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WRAP THESIS Gallimore 2014.Pdf University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/62970 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Subjectivity, Immediacy, and the Digital: Historical Reassessment in Contemporary American Cinema Adam Gallimore A thesis submitted in fulfilment of the requirement for the degree of Doctor of Philosophy in Film and Television Studies Department of Film and Television Studies University of Warwick June 2014 i Table of Contents List of Illustrations iv Acknowledgements ix Declaration xi Abstract xii Introduction 1 Historical reassessment: attitudes, assumptions, methodologies Review of Literature 12 Historiography 13 Historical cinema 25 Film, technology, and the digital 42 Conclusion 60 Chapter One: Historical Subjectivity and Film Style 62 Terrence Malick’s The New World 66 Voiceover and historical subjectivity in The New World 71 Opening titles and themes of nature 83 A narrative of conversion: the film’s coda 90 The historical epic and film style 95 Camera movement and transcendental film style 101 Digital editing 108 ii Historical re-enactment 112 Myth and history in The New World 117 Distancing the subject: Steven Soderbergh’s Che 121 Visual approaches of digital filmmaking 130 Conclusion 137 Chapter Two: The Immediate Gangster Hero 141 Narrative immediacy and the digital period aesthetic 147 Michael Mann and the digital 154 Narrative immediacy and the gangster film 163 Visual style and the period aesthetic 171 Film technologies and historical re-enactment 183 Iconography and identity 190 Dillinger and gangster revisionism: between myth and history 196 Conflicting discourses: the gangster hero and the 202 couple-on-the-run The revisionist and retro gangster cycles 208 Bonnie and Clyde: crime as media expression 214 Narratives of disappointment and historical (dis)engagement 218 Moral engagement and the historical reassessment of violence 223 Conclusion 228 Chapter Three: The Facebook Generation 233 “Now we’re going to live on the internet”: 237 technology, temporality, and the internet aesthetic “The way of the future…”: Citizen Kane and The Aviator 255 iii Tracing narrative trajectories: 263 Citizen Kane and The Social Network “What it needs is an angle”: 270 biopic conventions, deviations, and developments “A truth” or “the truth”?: factual veracity in the modern biopic 288 The public-private dynamic 299 and the thematic influence of fortune The success story and the American Dream 309 Conclusion 325 Conclusion 329 Historical pasts/digital futures 329 Future work: generic, transmedial and sensorial possibilities 334 Afterword 338 A new direction for historical cinema? Bibliography 346 Filmography 375 Illustrations 390 iv List of Illustrations Fig. 1.1 – Che: Part One: Guevara departs for Santiago at the end of the film. Fig. 1.2 – Che: Part Two: Guevara isolated in the Bolivian jungle in the second film. Fig. 1.3 – Che: Part Two: Guevara’s prepares for his execution. Fig. 1.4 – Che: Part Two: Guevara’s perspective. Fig. 1.5 – Che: Part Two: Guevara loses focus… Fig. 1.6 – Che: Part Two: … and falls to the ground. Fig. 1.7 – Che: Part One: static framing of action in the first film. Fig. 1.8 – Che: Part Two: handheld camerawork utilised in the second film. Fig. 1.9 – The New World: prologue – camera moving over water. Fig. 1.10 – The New World: maps are illustrated during the opening titles. Fig. 1.11 – The New World: drawings are introduced into the title sequence. Fig. 1.12 – The New World: the titles cut to an underwater shot. Fig. 1.13 – The New World: Pocahontas embraces the sky. Fig. 1.14 – The New World: Smith makes a similar upward gesture. Fig. 1.15 – The New World: Pocahontas plays hide-and-seek with her son. Fig. 1.16 – The New World: earlier, she played similar games in the long grass. Fig. 1.17 – The New World: Rolfe holds Pocahontas’ hand on her deathbed. Fig. 1.18 – The New World: Pocahontas’ son looks for her. Fig. 1.19 – The New World: her deathbed is now empty. Fig. 1.20 – The New World: Pocahontas is then seen dancing within the grounds. Fig. 1.21 – The New World: Pocahontas’ grave is shown. Fig. 1.22 – The New World: Rolfe and their son leave to return to America. v Fig. 1.23 – The New World: a shot of Pocahontas… Fig. 1.24 – The New World: … is followed by a conventional reverse shot of Smith. Fig. 1.25 – The New World: the lens accentuates the curvature of the horizon. Fig. 1.26 – The New World: a Steadicam point-of-view shot… Fig. 1.27 – The New World: … is revealed not to show Smith’s perspective. Fig. 1.28 – The New World: hand-crafted Native