Review: A Grammar of Murder: Violent Scenes and Film Form by Karla Oeler; Death in Classical Hollywood Cinema by Boaz Hagin

2011 ◽  
Vol 65 (2) ◽  
pp. 78-80
Keyword(s):  
Hollywood Cinema ◽  
Classical Hollywood Cinema ◽  
Classical Hollywood ◽  
Film Form

scholarly journals The Category of System in David Bordwell’s Concept of Film Aesthetics

2021 ◽  
pp. 6-20
Author(s):  
Mirosław Przylipiak
Keyword(s):  
System Theory ◽  
Feedback Loop ◽  
Self Regulation ◽  
Formal System ◽  
Time And Space ◽  
Hollywood Cinema ◽  
Classical Hollywood Cinema ◽  
Classical Hollywood ◽  
Film Form ◽  
Film Aesthetics

The aim of this paper is to analyse the role played by the category of system in the early books of David Bordwell. They have exerted an enormous influence on the understanding of film aesthetics, but little space has been devoted to their methodological background, including the category of system. In Film Art: An Introduction (1979), all elements of film form have a systemic character, which is visible in the chapter titles, such as “Form as System” or “Narration as a Formal System”. In The Classical Hollywood Cinema, the film aesthetics is based on systems of narrative logic, time and space. In Narration in the Fiction Film, the systems of syuzhet and style are foregrounded. Bordwell’s fascination with systems is rooted undoubtedly in their popularity in the 1970s. But do Bordwellian notions really fulfil the criteria of system theory, especially in its newer version, with such notions as chaos, feedback loop, self-regulation and others? Perhaps even Bordwell himself is not certain of that, since the word “system” disappears from recent editions of Film Art: An Introduction.

Rewriting Ibsen for the big screen

2021 ◽  
Vol 11 (2) ◽  
pp. 177-193 ◽  
Author(s):  
Audun Engelstad
Keyword(s):  
Silent Film ◽  
Film Adaptations ◽  
Henrik Ibsen ◽  
Hollywood Cinema ◽  
Contemporary Cinema ◽  
Classical Hollywood Cinema ◽  
Classical Hollywood

Henrik Ibsen is regarded as the champion of realist theatre. In the early days of cinema, there were several silent film adaptations of Ibsen’s plays. One would think, given his standing as a playwright, that there would be a continuous interest in Ibsen’s work after the conversion to sound. This article examines how the realist theatre – heralded by Ibsen – relates to classical (Hollywood) cinema and how Ibsen in various ways has been rewritten and has recently re-emerged within contemporary cinema.

Classicism and Deviation in His Girl Friday and Double Indemnity

2017 ◽  
Author(s):  
Todd Berliner
Keyword(s):  
Hollywood Cinema ◽  
Cognitive Challenge ◽  
Classical Hollywood Cinema ◽  
Double Indemnity ◽  
Classical Hollywood

Chapter 2 illustrates an aesthetically productive balance between easy understanding and cognitive challenge in classical Hollywood cinema with extended analyses of His Girl Friday and Double Indemnity. These films combine classical narrative, stylistic, ideological, and genre properties with artistic devices that complicate formal patterning and thwart audience expectations.

An Aesthetics of Aggression: German Fascist vs. Classical Hollywood Melodrama

2017 ◽  
Author(s):  
Laura Heins
Keyword(s):  
Third Reich ◽  
Hollywood Cinema ◽  
Aggressive Form ◽  
Mise En Scene ◽  
The Face ◽  
Classical Hollywood Cinema ◽  
Classical Hollywood

This chapter attempts to delineate the generic and aesthetic differences between film melodrama in Third Reich and classical Hollywood cinema, and to a lesser extent, between German and Italian Fascist film. Hollywood cinema's greater emphasis on the communicative codes of mise-en-scène, dynamic editing, and camera movement was countered in Nazi cinema with a greater stress on bodily displays and a theatrical acting style that subordinated the intimacy of the face in close-up to the authority of the actor's voice and scripted dialogue. Subtle formal and narrative differences in the Nazi melodrama also encouraged a more aggressive form of voyeurism than was common in the Hollywood melodrama. Instead of the masochistic aesthetic of many Hollywood melodramas, therefore, the Nazi melodrama distinguished itself by its formally encoded appeals to spectatorial sadism and by the masculinity of its pathos.

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