Of Basterds and the Greatest Generation: The Limits of Sentimentalism and the Post-Classical War Film
Films displaying New Sincerity are, for Collins, "hyperconscious" of the postmodern "array" (256) of images circulating in contemporary image culture, and they respond through a nostalgic reassertion of lost "authenticity" (257), revealing fantasy spaces that are anteri...
Ausführliche Beschreibung
Gespeichert in:
| Autor*in: |
Charles Burnetts [verfasserIn] |
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| Format: |
Artikel |
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| Sprache: |
Englisch |
| Erschienen: |
2016 |
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| Rechteinformationen: |
Nutzungsrecht: © Copyright 2016 by the Board of Trustees of the University of Illinois |
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| Schlagwörter: |
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| Systematik: |
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| Übergeordnetes Werk: |
Enthalten in: The journal of film and video - Carbondale, Ill. : UFVA, 1984, 68(2016), 2, Seite 3-13 |
|---|---|
| Übergeordnetes Werk: |
volume:68 ; year:2016 ; number:2 ; pages:3-13 |
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| 520 | |a Films displaying New Sincerity are, for Collins, "hyperconscious" of the postmodern "array" (256) of images circulating in contemporary image culture, and they respond through a nostalgic reassertion of lost "authenticity" (257), revealing fantasy spaces that are anterior to the world's and cinema's own commodification of images. [...]r]ather than trying to master the array through ironic manipulation, these films attempt to reject it altogether, purposely evading the mediasaturated terrain of the present in pursuit of an almost forgotten authenticity, attainable only through a sincerity that avoids any sort of irony or eclecticism" (Collins 257). The questions Shaviro and Collins both address relate therefore to how emotions can be invoked by postmodern cinema without the méconnaisances of a recovered authenticity that is always already problematic in historical terms.\n The preceding analysis shows the extent, however, to which the moral and political stakes of war and genocide continue to cause critical problems for post-classical filmmakers such as Spielberg and Tarantino alike, albeit owing to the different emotional appeals of their corpora. | ||
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Of Basterds and the Greatest Generation: The Limits of Sentimentalism and the Post-Classical War Film |
| abstract |
Films displaying New Sincerity are, for Collins, "hyperconscious" of the postmodern "array" (256) of images circulating in contemporary image culture, and they respond through a nostalgic reassertion of lost "authenticity" (257), revealing fantasy spaces that are anterior to the world's and cinema's own commodification of images. [...]r]ather than trying to master the array through ironic manipulation, these films attempt to reject it altogether, purposely evading the mediasaturated terrain of the present in pursuit of an almost forgotten authenticity, attainable only through a sincerity that avoids any sort of irony or eclecticism" (Collins 257). The questions Shaviro and Collins both address relate therefore to how emotions can be invoked by postmodern cinema without the méconnaisances of a recovered authenticity that is always already problematic in historical terms.\n The preceding analysis shows the extent, however, to which the moral and political stakes of war and genocide continue to cause critical problems for post-classical filmmakers such as Spielberg and Tarantino alike, albeit owing to the different emotional appeals of their corpora. |
| abstractGer |
Films displaying New Sincerity are, for Collins, "hyperconscious" of the postmodern "array" (256) of images circulating in contemporary image culture, and they respond through a nostalgic reassertion of lost "authenticity" (257), revealing fantasy spaces that are anterior to the world's and cinema's own commodification of images. [...]r]ather than trying to master the array through ironic manipulation, these films attempt to reject it altogether, purposely evading the mediasaturated terrain of the present in pursuit of an almost forgotten authenticity, attainable only through a sincerity that avoids any sort of irony or eclecticism" (Collins 257). The questions Shaviro and Collins both address relate therefore to how emotions can be invoked by postmodern cinema without the méconnaisances of a recovered authenticity that is always already problematic in historical terms.\n The preceding analysis shows the extent, however, to which the moral and political stakes of war and genocide continue to cause critical problems for post-classical filmmakers such as Spielberg and Tarantino alike, albeit owing to the different emotional appeals of their corpora. |
| abstract_unstemmed |
Films displaying New Sincerity are, for Collins, "hyperconscious" of the postmodern "array" (256) of images circulating in contemporary image culture, and they respond through a nostalgic reassertion of lost "authenticity" (257), revealing fantasy spaces that are anterior to the world's and cinema's own commodification of images. [...]r]ather than trying to master the array through ironic manipulation, these films attempt to reject it altogether, purposely evading the mediasaturated terrain of the present in pursuit of an almost forgotten authenticity, attainable only through a sincerity that avoids any sort of irony or eclecticism" (Collins 257). The questions Shaviro and Collins both address relate therefore to how emotions can be invoked by postmodern cinema without the méconnaisances of a recovered authenticity that is always already problematic in historical terms.\n The preceding analysis shows the extent, however, to which the moral and political stakes of war and genocide continue to cause critical problems for post-classical filmmakers such as Spielberg and Tarantino alike, albeit owing to the different emotional appeals of their corpora. |
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