By Professor Timothy Corrigan, Anna Everett, Professor Sharon Willis, Professor Thomas Schatz, Linda Ruth Williams, Professor Dina Smith, Professor Bob Rehak, Professor Nora Alter, Professor Nigel Morris, Professor Karen Beckman, Dana Polan
The last decade from 2000 to 2009 is framed, at one finish, through the irritating disaster of the 9-11 assaults at the international alternate middle and, on the different, by way of the election of the 1st African American president of the USA. In among, the U.S. and the realm witnessed the quick growth of latest media and the web, such common mess ups as typhoon Katrina, political uprisings all over the world, and an enormous meltdown of global economies.Amid those crises and revolutions, American movies answered in a number of methods, occasionally without delay reflecting those turbulent instances, and infrequently ultimately couching heritage in conventional genres and tales. In American Cinema of the 2000s, essays from ten most sensible movie students study such renowned sequence because the groundbreaking Matrix motion pictures and the gripping adventures of former CIA covert operative Jason Bourne; new, offbeat motion pictures like Juno; and the resurgence of documentaries like Michael Moore’s Fahrenheit 9/11. each one essay demonstrates the advanced ways that American tradition and American cinema are sure jointly in refined and difficult methods.
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Additional info for American Cinema of the 2000s: Themes and Variations
The directions that accompanied Warhol’s film granted the projectionist the authority to determine the order in which the reels would be screened, thereby making each viewing a unique experience. In the DVD release of Timecode the spectator is provided with a similar power to decide which of the sound tracks of each quadrant to follow. This mode of participation parallels interactive games and hypertexts. Timecode’s underlying narrative is rather banal. Priority has been given to technical innovation, to how the narrative is far more interesting than what it tells.
2 The motivating factors that induce the two crews to place themselves in dangerous circumstances have a common root. In the case of Das Boot it is conventional warfare, while for the captain and crew of the Andrea Gail it is economic warfare. The Perfect Storm opens with Tyne returning from a failed fishing expedition. He is rebuked for not delivering a greater yield of swordfish. In contrast, Christina Cotter, the captain of another vessel, is quite successful, adding a gender dynamic to Tyne’s humiliation.
The word “millennium” is repeated more than any other throughout the film. Lee doesn’t allow the significance of the new millennium to get away. Racism in the twentieth century was largely propagated by media images. Lee throws down the gauntlet and challenges us to say no in the twenty-first century, to reject the same old stereotypes and images rather than accept themas if they were inevitable. Moreover, Lee targets not only film audiences but producers as well. The film industry, he suggests, can do more than “always make them laugh”; it can do more than evening television or the 24/7 Internet.
American Cinema of the 2000s: Themes and Variations by Professor Timothy Corrigan, Anna Everett, Professor Sharon Willis, Professor Thomas Schatz, Linda Ruth Williams, Professor Dina Smith, Professor Bob Rehak, Professor Nora Alter, Professor Nigel Morris, Professor Karen Beckman, Dana Polan