By J. Nilsson
This research examines how a selected collection of movies grew to become American cultural fabric of the Nineties into satirical reports for audience and reveals that there are components of resistance to norms and conventions in politics, to mainstream information channels and Hollywood, and to legitimate American historical past already embedded within the tradition.
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Additional info for American Film Satire in the 1990s: Hollywood Subversion
Finally, the study concerns satirical film at a particular period in time and takes an interest in the constructive principles available then and there, thus also involving historical poetics. The approach adopted in this study offers a series of general assumptions about how films are constructed and about how they stimulate viewers’ reactions. However, it does not prescribe how these assumptions are expressed in individual films. Rather, the assumptions can be used to construct a method that is adapted to each film’s specific problems.
According to Miramax’s senior VP of marketing, Gerry Rich, Bob Roberts was an uncommon venture in that Miramax and Paramount “decided to go 50/50” in both acquisition and marketing costs. , reviews and interviews) to reach audiences. Each company, however, would have input in the other’s doings. ”15 This is an example of how access to a major studio’s distribution channels became recognized as a beneficial practice for independent companies during the 1990s. 17 Like many independent productions, Bob Roberts had a platform release of extended duration, which meant that it was released gradually in an effort to increase awareness.
88 Jenkins argues that it is not productive to judge a film by standards that are contrary to its aesthetic. His case revolves around early sound comedies being judged by the standards of classical narrative when they clearly do not always work as logical or unified wholes. 90 What we can take from this is, first, a general warning not to force a film into a set of norms without taking into account possible transgressions. Champions of the continuity of the classical tradition have taught us to judge films according to narrative unity, character psychology, and causal logic, and while the films under consideration here sometimes do conform to these, they also transgress them in several respects.