ENG 303: CH 8 Notes in Mark Gallaghers ASSE
ENG 303: CH 8 Notes in Mark Gallaghers ASSE ENG 303
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This 2 page Class Notes was uploaded by Christina Horton on Thursday October 13, 2016. The Class Notes belongs to ENG 303 at 1 MDSS-SGSLM-Langley AFB Advanced Education in General Dentistry 12 Months taught by Kevin Esch in Fall 2016. Since its upload, it has received 13 views. For similar materials see Cinematic Auteurs in Literature at 1 MDSS-SGSLM-Langley AFB Advanced Education in General Dentistry 12 Months.
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Date Created: 10/13/16
ENG303: Cinematic Auteurs Notes fromChapter8of AnotherStevenSoderbergh Experience:Authorship and Contemporary Hollywood byMark Gallagher Chapter 8: Boutique Cinema,Section Eight…(pgs.213 – 224) Argument/Thesis: “considersfurtherSectionEight’sproductionactivityandindustrialposition,alongsidea rangeof artisticaffiliationscultivatedbySoderberghaspartofa polyvalentcross-mediaprofile.” i) ExaminingboutiquecinemathroughtheSectionEightproductioncompany(SoderberghandClooney) ii) “As SectionEight’soutputdemonstrates,boutiquecinemacanincludenotonlytraditional“arthouse films”butalsopopularstarvehiclesandoffbeatgenrefilmsaimedatnicheaudiences.”Including“indie films”or“smart films”.(24projectsintotal) Soderbergh’snotionofauteurisexpandedbySectionEight(6to7-yearspan) JamesNaremore“arguesthatdirectorscirculateasmarkersof distinctionincontemporaryfilmculture partlybecauseof“thepresenceofawell-organizedboutiquecinema,gearedtoanup-marketaudience,” i) Naremoredefines[boutiquecinema]:“asaconjunctionofaestheticpredispositionsandconsumption sites.Throughitspositioningofdirectorsandotherfigures,thecategorycanlinktheeffortsand interestsofarange ofspecializedgroups.? ii) Anothernameusedfor“boutique”is“specialty”;“thetermusedtocategorizeparticularindustrialunits and marketsto circumventthepresumedintellectualdemandsmadeofviewersbymorepolarizing“art- house”label.” iii) “the“art-house”labelnotonlycarriesnegativeindustrialconnotationsbutalso remainsstronglytiedto aperceivedhigh-watermarkofcinemagoinginthe1960s and 1970s, whenparticularexhibitionvenues didfunctionexplicitlyasarthouses.” iv) “Art-house”promoters; a) Existingfranchises;LandmarkTheatres,AngelikaFilmCenter b) Home-videodistributors;CriterionCollection,NewYorkerFilms,HomeVisionEntertainment c) Printmedia;NewYorkTimes, NewYorker. Websites;Salon,indieWIRE “Boutique” i) “smallofficesinwhichideasincubateandscreenprojectsdevelop” ii) “specialtydistributionnetworksandexhibitionvenuesthatpresentcompletedprojects” iii) “can also refer…toa creativesensibilitycultivatedinparticularscales” iv) “tendto below-to medium-budgetworkswithnicheappeal…canalsodeveloporco-developwide mainstreamreleasessuchastheOcean’sfilmsorworksofotherdirectorsaffiliatedwithsmall productioncompanies” Section Eightand Collaborative Production (pg. 216-224 This section: “Section Eight’s activities represent one sitefor the manufacture of a coherent creative identity within the largerHollywood industrial apparatus.” i) Section Eight:“Identity directed inward, to the industry, and outward, to media consumers” a) Industry; [SE]’s “principals carry networking and dealmaking power, with Soderbergh’s and Clooney’s names helping secure production capital and…distribution arrangements…audience interest b) Media consumers; “In consumption contexts… [SE]name may stir recognition among interested cinephiles. c) “bridging the two realms,the production imprint helps create awareness for particular properties among influential constituencies offilmcritics.” ii) SE never attaches a logo, they appear under Warner Bros., Warner Independent Pictures, Miramax, HBO films (New Line),HBO Television,TriStar, Focus Features, Magnolia Pictures from the U.S. “Germany’s Constantin Films, and the UK’s Optimum Releasing” iii) SE “enterprise affords no comprehensive advantage to its executives or to the participants in its projects, guaranteeing neither production financing nor distribution deals. iv) SE’s firstcompleted projects was Ocean’s Eleven v) SE “operates not somuch as a powerful industrial unit but rather as a creative clearinghouse” vi) SE has two origins; a) “refers to a U.S. government program offering subsidizedhousing to low-income Americans” b) refers to “a U.S. military designation(no longer in use)for personnel psychologicallyunfit for serviceand this discharged,and U.S. popular culture is littered with film and television characters feigning insanityor homosexuality to qualifyfor a Section 8discharge.” “Soderbergh’s diverse production roles characterize him as a screen-industry entrepreneur, providing creative input and logistical support for sometimes risky artistic ventures. As part of Soderbergh’s myriad artistic labor, Section Eight represents a distinctivestrategy to manage and channel creative U.S.-based filmmaking.” SE allows SS to “create material and symbolic affiliations” with“filmmakers across a range of modes, genres, and sensibilities.Consequently,through [SE] and through other industrial maneuvers, Soderbergh constructs a dispersed,transmedia industrial signature, one defined by what I[MG] would term benign colonization of creativescreen practice.” i) MG: “benigncolonization…use[s] the term to designatea creative discursivepractice involving claims ofkinship to anartist or text or even part-ownership of a work. The colonizer does not seekto profit directly from this associationbut to establishhis…positionin a continuum of or dialogueabout screen art.” ii) MG “offers “benigncolonization” as a concept distinctfrom…textual strategies ofcreative appropriation.” SE ‘broadens the circulation of [SS] authorial signatureacross industrial,textual, and reception concepts.” …“authorial signaturecharacterized by investments in and relationships to particular modes of production, aesthetic strategies,andcreative sensibilities.” SE “depends on economically and creativelyindependent artistic networks, and its productions show creative workers moving up, down, and across production scales.”
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