Postmodernism – ‘The Player’
By Emma Swinfield
(Notes taken from reading ‘Post modernism in the cinema’ by Cristina Degli-Esposti, from Cynthia Baron’s ‘Parody of Hollywood)
• Requires the audience to reconsider existing concepts, with the factual use of how individuals are represented and displayed/treated within Hollywood
• The idea of ‘suture’ – a “subject” is stitched into a chain of ‘dialogue’ and narrative, with the idea that the character realises that they fit into one identity and course, as displayed with Griffin Mill (Tim Robbins) alongside the other celebrities featured within the picture.
• Point of view editing – allows us to follow the celebrity and big boss types, alongside witnessing their views from their perspective through the different layers of communication. Adds to the narrative style, with as they develop their viewpoint, the audience is allowed to follow his perspective. From this, we don’t follow stereotypical, all round perspectives – we wholly focus on “the figure of the absent one”.
• The main character is confused with typical classical-realistic pictures of dealing with society; the expectations of a star’s image taken from the industry is elaborated here again
• The characters are social types, to who have been shaped from their environment and historical circumstances rather than their own upbringing and personal interpretations
• The star’s featured within the film draw attention away from the narrative due to their well known status, rather than highlighting a fictional tone
• Disruption of conventions through identification – the use of A-list stars featured within this film is ambiguous and parodic, due to some playing themselves, others hinting at being stars but fictional, whilst others playing relevant fictional characters all together – adds several layers of communication to the piece.
• Shifting of audience involvement through the variety of editing skills and shots, which adds to intertexuality from ‘epic theatre’ found in Germany in the 1920’s.
• The narrative structure depends upon interruption and digression, with juxtaposed scenes, therefore distorting the narrative through its editing.
• Typical Hollywood conventions as it presents factual events, therefore recognised in the present
• Ambiguous as how the stars are treated – a spoof or a “homage” to the individuals?
• Thought of as a ‘showbiz film’, as appears to focus upon factual events of Hollywood based upon itself rather than represent an original story, represented through a fictional picture. It focuses on ‘the business’ and ‘the strive to make it’, presenting a negative Hollywood image.
• Combination of messages comes across within the film; conflicting opinions, being motivated by greed; hyperbolic use of casting and its mise-en-scene. Highlighted through the overwhelming responses of technology, as shown through communication; phone calls, messaging, faxes, the card messages, etc...
• Underscores the problem with interpretation, as he kills the wrong man but still ‘gets the girl’ – highlights communication can be ambiguous and overwhelming, as well as ironic with the dependency of the audience to interpret the film independently.
By Emma Swinfield
(Notes taken from reading ‘Post modernism in the cinema’ by Cristina Degli-Esposti, from Cynthia Baron’s ‘Parody of Hollywood)
• Requires the audience to reconsider existing concepts, with the factual use of how individuals are represented and displayed/treated within Hollywood
• The idea of ‘suture’ – a “subject” is stitched into a chain of ‘dialogue’ and narrative, with the idea that the character realises that they fit into one identity and course, as displayed with Griffin Mill (Tim Robbins) alongside the other celebrities featured within the picture.
• Point of view editing – allows us to follow the celebrity and big boss types, alongside witnessing their views from their perspective through the different layers of communication. Adds to the narrative style, with as they develop their viewpoint, the audience is allowed to follow his perspective. From this, we don’t follow stereotypical, all round perspectives – we wholly focus on “the figure of the absent one”.
• The main character is confused with typical classical-realistic pictures of dealing with society; the expectations of a star’s image taken from the industry is elaborated here again
• The characters are social types, to who have been shaped from their environment and historical circumstances rather than their own upbringing and personal interpretations
• The star’s featured within the film draw attention away from the narrative due to their well known status, rather than highlighting a fictional tone
• Disruption of conventions through identification – the use of A-list stars featured within this film is ambiguous and parodic, due to some playing themselves, others hinting at being stars but fictional, whilst others playing relevant fictional characters all together – adds several layers of communication to the piece.
• Shifting of audience involvement through the variety of editing skills and shots, which adds to intertexuality from ‘epic theatre’ found in Germany in the 1920’s.
• The narrative structure depends upon interruption and digression, with juxtaposed scenes, therefore distorting the narrative through its editing.
• Typical Hollywood conventions as it presents factual events, therefore recognised in the present
• Ambiguous as how the stars are treated – a spoof or a “homage” to the individuals?
• Thought of as a ‘showbiz film’, as appears to focus upon factual events of Hollywood based upon itself rather than represent an original story, represented through a fictional picture. It focuses on ‘the business’ and ‘the strive to make it’, presenting a negative Hollywood image.
• Combination of messages comes across within the film; conflicting opinions, being motivated by greed; hyperbolic use of casting and its mise-en-scene. Highlighted through the overwhelming responses of technology, as shown through communication; phone calls, messaging, faxes, the card messages, etc...
• Underscores the problem with interpretation, as he kills the wrong man but still ‘gets the girl’ – highlights communication can be ambiguous and overwhelming, as well as ironic with the dependency of the audience to interpret the film independently.
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