Authorship, Post-Classical and Art Cinema Narration - In Reference to Robert Altman’s 'The Player'
Cinema Assessment Task 2
Authorship, Post-Classical and Art Cinema Narration
In response to Q3 and referring to Robert Altman's The Player
Robert Altman's 1992 film The Player is a savagely comic film that explores the cutthroat nature of the Hollywood film industry. The film, which identifies strongly with Altman's inherent style of direction, is a satire injected into a high-concept thriller. The film explicitly refers to other films, filmmakers and genres, self-consciously blending a variety of recognised film codes and conventions whilst simultaneously recontextualising them to create new, significant meanings. These aid the film in providing what is such an emphatic criticism ...
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Player is an example of a sixty-year procession of dream factory myths, such as: the romantic sentiments of A Star is Born (1937 and 1954), the gothic iconoclasm of Sunset Boulevard (1950), the killer gloom of In a Lonely Place (1950) and The Big Knife (1955), the mordant self-justification of Sullivan's Travels (1941), the surreal nightmarishness of Barton Fink (1991), and so on to an endless degree. The film borrows ideas from each of these, projecting a complex view of the idea of dream factory myths, their constricted writers, bedazzled would-be stars, and rejected has-beens. Yet, Altman summons up these shades only to shatter them, using this cautionary tale about a ruthless, heartless studio executive (Griffin Mill) who accidentally kills a screenwriter to thrust audiences into the story with a sense of ferocity and frank authenticity. In this film, as much about the systems as the people, the characters, viewed from a mockingly Olympian perspective, are depicted as both ...
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humanist document on poverty and the need for social unity. This can be read as homage to the Italian film and the genre, but also as a defining comment on The Player itself (Wyatt 1996). Although both men claim they love it, they wind up in a brutal and fatal battle in the darkened parking lot. They engage in an argument over money and status, suggesting that even the greatest films no longer have any real imaginative hold on the people who make the new ones. Mill's shallow response to the classic film allows Altman to underline his feelings that the Hollywood narrative lacks artistic sensitivity. In this film, all the players and their comrades are aware that movies such as The ...
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"Authorship, Post-Classical and Art Cinema Narration - In Reference to Robert Altman’s 'The Player'." Essayworld.com. June 14, 2012. Accessed November 22, 2024. http://www.essayworld.com/essays/Authorship-Post-Classical-Art-Cinema-Narration/101154.
"Authorship, Post-Classical and Art Cinema Narration - In Reference to Robert Altman’s 'The Player'." Essayworld.com. June 14, 2012. Accessed November 22, 2024. http://www.essayworld.com/essays/Authorship-Post-Classical-Art-Cinema-Narration/101154.
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