By Professor Timothy Corrigan, Anna Everett, Professor Sharon Willis, Professor Thomas Schatz, Linda Ruth Williams, Professor Dina Smith, Professor Bob Rehak, Professor Nora Alter, Professor Nigel Morris, Professor Karen Beckman, Dana Polan
The last decade from 2000 to 2009 is framed, at one finish, via the annoying disaster of the September 11 assaults at the international exchange middle and, on the different, by way of the election of the 1st African American president of the USA. In among, the USA and the area witnessed the fast growth of latest media and the net, such common failures as typhoon Katrina, political uprisings worldwide, and an immense meltdown of worldwide economies.Amid those crises and revolutions, American movies spoke back in a number of methods, occasionally at once reflecting those turbulent occasions, and occasionally ultimately couching historical past in conventional genres and tales. In American Cinema of the 2000s, essays from ten most sensible movie students research such well known sequence because the groundbreaking Matrix movies and the gripping adventures of former CIA covert operative Jason Bourne; new, offbeat motion pictures like Juno; and the resurgence of documentaries like Michael Moore’s Fahrenheit 9/11. each one essay demonstrates the advanced ways that American tradition and American cinema are sure jointly in refined and hard methods.
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Extra resources for American Cinema of the 2000s: Themes and Variations
At one point they pose as a singing group that goes by the name of the Soggy Bottom Boys. They record a song in a ramshackle studio at the crossroads of nowhere—the type of place where so many African American musicians recorded and sold the rights to their music for virtually nothing. This practice continued well into the late sixties, when numerous white musicians appropriated the blues. When Everett and his cohorts find themselves the targets of the Ku Klux Klan, the film makes clear what has thus far been implicit—that although played by white actors, the characters are supposed to be black.
New York City in the eighties was emerging from bankruptcy; energy (emanating from the financial district) was once again coursing through the city, with the gentrification of SoHo, the proliferation of high-end galleries and boutiques, the popularity of exclusive discos and nightclubs, and plenty of cocaine and martinis. These are the sites frequented by the characters in American Psycho. Indeed, several scenes in the film include trendy restaurants with hyperbolic menus featuring items such as “swordfish meatloaf with onion marmalade, rare roasted partridge breast in raspberry coulis with a sorrel timbale, .
Has a 1960s and 1970s sense to it, but it seems to have lost currency today. “The idiot box” that demands constant nourishment so that it will be able to churn out greater degrees of idiocy is driven by the networks’ pursuit of higher ratings—all of which translate into more advertisements and greater profits. Lee evokes a film from a quarter of a century ago to make the point that television as a communications medium has not advanced. Rather, it seems to have moved backward, culling from early-twentiethcentury forms of entertainment and thereby perpetuating a loop that forecloses the idea of progress.