This study examines postmodern film aesthetics and challenges to the aesthetic paradigms dominating film analysis. It explores conceptions of the classical, modernist, postclassical/new Hollywood styles and their construction as a linear history in which postmodernism informs a debatable final act. This history is challenged through Lyotard's nonlinear conception of postmodernism, which recasts postmodern aesthetics as a paradigm ocurring across the history of Hollywood. The book also explores "nihilistic" postmodern theorists Jean Baudrillard and Frederic Jameson and "affirmative" theorists Linda Hutcheon and Judith Butler, charting how they help conceptualize variants of postmodern aesthetics and deploy them in the analysis of such films asBombshell(1933),Serial Mom(1994), andKill Bill(2003).
Subjects: Film Studies
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