The End of Cinema as We Know It American Film in the Nineties 1st edition by Jon Lewis 0814751602 9780814751602

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ISBN 10:  0814751602 

ISBN 13: 9780814751602

Author:  Jon Lewis 

Thirty-four essays that take a serious look at the state of modern cinema Almost half a century ago, Jean-Luc Godard famously remarked, “I await the end of cinema with optimism.” Lots of us have been waiting forand wondering aboutthis prophecy ever since. The way films are made and exhibited has changed significantly. Films, some of which are not exactly “films” anymore, can now be projected in a wide variety of wayson screens in revamped high tech theaters, on big, high-resolution TVs, on little screens in minivans and laptops. But with all this new gear, all these new ways of viewing films, are we necessarily getting different, better movies? The thirty-four brief essays in The End of Cinema as We Know It attend a variety of topics, from film censorship and preservation to the changing structure and status of independent cinemafrom the continued importance of celebrity and stardom to the sudden importance of alternative video. While many of the contributors explore in detail the pictures that captured the attention of the nineties film audience, such as Jurassic Park, Eyes Wide Shut, South Park: Bigger, Longer and Uncut, The Wedding Banquet, The Matrix, Independence Day, Gods and Monsters, The Nutty Professor, and Kids, several essays consider works that fall outside the category of film as it is conventionally definedthe home “movie” of Pamela Anderson and Tommy Lee’s honeymoon and the amateur video of the LAPD beating of Rodney King. 

The End of Cinema as We Know It American Film in the Nineties 1st Table of contents:

I Movies, Money, and History
1 The Blockbuster: Everything Connects, but Not Everything Goes
2 Those Who Disagree Can Kiss Jack Valenti’s Ass
3 The Hollywood History Business
4 The Man Who Wanted to Go Back
II Things American (Sort Of)
5 “American” Cinema in the 1990s and Beyond: Whose Country’s Filmmaking Is It Anyway?
6 Marketing Marginalized Cultures: The Wedding Banquet, Cultural Identities, and Independent Cinema of the 1990s
7 Hollywood Redux: All about My Mother and Gladiator
III Four Key Films
8 The Zen of Masculinity—Rituals of Heroism in The Matrix
9 Ikea Boy Fights Back: Fight Club, Consumerism, and the Political Limits of Nineties Cinema
10 The Blair Witch Project, Macbeth, and the Indeterminate End
11 Empire of the Gun: Steven Spielberg’s Saving Private Ryan and American Chauvinism
12 Saving Private Ryan Too Late
IV Pictures and Politics
13 The Confusions of Warren Beatty
14 Movie Star Presidents
15 The Fantasy Image: Fixed and Moving
16 Men with Guns : The Story John Sayles Can’t Tell
17 The End of Chicano Cinema
V The End of Masculinity As We Know It
18 Being Keanu
19 Woody Allen, “the Artist,” and “the Little Girl”
20 Affliction : When Paranoid Male Narratives Fail
21 The Phallus UnFetished: The End of Masculinity As We Know It in Late-1990s “Feminist” Cinema
VI Bodies at Rest and in Motion
22 Bods and Monsters: The Return of the Bride of Frankenstein
23 Having Their Cake and Eating It Too: Fat Acceptance Films and the Production of Meaning
VII Independents
24 A Rant
25 The Case of Harmony Korine
26 Where Hollywood Fears to Tread: Autobiography and the Limits of Commercial Cinema
27 Smoke ’til You’re Blue in the Face
VIII Not Films Exactly
28 Pamela Anderson on the Slippery Slope
29 King Rodney: The Rodney King Video and Textual Analysis
30 Live Video
IX Endgames
31 End of Story: The Collapse of Myth in Postmodern Narrative Film
32 Waiting for the End of the World: Christian Apocalyptic Media at the Turn of the Millennium
33 The Four Last Things: History, Technology, Hollywood, Apocalypse
34 Twenty-five Reasons Why It’s All Over

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Tags: The End, Cinema, American Film, Nineties, Jon Lewis