東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

The New Reflexivity: Puzzle Films, F...

Lavender-Smith, Jordan.

FindBook

Google Book

Amazon

博客來

The New Reflexivity: Puzzle Films, Found Footage, and Cinematic Narration in the Digital Age.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The New Reflexivity: Puzzle Films, Found Footage, and Cinematic Narration in the Digital Age./
作者:	Lavender-Smith, Jordan.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
面頁冊數:	211 p.
附註:	Source: Dissertation Abstracts International, Volume: 77-07(E), Section: A.
Contained By:	Dissertation Abstracts International77-07A(E).
標題:	Film studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10009751
ISBN:	9781339461779

The New Reflexivity: Puzzle Films, Found Footage, and Cinematic Narration in the Digital Age.
Lavender-Smith, Jordan.

The New Reflexivity: Puzzle Films, Found Footage, and Cinematic Narration in the Digital Age. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 211 p.

Source: Dissertation Abstracts International, Volume: 77-07(E), Section: A.

Thesis (Ph.D.)--City University of New York, 2016.

This item is not available from ProQuest Dissertations & Theses.

"The New Reflexivity" tracks two narrative styles of contemporary Hollywood production that have yet to be studied in tandem: the puzzle film and the found footage horror film. In early August 1999, near the end of what D.N. Rodowick refers to as "the summer of digital paranoia," two films entered the wide-release U.S. theatrical marketplace and enjoyed surprisingly massive financial success, just as news of the "death of film" circulated widely. Though each might typically be classified as belonging to the horror genre, both the unreliable "puzzle film" The Sixth Sense and the fake-documentary "found footage film" The Blair Witch Project stood as harbingers of new narrative currents in global cinema. This dissertation looks closely at these two films, reading them as illustrative of two decidedly millennial narrative styles, styles that stepped out strikingly from the computer-generated shadows cast by big-budget Hollywood. The industrial shift to digital media that coincides with the rise of these films in the late 90s reframed the cinematic image as inherently manipulable, no longer a necessary index of physical reality. Directors become image-writers, constructing photorealistic imagery from scratch. Meanwhile, DVDs and online paratexts encourage cinephiles to digitize, to attain and interact with cinema in novel ways. "The New Reflexivity" reads The Sixth Sense and The Blair Witch Project as reflexive allegories of cinema's and society's encounters with new digital media. The most basic narrative tricks and conceits of puzzle films and found footage films produce an unusually intense and ludic engagement with narrative boundaries and limits, thus undermining the naturalized practices of classical Hollywood narration. Writers and directors of these films treat recorded events and narrative worlds as reviewable, remixable, and upgradeable, just as Hollywood digitizes and tries to keep up with new media. Though a great deal of critical attention has been paid to both puzzle and found footage films separately, no lengthy critical survey has yet been undertaken that considers these movies in terms of their shared formal and thematic concerns. Rewriting the rules of popular cinematic narration, these films encourage viewers to be suspicious of what they see onscreen, to be aware of the possibility of unreliable narration, or CGI and the "Photoshopped." Urgent to film and cultural studies, "The New Reflexivity" suggests that these genres' complicitous critique of new media is decidedly instructive for a networked society struggling with what it means to be digital.

ISBN: 9781339461779Subjects--Topical Terms:

2122736
Film studies.

The New Reflexivity: Puzzle Films, Found Footage, and Cinematic Narration in the Digital Age.
LDR:03665nmm a2200313 4500 001 2158092
005 20180608130834.5
008 190424s2016 ||||||||||||||||| ||eng d
020 $a 9781339461779
035 $a (MiAaPQ)AAI10009751
035 $a (MiAaPQ)minarees:14083
035 $a AAI10009751
040 $a MiAaPQ $c MiAaPQ
100 1 $a Lavender-Smith, Jordan. $3 3345915
245 1 4 $a The New Reflexivity: Puzzle Films, Found Footage, and Cinematic Narration in the Digital Age.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2016
300 $a 211 p.
500 $a Source: Dissertation Abstracts International, Volume: 77-07(E), Section: A.
500 $a Adviser: Morris Dickstein.
502 $a Thesis (Ph.D.)--City University of New York, 2016.
506 $a This item is not available from ProQuest Dissertations & Theses.
520 $a "The New Reflexivity" tracks two narrative styles of contemporary Hollywood production that have yet to be studied in tandem: the puzzle film and the found footage horror film. In early August 1999, near the end of what D.N. Rodowick refers to as "the summer of digital paranoia," two films entered the wide-release U.S. theatrical marketplace and enjoyed surprisingly massive financial success, just as news of the "death of film" circulated widely. Though each might typically be classified as belonging to the horror genre, both the unreliable "puzzle film" The Sixth Sense and the fake-documentary "found footage film" The Blair Witch Project stood as harbingers of new narrative currents in global cinema. This dissertation looks closely at these two films, reading them as illustrative of two decidedly millennial narrative styles, styles that stepped out strikingly from the computer-generated shadows cast by big-budget Hollywood. The industrial shift to digital media that coincides with the rise of these films in the late 90s reframed the cinematic image as inherently manipulable, no longer a necessary index of physical reality. Directors become image-writers, constructing photorealistic imagery from scratch. Meanwhile, DVDs and online paratexts encourage cinephiles to digitize, to attain and interact with cinema in novel ways. "The New Reflexivity" reads The Sixth Sense and The Blair Witch Project as reflexive allegories of cinema's and society's encounters with new digital media. The most basic narrative tricks and conceits of puzzle films and found footage films produce an unusually intense and ludic engagement with narrative boundaries and limits, thus undermining the naturalized practices of classical Hollywood narration. Writers and directors of these films treat recorded events and narrative worlds as reviewable, remixable, and upgradeable, just as Hollywood digitizes and tries to keep up with new media. Though a great deal of critical attention has been paid to both puzzle and found footage films separately, no lengthy critical survey has yet been undertaken that considers these movies in terms of their shared formal and thematic concerns. Rewriting the rules of popular cinematic narration, these films encourage viewers to be suspicious of what they see onscreen, to be aware of the possibility of unreliable narration, or CGI and the "Photoshopped." Urgent to film and cultural studies, "The New Reflexivity" suggests that these genres' complicitous critique of new media is decidedly instructive for a networked society struggling with what it means to be digital.
590 $a School code: 0046.
650 4 $a Film studies. $3 2122736
650 4 $a American studies. $3 2122720
690 $a 0900
690 $a 0323
710 2 $a City University of New York. $b English. $3 1020275
773 0 $t Dissertation Abstracts International $g 77-07A(E).
790 $a 0046
791 $a Ph.D.
792 $a 2016
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10009751