Post-Pop Cinema: The Search for Meaning in New American Film Jesse Fox Mayshark is available to download
|Post-Pop Cinema: The Search for Meaning in New American Film|
Jesse Fox Mayshark
|Type: ||eBook |
|Released: ||2007 |
|Publisher: ||Praeger |
|Page Count: ||206 |
|Format: ||pdf |
|Language: ||English |
|ISBN-10: ||027599080X |
|ISBN-13: ||9780275990800 |
“Mayshark, an experienced staff editor for the New York Times News Service, has written perhaps the first in-depth study of the major contributors to the culturally and cinematically aware, accessibly eccentric "post-pop cinema.Post-Pop Cinema: The Search ...
Textbook " Mayshark interprets the creative output of directors from Wes Anderson to David O. Russell to Sofia Coppola, among others, who deal so originally and truthfully with their characters' struggles for individuality and clarity. His study of Todd Haynes in particular, covering films such as &ISafe, Far from Heaven, and the controversial Superstar: The Karen Carpenter Story, reveals a genuine understanding of the director's attempts to combine cinematic artistry with complex and often tragic characterizations. Mayshark illustrates that even as this period in American filmmaking creates new ways of storytelling, the seed of it all remains the difficult joy and madness of finding one's place in the world. This is a highly engaging and informative study of a sensibility more than a genre; recommended for all academic and public libraries.”–Library Journal“While he considers the 10 American directors (and one screenwriter) discussed here all members of a "post-pop" or "post-post modernism" school, Mayshark is wary of bunching them together for the fact that their most uniting trait is actually their overt individualism. Nonetheless he finds ample similarities in the "chinstroking" and "anarchic" works of P.T. and Wes Anderson (not related), David O. Russell, Todd Haynes, and Charlie Kaufman with Spike Jonze and Michel Gondry, because they all tread the line between irony and sentiment and address questions of alienation and morality with a non- moralizing tone. The author offers analysis of this group's major films and of its major critics, and in the final chapter introduces three less prolific but promising American post-pop visionaries the directors of Fight Club, Lost in Translation, and Donnie Darko.”–Reference & Research Book News
Provides a deep look into the varied work and common bonds of a group of young American directors including Wes Anderson, P. T. Anderson, Sofia Coppola, Richard Kelly, Richard Linklater, and David O. Russell.