The Economics and Politics of Auteurism: Spike Lee and Do The Right Thing

Cinema journal Pub Date : 2018-03-13 DOI:10.1353/CJ.2018.0000

Eleni Palis, Brian R. Jacobson, J. Cazenave, Matthew Connolly, K. Knowles, Lucas Hilderbrand, Hector Amaya, Elena Gorfinkel, Jennifer Malkowski, S. Gopal, Hunter Hargraves, Kristen J. Warner, Lisa Henderson, T. Waugh, B. Rich, R. Powell, A. Villarejo, A. Koivunen, J. Stacey, M. Petty, Patricia White, L. Bayman, Victor Fan, R. Dyer

{"title":"The Economics and Politics of Auteurism: Spike Lee and Do The Right Thing","authors":"Eleni Palis, Brian R. Jacobson, J. Cazenave, Matthew Connolly, K. Knowles, Lucas Hilderbrand, Hector Amaya, Elena Gorfinkel, Jennifer Malkowski, S. Gopal, Hunter Hargraves, Kristen J. Warner, Lisa Henderson, T. Waugh, B. Rich, R. Powell, A. Villarejo, A. Koivunen, J. Stacey, M. Petty, Patricia White, L. Bayman, Victor Fan, R. Dyer","doi":"10.1353/CJ.2018.0000","DOIUrl":null,"url":null,"abstract":"Abstract:This article considers Spike Lee and his film Do the Right Thing (1989) as a conduit in expanding and reformulating the postmodern auteur. Examining Lee's intervention into cinematic authorship pushes against foreclosed categories that have stunted critical understandings of both Lee and auteurism. By taking seriously the film's allegorical staging of both the auteur on-screen and the struggle for autonomy and inclusion in an ambivalent industry, Lee refigures a pragmatic authorial presence attuned to the blindspots of Hollywood production and canon. Finally, attending to Lee's woefully understudied practice of revisionary pastiche ultimately destabilizes rather than reifies the exclusionary film canon, opening new potential avenues for cinematic authorship.","PeriodicalId":92490,"journal":{"name":"Cinema journal","volume":"34 1","pages":"- 1 - 112 - 113 - 116 - 117 - 121 - 121 - 125 - 126 - 131 - 131 - 136 - 137 - 142 - 143 - 147 - 147"},"PeriodicalIF":0.0000,"publicationDate":"2018-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Cinema journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/CJ.2018.0000","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}

引用次数: 0

Abstract

Abstract:This article considers Spike Lee and his film Do the Right Thing (1989) as a conduit in expanding and reformulating the postmodern auteur. Examining Lee's intervention into cinematic authorship pushes against foreclosed categories that have stunted critical understandings of both Lee and auteurism. By taking seriously the film's allegorical staging of both the auteur on-screen and the struggle for autonomy and inclusion in an ambivalent industry, Lee refigures a pragmatic authorial presence attuned to the blindspots of Hollywood production and canon. Finally, attending to Lee's woefully understudied practice of revisionary pastiche ultimately destabilizes rather than reifies the exclusionary film canon, opening new potential avenues for cinematic authorship.

查看原文

微信好友朋友圈 QQ好友复制链接

本刊更多论文

导演主义的经济与政治:斯派克·李与《做正确的事》

摘要:本文认为斯派克·李和他的电影《做正确的事》(1989)是扩展和重新定义后现代导演的渠道。审视李安对电影创作的干预，可以推翻那些阻碍了对李安和导演主义的批判性理解的被取消的类别。通过认真对待这部电影对银幕上的导演以及在一个矛盾的行业中为自治和包容而斗争的寓言式演绎，李安重塑了一种切合好莱坞制作和经典盲点的实用主义作家形象。最后，关注李安可悲的未被充分研究的修正式模仿实践，最终会破坏而不是使排他性的电影经典具体化，为电影创作开辟了新的潜在途径。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

求助全文

约1分钟内获得全文去求助

来源期刊

Cinema journal

自引率

0.00%

发文量

期刊最新文献

Decolonize Media: Tactics, Manifestos, Histories Countermanifestos and Audibility For Maalik, Naz, Brittany, & Alexis; or, On Loving Black People as a Liberatory Practice Reel Evil The Studios after the Studios: Neoclassical Hollywood (1970–2010) by J. D. Connor (review)