Ideology placement in the context of cinema's emancipation from narrative via atmosphere
As advertising transitioned from intrusive propaganda to seductive experience, it freed its visual dimension from the constraints of representation and allowed it to develop in a process of free experimentation, much like the avant-garde tendencies in contemporary art. When this new aesthetic found...
Saved in:
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | deu |
| Published: |
Institute for Political Studies, Belgrade
2025-01-01
|
| Series: | Srpska Politička Misao |
| Subjects: | |
| Online Access: | https://scindeks-clanci.ceon.rs/data/pdf/0354-5989/2025/0354-59892503171K.pdf |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| Summary: | As advertising transitioned from intrusive propaganda to seductive experience, it freed its visual dimension from the constraints of representation and allowed it to develop in a process of free experimentation, much like the avant-garde tendencies in contemporary art. When this new aesthetic found its way into cinema, it also allowed TV series and later films to break free from narrative and exploit the full potential of cinema as technology. With its emancipation from narrative, cinema became less representational and increasingly science-fictional at the level of (visual) form. This process thus opens up new aesthetic and technological perspectives that appear alien in their distinction from the narratives we were used to in classic cinema. At the same time, this new, technologically mutated cinema also tends towards horror at the level of content. In this paper we will illustrate this transition from cinema based on narrative to cinema based on atmosphere, through an analysis of several examples: Underwater, Euphoria, Too Old to Die Young, Blade Runner 2049, Ghost in the Shell, Neon Demon, It Comes at Night, Thelma, Life and The Blackcoat's Daughter. |
|---|---|
| ISSN: | 0354-5989 3042-2612 |