New PDF release: Movies as Politics

By Jonathan Rosenbaum

ISBN-10: 0520206150

ISBN-13: 9780520206151

Greatly considered as the main proficient modern American commentator at the cinema, Jonathan Rosenbaum specializes in the political and social dynamics of the modern motion picture scene--exploring the various hyperlinks among movie and our ideological identities as contributors and as a society.

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Additional info for Movies as Politics

Sample text

Yet on the whole, the promotion of movies has been more successful than the promotion of politicians. In its current state-of-the-art phase, the former consists not only of luring people into theaters but also of convincing them afterward that the experience was worthwhile. This has been facilitated over the past several years by the media's willingness to furnish "big" releases with unprecedented free advertising to bolster the studio's own lavish campaigns. Major cable channels that profess to be commercial-free now routinely run free trailers or diverse promotional features for the same pictures, and most popular newspapers and magazines follow suit.

In short, you might say the musical is alive and well, though thanks to the ruling business discourse, it's in hiding. Only the conventional Hollywood musical is in eclipse. In LATCHO DROM Gatlif appropriates what might be termed the stylistic architecture of older Hollywood musicals as purposefully as the Gypsy performers appropriate "national" music and dance, proving that the same sort of elation can be achieved without pit orchestras or soundstages. When the drudgery of everyday work is turned into music and dance, as in the opening sequence here, we could be watching the beginning of the classic 1932 musical LOVE ME TONIGHT.

But one of the many radical differences between this movie and most others is that it doesn't establish any privileged source of truth about its characters' identities in order to allow us to measure the extent of their lying. We see what these characters do, but we remain strangers to who and what they are, just as they remain strangers to one another. When we see a priest in a confessional (Henry Strozier), we know that he is a priest, but all we know about how he relates to being a priest is what he says and does; the rest of his identity remains inaccessible to us.

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Movies as Politics by Jonathan Rosenbaum


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