The Mind-Game Film

The Mind-Game Film

Author: Thomas Elsaesser

Publisher: Routledge

ISBN: 9781135884048

Category: Performing Arts

Page: 322

View: 281

This book represents the culmination of Thomas Elsaesser’s intense and passionate thinking about the Hollywood mind-game film from the previous two decades. In order to answer what the mind-game film is, why they exist, and how they function, Elsaesser maps the industrial-institutional challenges and constraints facing Hollywood, and the broader philosophic horizon within which American cinema thrives today. He demonstrates how the ‘Persistence of Hollywood’ continues as it has adapted to include new twists and turns, as well as revisions of past concerns, as film moves through the 21st century. Through examples such as Minority Report, Mulholland Drive, Source Code, and Back to the Future, Elsaesser explores how mind-game films challenge us and play games with our perception of reality, creating skepticism and (self-) doubt. He also highlights the mind-game film's tendency to intervene in a complex fashion in the political moment by questioning the dominant power’s intent to program both body and mind alike. Prescient and compelling, The Mind-Game Film will appeal to students, scholars, and enthusiasts of media studies, film studies, philosophy, and politics.

Making Sense of Mind-Game Films

Making Sense of Mind-Game Films

Author: Simin Nina Littschwager

Publisher: Bloomsbury Publishing USA

ISBN: 9781501337062

Category: Performing Arts

Page: 256

View: 905

Mind-game films and other complex narratives have been a prominent phenomenon of the cinematic landscape during the period 1990-2010, when films like The Sixth Sense, Memento, Fight Club and Source Code became critical and commercial successes, often acquiring a cult status with audiences. With their multiple story lines, unreliable narrators, ambiguous twist endings, and paradoxical worlds, these films challenge traditional ways of narrative comprehension and in many cases require and reward multiple viewings. But how can me make sense of films that don't always make sense the way we are used to? While most scholarship has treated these complex films as narrative puzzles that audiences solve with their cognitive skills, Making Sense of Mind-Game Films offers a fresh perspective by suggesting that they appeal to the body and the senses in equal measures. Mind-game films tell stories about crises between body, mind and world, and about embodied forms of knowing and subjective ways of being-in-the-world. Through compelling in-depth case studies of popular mind-game films, the book explores how these complex narratives take their (embodied) spectators with them into such crises. The puzzling effect generated by these films stems from a conflict between what we think and what we experience, between what we know and what we feel to be true, and between what we see and what we sense.

The Mind-Game Film. Cinema in the Digitalized Societies of Control

The Mind-Game Film. Cinema in the Digitalized Societies of Control

Author: Malte Mindermann

Publisher: GRIN Verlag

ISBN: 9783656855026

Category: Performing Arts

Page: 18

View: 614

Seminar paper from the year 2014 in the subject Communications - Movies and Television, grade: 1.0, University of Hannover (Englisches Seminar (English Department)), course: Digital Movies, Chaos Cinema, Post-Cinematic Affect: Thinking 21st-Century Motion Pictures, language: English, abstract: This thesis brings into relation Thomas Elsaesser's category of the "mind-game film" and Gilles Deleuze's observations of a new depiction and awareness of time in film. The mind-game film is then read as symptomatic of a social change from a society of "discipline" towards a "society of control" (Michel Foucault). In the course of this analysis, the catalyst role of technical progress and pervasive interconnectedness becomes evident. Traditional tenets of cinema and storytelling are overcome and played with. Time, which used to flow naturally, and therefore unnoticed, has evolved into a crucial, freely modulatable dimension of its own and serves as an additional structural and narrational level on top of the spatial dimensions. This development is propelled by the rise of the digital image and its manifold possibilities of interfering with the flow of time. Likewise, the principle of "focalization" is extended beyond the idea of merely directing our attention, towards the total filtration of the film reality through the (subjective) vision of a (or several) character(s) (Buckland 8). Thriving on these central elements, mind-game films aim to deceive the spectator by determining when, or if, he/she receives certain information which is crucial to the understanding of the story. Just as no focal character can possibly be sure of his/her own perception's reliability or, for that matter, his/her own mental sanity, we cannot trust our perception. What we see is the image of an image, filtered through a succession of two minds, the character's virtual one and our own [...]

