Classical and Post-Classical Hollywood Cinema Essay -- History Hollywo

true and Post- continental Hollywood CinemaINTRODUCTIONDuring the course of this essay it is my intention to discuss the differences amidst Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came most following this time closure (Post-Classical or bare-assed Hollywood). I intend to do this by source analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to summons films from both movements and also published texts relative to the subject matter. In hostel to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.Classical HollywoodClassical Hollywood is a tradition of methods and structures that were prominent American cinema between 1916 and 1960.Its heritage stems from earlier American cinema Melodrama and to delegacy melodrama before that. Its tradition lives on in mainstream Hollywood to this day. But what is it?Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls an likewise obvious cinema1 in which cinematic style serves to apologize and not to obscure the narrative. In this way it is made up of actuate events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investing in this conclusion coming to pass which in turn makes the inevitable the most desirable outcome. The films are stru ctured to create an atmosphere of verisimilitude, which is to institute a perception of reality. On closer inspection it they are practically far from realistic in a social sense moreover possibly portray a realism desired by the senile and family value orientated society of the time. I feel that it is often the down in the mouth and white representation of good and evil that creates such an atmosphere of predic... ... ed (BFI, 1990) we read contrary to all trendy journalism about the innovative Hollywood and the imagined rise of artistic freedom in American films, the New Hollywood remains as crass and commercial as the aged(prenominal)Bibliography1.Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985)2.Bordwell, Thompson Film Art, An Introduction ,7th ed (Mcgraw Hill, 2004)3.Pam Cooke(ed) The Cinema Book,1st ed (BFI, 1990)4.Susan Hayward Cinema Studies The Key Concepts(, Routledge, 1999)5. Jill Nelmes (ed) An introduction to film st udies tertiary edition (Routeledge, 2003)FilmographyTOUCH OF EVIL (Orson Welles, USA, 1958)Dracula (Tod Browning, Universal, US, 1931)Doctor Jekyll and Mr Hyde (Rouben Mamoulian, Paramount, US, 1931)The War of the Worlds (Byron Haskin, Paramount, US, 1953) impact of the body snatchers (Don Siegel, Allied Artists, US, 1955)Psycho (Alfred Hitchcock, Shamley, US, 1960)Night of the Living Dead (George A. Romero, delineation Ten, US 1968)The Shining (Stanley Kubrick, Warner, US 1980)Taxi Driver (Martin Scorsese, Columbia, US, 1976)Blue velvet-textured (David Lynch, De Laurentis, US, 1986)