Classical Hollywood films refer to those films that were produced between 1910s through 1950s (Michele, 12). As opposed to New Queer Cinema films, these classical films did not openly dramatise homosexual issues because of the dominant and conventional heterosexual lifestyle. It was the New Queer Cinema that came with the sexual revolution and opted to go against the status quo, challenging the heterosexist minds by explicitly dramatising homosexuality. However, restaging the dominant themes in the classical Hollywood cinema brought about this shift. This paper evaluates the extent at which the New Queer Cinema has restaged dominant themes of the classical Hollywood cinema. In order to understand dominant themes that the New Queer Cinema has restaged, we should understand some identifying genre styles. First in order to identify and designate a group of films into a certain class, like the New Queer Cinema, principle characteristics are to be isolated (Braudy, 34). One such isolating approach is referred to as structuralism that lists genre’s iconography, stock characters, typical themes and central narratives (Gever, Greyson & Pratibha, 92). Another approach would situate genres within the historical context in order to assess how films achieve public popularity and how these impacted the production studios. In this case feedback is highly essential in determining whether some class of the film will succeed in the market or not. Gever, Greyson & Pratibha, 93) analyse that, this success is highly depended on the ability of the film to capture key and popular cultural anxieties that are prevalent at the time. The last approach, which is closely intertwined with the gist of this paper, is the way we have classified films over time. This is the origin of the classification of classical Hollywood films and the New Queer Cinema (Gever, Greyson & Pratibha, 93). What has been the concern of most classification is the shift from the most relevant and prevalent themes of the time. In most cases, New Queer Cinema revises classical cinema themes and makes them more relevant to the target audience at a time or generation. As we saw earlier, in their exact nature, classical Hollywood films did not dramatise homosexual lives and issues because such issues were not openly acceptable. The content of the Hollywood narrative was largely heterosexual, and that was reflected by male-female romance; a theme dramatisation which was common in all film genres (Mann, 2). Where homosexuality issues featured in a film, before the sexual revolution, the new queer film; insignificant and supporting roles were allotted to the characters. For instance, in the film A Florida Enchantment (1914), a pre-code film, homosexuality was so extreme at that time in featuring female characters who fed on magical sex-changing seeds that turned them into women pursuing Lotharios (White, 11). This lack of direct and explicit dramatisation of homosexual themes emanated from the Hollywood production code that was made effective in 1934, which forbade explicit depiction of what is called "sex perversion" (Mann, 12). At that time, however, the classical Hollywood cinema, under the code, kept on suggesting queerness by the use of effeminate men and mannish women; although the characters never came in the open as real homosexual or lesbians proper. There are classic actors like Horton (1886– ...
Cite this document
(“To What Extent does New Queer Cinema Restage Dominant Themes of Essay”, n.d.)
Retrieved from https://studentshare.net/visual-arts-film-studies/55461-to-what-extent-does-new-queer-cinema-restage
(To What Extent Does New Queer Cinema Restage Dominant Themes of Essay)
“To What Extent Does New Queer Cinema Restage Dominant Themes of Essay”, n.d. https://studentshare.net/visual-arts-film-studies/55461-to-what-extent-does-new-queer-cinema-restage.
As for the film industry, more than 53 countries are producing and endorsing films all over the world. Where some are contending in the field of box office, others compete in the arena of foreign imports for their country. Films can be defined as stories that aim to define cultures of all kind (Sobol & Firmin, 2009).
While the deeply entrenched studio system of Hollywood collapsed and the onset of commercial television set in among the national suburbanized landscape nationally, new Hollywood set in.With the setting in of New Hollywood, classical Hollywood was phased out gradually. The classical Hollywood era was characterized by mass production of movies by cartel studios for guaranteed market virtually. The phenomenon of going to the movies was replaced by watching television in the era of the new Hollywood (Cook 1990; Buscombe 1977; Schiach 1995) .
According to the paper cinema since the time of its inception into the faculty of visual arts not only did influence the cultural paradigm of a nation, but also did influence the socio-cultural and socio-economic realm of a nation as an enterprise and the amount of resources engaged with it. Hollywood as a seat of film industry, and being the world’s largest one did influence the socio-cultural and socio-economic activity of America right from its classical period.
It was a time of the studio system and star system, when studios and stars had the power to shape the financial viability of production firms (Doherty 1999; Maltby 2003, p.78). One of the most asked questions regarding this era was what Hollywood was for.
This kind of cinema is marked by a clear and narrative structure, characters whose motivation is psychological, and most importantly continuity in editing. The cinema follows a conventional pattern, and the narrative is taken forward by motivated events or what may be
Genres are classifications of films which are based on content, theme, design, narratives, styles, mood, era and situations. These classifications are what we see today on local DVD stores and in film ads. They are categories of
Citizen Kane (1941) investigates the life of newspaper tycoon Charles Foster Kane, while Shane (1953) depicts the struggles of homesteaders and a former hired gunman, Shane (Alan Ladd). The analysis focuses on these films
9 Pages(2250 words)Essay
GOT A TRICKY QUESTION? RECEIVE AN ANSWER FROM STUDENTS LIKE YOU!
Let us find you another Essay on topic To What Extent does New Queer Cinema Restage Dominant Themes of Classical Hollywood for FREE!