ups such as Jayne Mansfield, Marilyn Monroe etc. Discuss the representation of women in The Girl Can’t Help It (1956) with reference to Nicholas Ray’s Bigger Than Life (1956).
"A woman should be pink and cuddly for a man" (Jayne Mansfield)
“As Hollywood cinema came to be internationally dominant, exporting its discourse of (sanitized) sexuality, the appeal of “America” then had to be relocated again within the economic and political context of relations between the United States and the rest of the movie going world.” (Laura Mulvey)
Post Comment|Liked It: 8
Compared to discovering new lands, the development of genres begins with the directions or set map of the previous instructions. The musical for instance; it was not recognised as a genre until 1930 and even then it had no regular definition until 1933. The term ‘musical’ is now referred to or combined with generic terms such as backstage, romantic, western, slapstick, etc.
Post Comment|Liked It: 13
Analyse the relationship between style and commentary in the melodramas of Nicholas Ray.
"There was theatre (Griffith), poetry (Murnau), painting (Rossellini), dance (Eisenstein), music (Renoir). Henceforth there is cinema. And the cinema is Nicholas Ray." (Jean-Luc Godard)