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American Cinema of the 2000s: Themes and Variations

The last decade from 2000 to 2009 is framed, at one finish, by way of the hectic disaster of the 9-11 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 U.S. and the realm witnessed the swift growth of latest media and the net, such ordinary mess ups as typhoon Katrina, political uprisings around the globe, and an enormous meltdown of global economies.

Amid those crises and revolutions, American motion pictures spoke back in a number of methods, occasionally at once reflecting those turbulent occasions, and occasionally not directly couching historical past in conventional genres and tales.

In American Cinema of the 2000s, essays from ten most sensible movie students learn such renowned sequence because the groundbreaking Matrix motion pictures 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.  every one essay demonstrates the complicated ways that American tradition and American cinema are sure jointly in sophisticated and demanding methods.

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Akin to those directors worthy of a tattoo, John Waters is a longtime independent filmmaker who has not sold out and has assumed cult status. Cecil B. Demented is his acerbic commentary on the film industry at the turn of the century. ■■■■■■■■■■ Satire: Bamboozled and O Brother, Where Art Thou? ” But in order to see that realized in film, we have to turn to Spike Lee’s acerbic Bamboozled. The film has one of the most striking opening lines: against the music and lyrics of Stevie Wonder’s “Misrepresented People,” the protagonist, Pierre Delacroix, enunciates the word “Satire” and proceeds to deliver a series of definitions: “1a.

Another commercial depicts Tommy Hill Nigger (a pun on the America fashion designer Tommy Hilfiger) as a white racist making enormous profits from the African Americans who buy his clothes. Once again these references to the “real” point to the way in which racism continues today, and how the repetition of degrading images produces a highly problematic view of black people. Where are those ads that feature the many successful blacks in today’s America? But there is one other group that is very critical of the show.

Even inventive narrative experiments, such as Christopher Nolan’s Memento, seem inflected by cultural anxieties: in Nolan’s film he immerses the viewer in a confused amnesiac world in which time is reversed and history difficult to locate. At the same time, numerous American films continue to resist easy classification and stretch the borders of Hollywood and its genres: the mockumentary Best in Show wittily parodies dog-show culture; High Fidelity explores the world of alternative music through the mid-life crisis of a thirty-year-old slacker; Jim Carrey’s vehicle Me, Myself & Irene follows the madcap adventures of a Rhode Island state trooper with multiple personalities; and in Miss Congeniality Sandra Bullock transforms a romantic comedy into the slapstick performance of an undercover FBI agent awkwardly infiltrating a beauty pageant.

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