Film Trilogies: New Critical Approaches

Film Trilogies: New Critical Approaches

Language: English

Pages: 265

ISBN: B007H9H924

Format: PDF / Kindle (mobi) / ePub


Drawing on a wide range of examples, this book – the first devoted to the phenomenon of the film trilogy– provides a dynamic investigation of the ways in which the trilogy form engages key issues in contemporary discussions of film remaking, adaptation, sequelization and serialization.

 

 

 

 

 

 

 

 

 

 

 

screenwriter, the subject he was considering for his next film: “The cavalry. In all westerns, the Cavalry rides in to the rescue of the beleaguered wagon train or whatever, and then it rides off again. I’ve been thinking about it – what it was like at a cavalry post, remote, people with their own personal problems, over everything the threat of Indians, of death” (qtd in McBride 446). At the director’s suggestion, Nugent went off to research the subject and a few weeks later, to the latter’s

Among Us – the image of the Creature looking out over the waves – close the Creature trilogy, but the filmic influence of this aquatic remnant of the Devonian Age has been ongoing, most notably in Steven Spielberg’s 1975 Jaws, the opening of which reprises Kay’s famous swim, and Jaws 3-D (Joe Alves, 1983), a film described as an “unofficial remake” of Revenge of the Creature, and one that “grew out of plans to reshoot the original Creature [from the Black Lagoon] during the short-lived 3-D

tradition, while Theo Angelopoulos’s trilogy in progress – Trilogy: The Weeping Meadow (2004), The Dust of Time (2008) – is destined to map the history of Greece from the early years of the last century to the present (Roddick 70), and Lars von Trier’s (“broken”) USA: Land of Opportunities trilogy – Dogville (2003), Manderlay (2005), and the unrealized Wasington – was imagined as a bare and highly stylized discourse on America from the perspective of an “outsider.”9 After his Three Colors films

transition from an innocent young woman to a man-obsessed she, both movies present rape plots, thus further differentiating them from The Housemaid.12 Kim’s 1960 original provides no generic or psychological explanation for the female character’s sexual awakening, or her awakening to the power of sex. By contrast, in Woman of Fire drunken composer Dong-sik mistakes Myung-ja for another seducer – a music student – and physically forces her to have sex with him. In The Insect Woman, Myung-ja is

waiting outside Park’s apartment building. The film emphasizes the physical element of the slowed tempo by showing Ryu drink a bottle of water, then in the next shot set the urine-filled bottle outside the car. Night falls, and Park is still in the apartment, and the film cuts from Park stretching his neck in exhaustion to Ryu doing the same thing in his car. The spirit of revenge may be inexhaustible, but people are not, it seems, and eventually Ryu returns home only to be rendered unconscious

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