scholarly journals El cuerpo fascista recuperado: la exploración de la masculinidad en Fight Club

Daímon ◽  
2017 ◽  
pp. 573
Author(s):  
Leonor Acosta Bustamante
Keyword(s):  
David Fincher ◽  
Fight Club

En 1999 los debates sobre la masculinidad en crisis produjeron en Estados Unidos un volumen importante de literatura crítica y posicionó en bandos contrarios a los estudiosos que provenían de las proclamas feministas y los que fundaron el movimiento mitopoético de los hombres, enfrentados a las máximas de los Estudios de Género. El estreno de <em>Fight Club</em> provocó una especie de catarsis en ese escenario de confrontación y abordó la regeneración de la masculinidad hegemónica, localizándola en la vuelta a la violencia primitiva como esencia masculina. Entroncando así la narración entretejida con esos discursos, la apuesta de David Fincher, y de Chuk Palahniuk en la novela homónima de la que parte la película, aboga por detectar los peligros de entender lo masculino como esencialmente vinculado al dolor físico y a la agresividad del combate, provocando la identificación de este proceso con la conformación de los cuerpos políticos del fascismo

Introduction

2012 ◽  
pp. 7-8
Author(s):  
Mark Ramey
Keyword(s):  
Gender Identity ◽  
Friedrich Nietzsche ◽  
Film Studies ◽  
Cultural Impact ◽  
Proper Understanding ◽  
David Fincher ◽  
Fight Club ◽  
The Uk

This introductory chapter discusses the importance of studying David Fincher's Fight Club (1999). Studying Fight Club is a response to a number of issues. Firstly, the film has, since 2009, been an optional examined text in the WJEC's A2 Film Studies course in the UK. Secondly, the film's director, David Fincher, and the key cast of Brad Pitt, Edward Norton, and Helena Bonham Carter remain powerful Hollywood voices, whose work range from the mainstream to the art house. Fincher in particular is now widely regarded as a contemporary auteur with the facility to explore the zeitgeist in a stylish and substantial way. Finally, there is the need to revisit Fight Club in terms of its broad cultural impact and continuing relevance. The film still packs a powerful punch, with its perceived machismo remaining its most frequently explored aspect and indeed gender identity and post-millennial male anxiety are certainly important critical angles. This book pushes the analysis of the film beyond gender, exploring it in terms of its attack on postmodern culture via a proper understanding of Friedrich Nietzsche: a philosopher who is often negatively attributed to Fight Club's philosophy.

Fight Club’s Production and Promotion

2012 ◽  
pp. 25-44
Author(s):  
Mark Ramey
Keyword(s):  
Music Videos ◽  
Film Production ◽  
Male Youth ◽  
Big Business ◽  
Hollywood Film ◽  
Know How ◽  
David Fincher ◽  
Box Office ◽  
Fight Club ◽  
The World

This chapter identifies the key elements of Fight Club's transition from novel to film. Fight Club is in some ways a paradoxical film: both a product and a critique of big business. Fox and Regency, two big players in Hollywood film production, put 67 million dollars into Fight Club because the talent package was strong. They believed the film would do well — and despite a less-than-hoped-for initial box office run, they have been proved right. Emerging from the world of advertising and music videos, Fight Club's director David Fincher has now established himself as a modern-day auteur. The chapter then considers the performances of the film's cast, including Brad Pitt, Edward Norton, and Helena Bonham Carter. It also comments on the marketing of the film. Fox did not know how to sell Fight Club and so seriously misjudged its marketing and release. Fincher's original and seditious concepts for the marketing were rejected for more conventional action-orientated fare, aimed at a male youth market. This backfired in the post-Columbine climate and failed to connect with the broader youth market, which has now found significance in the film and elevated it to cult status.

scholarly journals Suggestive techniques of screenwriting: taboo and unpredictability

2020 ◽  
pp. 123-131
Author(s):  
Maria Andreevna Batova
Keyword(s):  
Research Result ◽  
Narrative Structure ◽  
Modern Trend ◽  
Martin Scorsese ◽  
David Fincher ◽  
Lars Von Trier ◽  
Fight Club ◽  
Accepted Standard ◽  
The Subject