Puzzle Films

Puzzle Films

Author: Warren Buckland

Publisher: John Wiley & Sons

ISBN: 9781405168618

Category: Performing Arts

Page: 256

View: 530

Drawing upon the expertise of film scholars from around the world, Puzzle Films investigates a number of films that sport complex storytelling--from Memento, Old Boy, and Run Lola Run, to the Infernal Affairs trilogy and In the Mood for Love. Unites American ‘independent’ cinema, the European and International Art film, and certain modes of avant-garde filmmaking on the basis of their shared storytelling complexity Draws upon the expertise of film scholars from North America, Britain, China, Poland, Holland, Italy, Greece, New Zealand, and Australia

Mind the Screen

Mind the Screen

Author: Jaap Kooijman

Publisher: Amsterdam University Press

ISBN: 9789089640253

Category: Performing Arts

Page: 374

View: 431

Mind the Screen pays tribute to the work of the pioneering European film scholar Thomas Elsaesser, author of several volumes on media studies and cinema culture. Covering a full scope of issues arising from the author’s work—from melodrama and mediated memory to avant-garde practices, media archaeology, and the audiovisual archive—this collection elaborates and expands on Elsaesser’s original ideas along the topical lines of cinephilia, the historical imaginary, the contemporary European cinematic experience, YouTube, and images of terrorism and double occupancy, among other topics. Contributions from well-known artists and scholars such as Mieke Bal and Warren Buckland explore a range of media concepts and provide a mirror for the multi-faceted types of screens active in Elsaesser’s work, including the television set, video installation, the digital interface, the mobile phone display, and of course, the hallowed silver screen of our contemporary film culture.

Hollywood Puzzle Films

Hollywood Puzzle Films

Author: Warren Buckland

Publisher: Routledge

ISBN: 9781136256288

Category: Social Science

Page: 310

View: 150

From Inception to The Lake House, moviegoers are increasingly flocking to narratologically complex puzzle films. These puzzle movies borrow techniques—like fragmented spatio-temporal reality, time loops, unstable characters with split identities or unreliable narrators—more commonly attributed to art cinema and independent films. The essays in Hollywood Puzzle Films examine the appropriation of puzzle film techniques by contemporary Hollywood dramas and blockbusters through questions of narrative, time, and altered realities. Analyzing movies like Source Code, The Butterfly Effect, Donnie Darko, Déjà Vu, and adaptations of Philip K. Dick, contributors explore the implications of Hollywood's new movie mind games.

Rashomon Effects

Rashomon Effects

Author: Blair Davis

Publisher: Routledge

ISBN: 9781317574644

Category: Performing Arts

Page: 199

View: 464

Akira Kurosawa is widely known as the director who opened up Japanese film to Western audiences, and following his death in 1998, a process of reflection has begun about his life’s work as a whole and its legacy to cinema. Kurosawa’s 1950 film Rashomon has become one of the best-known Japanese films ever made, and continues to be discussed and imitated more than 60 years after its first screening. This book examines the cultural and aesthetic impacts of Akira Kurosawa’s Rashomon, as well as the director’s larger legacies to cinema, its global audiences and beyond. It demonstrates that these legacies are manifold: not only cinematic and artistic, but also cultural and cognitive. The book moves from an examination of one filmmaker and his immediate social context in Japan, and goes on to explore how an artist’s ideas might transcend their cultural origins to ultimately provide global influences. Discussing how Rashomon’s effects began to multiply with the film being re-imagined and repurposed in numerous media forms in the decades that followed its initial release, the book also shows that the film and its ideas have been applied to a wider range of social and cultural phenomena in a variety of institutional contexts. It addresses issues beyond the realm of Rashomon within film studies, extending to the Rashomon effect, which itself has become a widely recognized English term referring to the significantly different interpretations of different eyewitnesses to the same dramatic event. As the first book on Rashomon since Donald Richie's 1987 anthology, it will be invaluable to students and scholars of film studies, film history, Japanese cinema and communication studies. It will also resonate more broadly with those interested in Japanese culture and society, anthropology and philosophy.

