This Is a Picture and Not the World: Movies and a Post-9/11 America (Suny Series in Postmodern Culture)
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In This Is a Picture and Not the World, Joseph Natoli employs the lingua franca of film itself screenplay dialogue as well as the more recent form of the political blog to present a hyperreal account of popular film as both a creator and a reflector of our post-9/11 mass psyche. Drawing on both classic and contemporary film examples, the book also offers a quasihistory of film genres, including science fiction, the western, film noir, and screwball comedy, emphasizing how these genres have been shaken up, recontextualized, recombined, turned self-reflexive, and parodied over the past couple of decades. Taken together, these satirical parodies of screenplays and blogs reveal and perform how our very gaze has shifted from modern to postmodern, from a direct view of the world to a filtered one."
compelling? COUNSELLOR JOY: What was that you said before, Warp, about those Mystery Science Theatre 3000 TV shows? LT. WARP: I enjoy that show, because I too sit in the movie theatre, as do Tom Servo, Crow, Gypsy, and Joel, to mock the movie being shown, to show how ridiculous and unreal these sci-fi movies were. COMMANDER DEJA: This was a very popular American TV show in the last decade of the twentieth century, Captain. It is a good example of multiple fields of reality being screened. We
the psychology of seduction at work in Hollywood Westerns. May I go on?” (continues reading) ——— ——— FRONTIERSC APE 87 Frontier life created a self-reliance, an independent, freedom of the spirit that appealed almost on an ontological level to Americans. The homesteaders in Shane (1953) band together against their enemy, the cattle baron who doesn’t want squatters on the open range. Solidarity will level the playing field. Shane is on the outside looking in. He attends a meeting of the
commodified, and virtualized and NOIRSC APE 103 human nature totally territorialized and defined by marketing surveys and profiles. Human nature is not self-examined but viewed on a screen, and what fulfills and satisfies that nature is not projected from within but from without. Those projections from without are marketinspired and -controlled. An American overstimulated by the spectacle of both the media and advertising is cut off and left to his or her own reasoning and imagining
retelling of The Post- man Always Rings Twice (1946), a film noir with a Depression-era edge to it. There is the ugly—in every way—husband of Greek descent, the wife fed up with him, and her lover, an employee of the husband, the murder of the husband, and then the drama of fatal miscommunication between the lovers. The angst of twentieth-century modernism appears in the crack of film noir . . . QUENTIN WELLES: Cut. The old guy said that. BARTON FINK: I was sampling him. A tragic vision is
them down, and then go on from that point in your next memory cycle to establish more facts, get those down, and go on from that point . . . until you get The Big Picture. This is a film about the scientific method, which for me has real connections with 9/11 and everything thereafter. We’ve ditched the scientific method and hired Karl Rove and his band of spin magicians. What’s the pop-culture connection? Take a look at TV: sixty-five different versions of crime scene investigation, shows where