The subject of this research is the suggestive techniques of screenwriting on various level of perception of the movie, which engage the audience into cinematographic scene. The majority of movies reproduce the topic of social taboo, pulling upon the forbidden desires, and thus, instigating the audience. Such movies intend to distort the socially accepted moral and ethical restrictions, blurring the boundaries of the generally accepted standard. Alongside the violation of social taboo, one of the most important elements of drawing attention of the audience is unpredictability, used in dramaturgy to create an effect of incompleteness of story and the desire to reveal it. The research is based on the analytical and comparative methods, which allow analyzing particular effects intended by the author at the conceptual and dramaturgical level of the screen work. As a suggestive dramaturgical element, unpredictability can be reflected as a deferred event or a unpredictability &nbsp;that forms the screen image and character of the hero. Analysis is conducted on the movies &ldquo;The Return&rdquo; (2003), &ldquo;Loveless&rdquo; (2017) directed by Andrey Zvyagintsev; &ldquo;Fight Club&rdquo; (1999) directed by David Fincher; &ldquo;The Departed&rdquo; (2006) directed by Martin Scorsese; &ldquo;Melancholia&rdquo; (2011) directed by Lars von Trier. The research result consists in characterization of the modern trend of preserving unpredictability within a narrative structure of the movie to maintain non-triviality of the storyline.

The fight club: Staying away from what does not work

2007 ◽  
Author(s):  
Karin Schlanger ◽  
Allison Baske
Keyword(s):  
Fight Club

PINGVINAS IR PROTĖJAS. Įsivaizdavimas kaip kitybė manyje

2007 ◽  
Vol 4 ◽  
pp. 21-37
Author(s):  
Kristupas Sabolius
Keyword(s):  
Fight Club ◽  
The World ◽  
The Moment ◽  
Hollywood Movie

Kitybės klausimas dažniausiai kyla iš ego santykio su kitais arba su pasauliu. Šiame straipsnyje daroma prielaida, kad įsivaizdavimo funkcija ištirpdo subjektą ir jame pačiame atveria intersubjektyvią perspektyvą. Šiuo tikslu sugretinami Sartre’o, Husserlio bei Merleau-Ponty įsivaizdavimo funkcijos tyrimai, kuriuose išryškėja vaizdo kaip iš ego centro išslystančios ribos statusas, ir Holivudo filmo „Kovos klubas“ siužetas. Viename iš šios juostos epizodų pasirodantis pingvinas žymi egologinės schizmos akimirką ir tampa fantazijos apsireiškimu ir įsikūnijimu.Išgryninus žaidybinį, savarankišką ir multiformišką charakterį, galime konstantuoti, kad įsivaizdavimas, jei kalbėtume Kanto terminais, yra ne papildanti tarpinė funkcija, bet transcendentalinio subjekto genezėje atlieka paradoksalų „svetimos vidujybės“ arba „vidinės svetimybės“ vaidmenį. Vaizduotė yra katalizatoriaus, kuris, likdamas šalia, įgalina transcendentalinių formų išsikristalizavimą.Pagrindiniai žodžiai: vaizduotė, įsivaizdavimas, fantazija, ego, kitybė, sąmonė.PENGUIN AND PROTEUSImagination as Otherness in meKristupas Sabolius SummaryThe question of Otherness is usually taken into account while discussing the Ego’s relation with Others as well as with the World. This article is based on the premises that the function of phantasy melts the subjectivity, revealing the perspective of intersubjectivity within it. On this purpose Sartre’s, Husserl’s and Merleau-Ponty’s researches on the function of imagination, which elucidate the image as the boundary slipping from the centre of Ego, are compared to the story of Hollywood’ movie „Fight Club“. The penguin, which appears in one of the episodes, registers the moment of egological schism, thus becoming the revelation and incarnation of phantasy. While the playful, autonomous and multiform character of imaginary is cleared out, we can ascertain, speaking in Kantian terms, that it has not a complementary or intermediary function, but, in the genesis of transcendental subject, plays the paradoxical role of „allien innerness“ or „inner alienity“. Thought remaining always beside, imagination is a catalyzer which enables crystallization of transcendental forms.Keywords: imagination, imaginary, phantasy, ego, otherness, consciousness.

Studying Fight Club

2012 ◽  
Author(s):  
Mark Ramey
Keyword(s):  
Pop Culture ◽  
Modern Life ◽  
Fight Club ◽  
Initial Release ◽  
Huge Impact

Fight Club is, on one level, pop-culture phenomena and on another, a deeply philosophical and satirical exploration of modern life. David Fincher's 1999 film (and Chuck Palahniuk's source novel) has had a huge impact on audiences worldwide leading to spoofs, homage, merchandising and numerous Internet fan sites. On initial release the film was met with wide hostility from critics who either failed to appreciate its satirical intent or believed the film failed to deliver on its satirical promise. Early in its DVD afterlife, however, a wider audience began to appreciate the film's significance and radical message. Although attracted by the film's playfulness and star wattage, however, many students struggle with its theoretical notions such as capitalism, materialism, anarchy and so on. This is one film, which therefore merits a thoughtful and provocative analysis but also an accessible one, and this book provides just that.

Sign in / Sign up

Export Citation Format

Share Document