The Cinema of Steven Spielberg: Empire of Light (Directors' Cuts)
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Cinema's most successful director is a commercial and cultural force demanding serious consideration. Not just triumphant marketing, this international popularity is partly a function of the movies themselves. Polarised critical attitudes largely overlook this, and evidence either unquestioning adulation or vilification—often vitriolic—for epitomising contemporary Hollywood. Detailed textual analyses reveal that alongside conventional commercial appeal, Spielberg's movies function consistently as a self-reflexive commentary on cinema. Rather than straightforwardly consumed realism or fantasy, they invite divergent readings and self-conscious spectatorship which contradict assumptions about their ideological tendencies. Exercising powerful emotional appeal, their ambiguities are profitably advantageous in maximising audiences and generating media attention.
2002: 1), is, like Pete’s comforting presence as guarantor of Dorinda’s ultimate happiness, predicated upon absence, central paradox of ‘The Imaginary Signifier’. On Ted’s return, initially represented by Rachel looking off-screen yearningly – Spielberg’s recurrent Searchers allusion – Pete approaches Dorinda’s door, filmed from inside; the shot refocuses, causing a hitherto invisible fly screen to break the image into pixels, bridging the cut to the interior (now filmed from outside) so that
Cheque-encoding machines were, after all, obtainable at auction. The movie’s sexual politics, too, refer to, rather than utilise innocently, 1960s values. ‘The Girl from Ipanema’ plays as bathing beauties disport themselves at the Hollywood motel Frank resides in; theirs is a merely decorative, at best scene-setting function, signifying the good life in contrast to Carl’s hardworking existence, as the camera tracks away from them to the narrative action. Epitomising this conformist society,
and guides to real places. The large terminal windows constantly reinscribe a screen, the nearest Viktor can reach to the outside world but still an inward-looking, circumscribed view as ‘America is closed’. For him, the US is no more accessible than Krakhozia. Yet when Viktor truthfully tells flight attendant Amelia, ‘I go from one building to another,’ she interprets this as sympathetically mirroring her experience (having just completed four round-world trips). Reality, mediated, is a state of
Arthur and Lewis 252, 255, 258–67 Targets 226 Tarkovsky, Andrei 384 Tashiro, C. S. 100–1 Tasker, Y. 128 Taubin, A. 281, 283, 295 Taxi Driver 24, 167, 383 Taylor, P. M. 20, 32, 39–42, 78–80, 134, 149–51, 173, 179 Tearle, Godfrey 152 Temperton, Rod 125 Ten Commandments, The 157 Terminal, The 98, 343–51, 381, 392 Terminator 2: Judgment Day 176, 178 Thelma and Louise 199 Thief of Bagdad, The 112, 138 Thin Blue Line, The 284 Thin Red Line, The 273, 275 Thing, The 202 Things to Come
University Press E-book. CUP would be pleased to hear about your reading experience with this e-book at email@example.com. CONTENTS Acknowledgments Introduction: the Critical Context 1 Close Encounters of the Third Kind: tripping the light fantastic 2 Duel: the descent of Mann 3 The Sugarland Express : a light comedy? 4 Jaws: searching the depths 5 1941: war on Hollywood 6 Raiders of the Lost Ark: lights, camera, action 7 E.T. The Extra-Terrestrial: turn on your love light 8