By J. Nilsson
This research examines how a specific collection of movies grew to become American cultural fabric of the Nineties into satirical stories for audience and reveals that there are parts of resistance to norms and conventions in politics, to mainstream information channels and Hollywood, and to professional American historical past already embedded within the tradition.
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Extra resources for American Film Satire in the 1990s: Hollywood Subversion
103 While the focus lies on form, and on the active viewer and the idea of perception as a constructive activity, flexibility is a central principle in film poetics. Bordwell cites Boris Eikhenbaum’s defense of the Russian Formalists: “We posit specific principles and adhere to them insofar as the material justifies them. ”104 Here the empirical emphasis is made clear as well. The material determines the method of analysis and the questions asked. Thus, it is a flexible approach because it deals with each film based on its own premises and continually modifies analytical assumptions.
28 Of course, what this presupposes is a media-literate audience able to make the necessary connection. Terry goes on to establish Bob’s background. His music career, we are told, began three years earlier (the present is 1990) with the album The Freewheelin’ Bob Roberts, later followed by a second album, titled Times Are Changing Back. Both are ironic imitations of Dylan’s second and third albums, The Freewheelin’ Bob Dylan (1963) and The 40 A m e r i c a n F i l m S at i r e i n t h e 1 9 9 0 s Times They Are a-Changin’ (1964).
30 He is Bob’s official opponent, but the morning talk-show host (Lynne Thigpen), the cast of the comedy show, and the radical journalist Bugs Raplin also function as such. In terms of plot, they are obstacles Bob must pass in order to reach his goal.
American Film Satire in the 1990s: Hollywood Subversion by J. Nilsson