structures, still under construction. Fig. 1.29 – The New World: Pocahontas’ intimate tactility… Fig. 1.30 – The New World: … emphasises Smith unease with his surroundings. Fig. 2.1 – Public Enemies: An extreme close-up of Homer Van Meter… Fig. 2.2 – Public Enemies: swiftly racks focus to Dillinger in the background. Fig. 2.3 – Public Enemies: high definition detail of figures, buildings, and sky. Fig. 2.4 – Public Enemies: further detail of surfaces and reflections. Fig. 2.5 – Public Enemies: muzzle-flare illuminates the face of Melvin Purvis. Fig. 2.6 – Road to Perdition: entering Chicago. Fig. 2.7 – Changeling: the streets of 1950s Los Angeles. Fig. 2.8 – Public Enemies: establishing shot outside the bank in Sioux Falls. Fig. 2.9 – Public Enemies: cut from close-up… Fig. 2.10 – Public Enemies: … to extreme close-up, giving the impression of a double-take. Fig. 2.11 – Public Enemies: wide shot of Baby Face Nelson in the bank. Fig. 2.12 – Public Enemies: handheld camera amongst the hostages. Fig. 2.13 – Public Enemies: close-up of Dillinger as he exits the bank. Fig. 2.14 – Public Enemies: down the barrel of the gun as Dillinger fires. Fig. 2.15 – Public Enemies: reverse shot of agents firing on Dillinger. vi Fig. 2.16 – Image of the Biograph Theater in 1934. Fig. 2.17 – Image of the Biograph Theater in 2008, redressed for the 1930s. Fig. 2.18 – Image of Dillinger with prosecutor Robert Estill. Fig. 2.19 – Public Enemies: this famous image is re-created. Fig. 2.20 – Public Enemies: documentary-style footage of Dillinger’s arrival. Fig. 2.21 – Public Enemies: Dillinger and his associates at the cinema. Fig. 2.22 – Public Enemies: Dillinger isolated after his escape. Fig. 2.23 – Public Enemies: Dillinger sees the road ahead of him. Fig. 2.24 – Public Enemies: over-the-shoulder shot in the restaurant scene. Fig. 2.25 – Public Enemies: Dillinger holds Frechette’s coat for her. Fig. 2.26 – Bonnie and Clyde: Bonnie poses for a photo. Fig. 2.27 – Bonnie and Clyde: Bonnie & Clyde pose with Texas Ranger Frank Hamer. Fig. 2.28 – Bonnie and Clyde: the idealised family picnic scene. Fig. 2.29 – Bonnie and Clyde: reaction shot of Bonnie before her death. Fig. 2.30 – Bonnie and Clyde: reaction shot of Clyde before his death. Fig. 2.31 – Public Enemies: the FBI close in on Dillinger. Fig. 2.32 – Public Enemies: shot composition and slow-motion clarifies the situation. Fig. 2.33 – Public Enemies: rear shot of Dillinger. Fig. 2.34 – Public Enemies: Dillinger recognises his predicament. Fig. 2.35 – Public Enemies: Dillinger lies dead on the pavement. Fig. 2.36 – Public Enemies: final crane shot of the scene of Dillinger’s death. Fig. 3.1 – The Social Network: shallow focus emphasises Saverin’s face… Fig. 3.2 – The Social Network: … as well as Zuckerberg’s during their exchanges. vii Fig. 3.3 – The Social Network: the muted tones of Harvard contrast with those of… Fig. 3.4 – The Social Network: … Palo Alto, California and… Fig. 3.5 – The Social Network: … the deposition rooms in the cases of the Winklevosses/Narendra vs. Zuckerberg and… Fig. 3.6 – The Social Network: … Saverin vs. Zuckerberg. Fig. 3.7 – The Social Network: Saverin shifts focus from the doors… Fig. 3.8 – The Social Network: … to Zuckerberg in deep staging. Fig. 3.9 – Layout of the opening scene in The Social Network. Fig. 3.10 – The Social Network: establishing two-shot of Zuckerberg and Albright. Fig. 3.11 – The Social Network: shift to shot/reverse shot. Fig. 3.12 – The Social Network: Zuckerberg blogs while also programming. Fig. 3.13 – The Social Network: shot of the mouse during his act of creation. Fig. 3.14 – The Social Network: programming contrasted with a Porcellian party. Fig. 3.15 – The Social Network: the party becomes more raucous. Fig. 3.16 – The Social Network: Facebook is registered. Fig. 3.17 – The Social Network: Facebook goes live. Fig. 3.18 – Citizen Kane: one newspaper angle on Kane’s death. Fig. 3.19 – Citizen Kane: another perspective on Kane’s death. Fig. 3.20 – Citizen Kane: News on the March sequence. Fig. 3.21 – The Aviator: replication of Technicolor palette. Fig. 3.22 – The Aviator: replication of Technicolor palette. Fig. 3.23 – The Aviator: Hughes is isolated in his private screening room. Fig. 3.24 – The Aviator: the filmic image is superimposed on his body. Fig. 3.25 – The Social Network: the “all persons fictitious” disclaimer viii Fig. 3.26 – Citizen Kane: montage is used to convey the status of The Inquirer… Fig. 3.27 – Citizen Kane: … and its phenomenal success. Fig. 3.28 – The Social Network: Facebook workers celebrate their millionth member.
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