I’m working on a film question and need a sample draft to help me study.

This is the prompt I have attached the readings,. lecture notes and will attach the class recordings that will help you answer this prompt 🙂

Prompt: Carefully choose a film that you would consider to be a parody, in Fredric Jameson’s terms and one that is a pastiche. Explore the characteristics that differentiate the two films.

Please use all the feedback as usual that I have given you in the past 500-word essay questions I need help with also in terms of writing style here is a classmate’s notes: Jameson’s idea of the pastiche/blank parody brought up an important aspect of artmaking in today’s work. Truly, everything has been already invented, written, shown, made art of in this world. We are constantly imitating dead styles, but I see this in a different way a bit. Each of us interprets an idea in a specific way. I think that even if we continuously imitate old ideas, each of us has a different way to create something out of it. This brings up the idea of adaptation, where we all start from the same foundation or base, but taking slightly different roads of interpretation, illustration and such. Is there an issue in imitating the dead styles?

Hansen covers an interesting topic, where American happy endings changed into tragic endings for Russian release. I find it an art in itself to find ways in which this American style cinema was distributed around the globe, depending on the genres, the messages that it conveys through this medium. I never really thought about the knowledge that is behind finding the proper audiences for these films around the globe, along with the needed modifications to make them more appropriate for the different nations around the globe. The line “recycling the ruins of both classical cinema and modernity” connects to Jameson’s idea behind the imitation of these dead styles.

Yet, a lot of these styles were somewhat shaped from ruins which created them into something different, depending on what the creators thought it would be fit. Does the viewer realize that these films engage them at a narrative-cognitive level? Do the regular film viewers realize the meaning of optical consciousness?

class recording :https://drive.google.com/file/d/1eQMSX_jPxsCJKgPWX…

Please READ: Jameson, Fredric, “Postmodernism and Consumer Society” (1988) 1031-1041

also there wasn’t any class discussion so there was no second class recording but maybe this link can help you decide on what film https://examples.yourdictionary.com/examples-of-pa… to write about pls do not use this link as a resource this is to just help you get an idea to answer the question :)2 attachmentsSlide 1 of 2

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UNFORMATTED ATTACHMENT PREVIEW

Postmodernism Week VIB • Having covered film theory, we move into an analysis of the place of film and the moving image in culture more broadly through the notion of the postmodern. • In postmodernity, film is the central medium due to its status as a collage-based, industrial art form and the chief purveyor of the “reality effect.” Postmodernism • Up until WWII, the West still had some sense of a shared culture, based on various “eternal truths” embedded in religions, faith in political systems, and communally agreed upon modes of behavior. • After 1950, with the post-war horror, the rise of social movements (civil rights, women’s rights), and a surfeit of media images, there was a flattening of history—a questioning of its certainty. • There was a dawning recognition that history is a story told by the powerful to maintain power, and that

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