By J. Nilsson
This learn examines how a selected choice of movies became American cultural fabric of the Nineteen Nineties into satirical reports for audience and unearths that there are components of resistance to norms and conventions in politics, to mainstream information channels and Hollywood, and to reputable American heritage already embedded within the tradition.
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Additional resources for American Film Satire in the 1990s: Hollywood Subversion
98 Poetics is an empirical approach but not an empiricist or positivist one. 100 But what exactly are these principles? 101 Studies in film poetics can be grounded in different perspectives, depending on the researcher’s focus. A focus on specific devices, in a single work or in a range of works, would characterize a study as analytical, a project concerned with genre or other types of classification could be considered theoretical, and a focus on positioning films in specific periods or across periods would make the poetics historical.
I have hopefully solved this problem by putting emphasis on what one can actually infer from the empirical material (the films, reviews, production notes, filmmakers’ comments). Simplistically, each film can be thought of as lying “at the core of a set of concentric circles,” where the outermost circle is made up of the most general features of American society and the ones in between contain more concrete contextual aspects (such as the film industry, film practice, formal norms, and critical discussion).
In the episode we have Bart Simpson turning to “the camera” and saying: “Hey, we’re just like the Waltons. 31 The conflict between Bush and The Simpsons can be seen in light of the opposition between Republicans and Democrats concerning family values, and Bush was not the only politician to offer critique via references to popular culture. ”34 By presuming a knowledgeable spectator, some allusions may be restricted in their address to audiences. The same is true for another 1990s trend that has some relevance for this study.