“As we plunge into the second century of cinema, this terrific collection of essays reckons with not only the persistence of auteurism but its resurgence in the context of global cinema. Covering a range of global auteurs such as Lars von Trier, Lav Diaz, Lee Chang-dong and Abderrahmane Sissako, The Global Auteur provides a much-needed reassessment of the film auteur for the global age. Yet, as the contributors show, a new world calls for a new cinema, and thus for new auteurs. They can be still seen leading a fight that their glorious predecessors seemed to have abandoned in the face of global capitalism and the market economy. Bringing established as well as emergent figures of world art cinema to the fore, The Global Auteur shows how politics and philosophy are present in the works of these important filmmakers. Once heralded and defined by the likes of François Truffaut and Andrew Sarris as a romantic figure of aesthetic individualism, the auteur is reinvestigated here through a novel approach. Finally, the direct influence of Carol Clover’s psychoanalytical approach to the horror genre on Tarantino’s work is discussed to prove the director’s specific contribution to a theoretical understanding of contemporary film aesthetics. Fredric Jameson’s and Slavoj Žižek’s dialectical thinking is mobilized to challenge simplistic, ideological readings of postmodern cinema in general, and Tarantino’s films in particular. Jacques Rancière’s theory of art is used to reject postmodernism’s claims about the ‘death’ of the aesthetic image in contemporary cinema. Each chapter first presents key ideas proposed by a specific theorist and then puts them in conversation with Tarantino’s films. This question is explored through a discussion of the films written and directed by Quentin Tarantino, largely regarded as the epitome of postmodern cinema and considered here as theoretical contributions in their own right. He's also favorite to take home a third Best Original Screenplay Oscar this year.Īs Tarantino points out, there has been a slew of auteur-directed cinema in the past year, including Martin Scorsese's "The Irishman," Sam Mendes' "1917," Taika Waititi's "Jojo Rabbit," Greta Gerwig's "Little Women," Noah Baumbach's "Marriage Story," and Bong Joon Ho's "Parasite" - all of them fellow Best Picture nominees.This book examines a set of theoretical perspectives that critically engage with the notion of postmodernism, investigating whether this concept is still useful to approach contemporary cinema. One of those films, of course, is Tarantino's own - "Once Upon a Time in Hollywood," which grossed $372.2 million worldwide and earned 10 Oscar nominations, including one for Best Picture and a Best Director nomination for Tarantino. I'm really proud to be nominated with the other films that just got nominated." "That ended up becoming a really, really strong year. A lot of original movie comment came out and demanded to be seen, and demanded to be seen at the theaters," said Tarantino. "It would have been the year that their world domination would have been complete. Leonardo DiCaprio and Brad Pitt were both nominated for Oscars for "Once Upon a Time in Hollywood." Account icon An icon in the shape of a person's head and shoulders.
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