Digital Space and Embodiment in Contemporary Cinema

Digital Space and Embodiment in Contemporary Cinema

Author: Jennifer Kirby

Publisher: Taylor & Francis

ISBN: 9781000689365

Category: Social Science

Page: 205

View: 431

Digital Space and Embodiment in Contemporary Cinema examines how contemporary cinema has represented and engaged with the experience of simultaneously inhabiting digital and material spaces (i.e. "composite spaces") in the context of the growing ubiquitousness of digital media and culture. Bringing together a range of key cinematic texts, the book examines how these films represent "composite space" by depicting – often subtly and without explicit reference to technology – what it feels like to live in a world of ubiquitous digital media. The book explores composite spaces through the striking use of elements like colour, symbolic graphics and music, and covers topics like: music as mediator between levels of experience/perception in visionary films such as ‘Sucker Punch’ (2011) and ‘Spring Breakers’ (2012); digital colour as an interface in films including ‘Under the Skin’ (2013); the integration of digital graphical elements drawn from game spaces into material spaces in films such as ‘Scott Pilgrim vs The World’ (2010) and ‘Nerve’ (2016); and films that take place on a computer screen including 2020’s widely discussed, Zoom-produced pandemic horror film ‘Host’. Through the close analysis of these films, the book offers fresh perspectives on conceptual issues of embodiment, digital agency and subjectivity. This book is a valuable resource for advanced undergraduates, postgraduates and scholars in the fields of film studies, digital aesthetics and film theory, digital culture, and digital media.

Skepticism Films

Skepticism Films

Author: Philipp Schmerheim

Publisher: Bloomsbury Publishing USA

ISBN: 9781501310997

Category: Social Science

Page: 336

View: 724

Skepticism Films: Knowing and Doubting the World in Contemporary Cinema introduces skepticism films as updated configurations of skepticist thought experiments which exemplify the pervasiveness of philosophical ideas in popular culture. Philipp Schmerheim defends a pluralistic film-philosophical position according to which films can be, but need not be, expressions of philosophical thought in their own right. It critically investigates the influence of ideas of skepticism on film-philosophical theories and develops a typology of skepticism films by analyzing The Truman Show, Inception, The Matrix, Vanilla Sky, The Thirteenth Floor, Moon and other contemporary skepticism films. With its focus on skepticism as one of the most significant philosophical problems, Skepticism Films provides a better understanding of the dynamic interplay between film, theories of film and philosophy.

Disappearing War

Disappearing War

Author: Christina Hellmich

Publisher: Edinburgh University Press

ISBN: 9781474416573

Category: Performing Arts

Page: 216

View: 898

The battles fought in the name of the 'war on terror' have re-ignited questions about the changing nature of war, and the experience of war for those geographically distant from its real world consequences. What is missing from our highly mediated experience of war? What are the intentional and unintentional processes of erasure through which the distortion happens? What are their consequences? Cinema is a key site at which questions about our highly mediated experience of war can be addressed or, more significantly, elided. Looking at a range of films that have provoked debate, from award-winning features like Zero Dark Thirty and American Sniper, to documentaries like Kill List and Dirty Wars, as well as at the work of visual artists like Harun Farocki and Omer Fast, this book examines the practices of erasure in the cinematic representation of recent military interventions. Drawing on representations of war-related death, dying and bodily damage, this provocative collection addresses 'what's missing' in existing scholarly responses to modern warfare; in film studies, as well as in politics and international relations.

American Eccentric Cinema

American Eccentric Cinema

Author: Kim Wilkins

Publisher: Bloomsbury Publishing USA

ISBN: 9781501336935

Category: Performing Arts

Page: 224

View: 218

Since the late 1990s a new language has emerged in film scholarship and criticism in response to the popularity of American directors such as Wes Anderson, Charlie Kaufman, and David O. Russell. Increasingly, adjectives like 'quirky', 'cute', and 'smart' are used to describe these American films, with a focus on their ironic (and sometimes deliberately comical) stories, character situations and tones. Kim Wilkins argues that, beyond the seemingly superficial descriptions, 'American eccentric cinema' presents a formal and thematic eccentricity that is distinct to the American context. She distinguishes these films from mainstream Hollywood cinema as they exhibit irregularities in characterization, tone, and setting, and deviate from established generic conventions. Each chapter builds a case for this position through detailed film analyses and comparisons to earlier American traditions, such as the New Hollywood cinema of the 1960s and 1970s. American Eccentric Cinema promises to challenge the notion of irony in American contemporary cinema, and questions the relationship of irony to a complex national and individual identity.