American Cinema of the 2000s: Themes and Variations by Professor Timothy Corrigan, Anna Everett, Professor Sharon

By Professor Timothy Corrigan, Anna Everett, Professor Sharon Willis, Professor Thomas Schatz, Linda Ruth Williams, Professor Dina Smith, Professor Bob Rehak, Professor Nora Alter, Professor Nigel Morris, Professor Karen Beckman, Dana Polan

The last decade from 2000 to 2009 is framed, at one finish, by way of the stressful disaster of the Sept. 11 assaults at the global exchange heart and, on the different, by way of the election of the 1st African American president of the us. In among, the us and the area witnessed the swift enlargement of recent media and the web, such normal failures as typhoon Katrina, political uprisings worldwide, and a major meltdown of worldwide economies.Amid those crises and revolutions, American movies answered in a number of methods, occasionally at once reflecting those turbulent occasions, and infrequently in a roundabout way couching background in conventional genres and tales. In American Cinema of the 2000s, essays from ten best movie students research such renowned sequence because the groundbreaking Matrix motion pictures and the gripping adventures of former CIA covert operative Jason Bourne; new, offbeat movies like Juno; and the resurgence of documentaries like Michael Moore’s Fahrenheit 9/11.  each one essay demonstrates the complicated ways that American tradition and American cinema are sure jointly in sophisticated and tough methods.

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This is supported by a parallel scene in a predominantly black nightclub where Delacroix’s father, “Junebug,” performs a one-man comedy show to the appreciative laughter of patrons. Junebug’s final words of wisdom to his son 2000 — MOVIES, ANTI-CLIMAXES, AND DISENCHANTMENTS 35 Outrageous and pointed, Bamboozled (Spike Lee, New Line Cinema) satirizes media and race relations that may be far less progressive than the new millennium promises. Digital frame enlargement. before he passes out from too much drink that evening are “Always make them laugh”—words that Delacroix echoes at the end of Bamboozled as he lies dying in a pool of his own blood.

In the world in which Maximus inhabits there are no prejudices, all slaves are equal, and indeed his closest friend is African. Geographically, the film emphasizes the far reach of the Roman Empire—southward, from Spain to North Africa and the Nubian Desert, and northward up to present-day Germany. It is also an empire riddled with corruption. Although the Senate, embodied by the character of the noble Senator Gracchus, seeks democratic rule, it is weakened and under constant threat by both internal and external elements.

Figgis updates a formal innovation first introduced by Andy Warhol in Chelsea Girls (1966) and later used by Jean-Luc Godard and Anne-Marie Miéville in Numero Deux (1975). It was this millennial year, however, that marked a near completion of the digital revolution in film production, with the first film entirely produced on high-definition digital video—Videocoq— completed only months afterward. But until then the procedure was still in the experimental phase. The saturation of media culture by digital production led to the preponderance of split screens, multiple frames, and fragmented viewing experiences that perceptually alter the consumption and processing of information.

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