Download American Cinema of the 1980s: Themes and Variations (Screen by Douglas Kellner, Stephen Prince PDF

By Douglas Kellner, Stephen Prince

Throughout the Nineteen Eighties, American cinema underwent huge, immense alterations. Blockbusters like Raiders of the misplaced Ark, E.T., and The Empire moves again grabbed large sales for the studios. even as, the expansion of domestic video resulted in new and inventive possibilities for autonomous movie construction, leading to some of the decade's most sensible motion pictures. either huge- and small-scale filmmakers replied to the social, political, and cultural stipulations of the time. The two-term presidency of Ronald Reagan spawned a brand new chilly battle with the Soviet Union, which Hollywood movie either embraced and critiqued. additionally in this time, Hollywood introduced a long-awaited cycle of movies concerning the Vietnam struggle, exploring its impression either at domestic and overseas. yet technology fiction remained the era's hottest style, starting from upbeat fantasies to darkish, dystopic visions. Bringing jointly unique essays by way of ten revered students within the box, American Cinema of the Nineteen Eighties examines the movies that marked the last decade, together with usual humans, physique warmth, Blade Runner, Zelig, Platoon, best Gun, extraterrestrial beings, Blue Velvet, Robocop, deadly charm, Die demanding, Batman, and intercourse, lies & videotape .

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The film follows the screwball formula almost exactly, with a man and woman battling as intellectual equals, overcoming “wrong” relationships, and discovering that they really belong together. Stanley Cavell calls screwball films comedies of remarriage, and Wes Gehring’s five key points about how they differ from romantic comedies all fit Just Tell Me What You Want precisely: screwball comedy emphasizes “funny” rather than love—it is not obviously reality-based; 30 JOANNA E. RAPF screwball spoofs romance—“love comes across as hardly more significant than a board game”; screwball is filled with eccentric characters, starting with a zany heroine; the heroine frequently finds herself in a triangle with the sought-after male and his often life-smothering fiancée, or vice versa; as it concludes, screwball comedy accelerates while romantic comedy slows down (1–4).

Following the model of screwball comedies of the thirties and forties, with their delightfully flawed heroes and heroines, Just Tell Me What You Want applies to both its male and female leads the idea that people are not in as much control as they like to believe. The film follows the screwball formula almost exactly, with a man and woman battling as intellectual equals, overcoming “wrong” relationships, and discovering that they really belong together. Stanley Cavell calls screwball films comedies of remarriage, and Wes Gehring’s five key points about how they differ from romantic comedies all fit Just Tell Me What You Want precisely: screwball comedy emphasizes “funny” rather than love—it is not obviously reality-based; 30 JOANNA E.

To further her power, she takes the controls of the bed and gradually raises its head up, moving Max’s face closer and closer to hers until they almost touch, but with hers slightly higher. Their dialogue has them in intense negotiation, about movies, about money, and about love. ” She is pregnant, and she is going to keep the baby. “Just tell me what you want,” says Max, echoing a refrain he has spoken in each act of the film. ” Even though he never says it, the camera makes the feelings obvious; for now, after slow passage, it has crept in to a point where it almost squeezes their two faces together in profile.

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