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"Sylvia Scarlett:" Hollywood Cinema Reread

1974; University of Wisconsin Press; Volume: 3; Issue: 9 Linguagem: Inglês

10.2307/3684510

1527-2095

Pascal Kane, Ann Mc Bride, Inez Hedges,

Cinema and Media Studies

In this paper we propose to continue the ongoing theoretical study of the classic Hollywood which until now has been the object of fragmentary, empirical observations of little productive value for an understanding of contemporary films which claim to belong to the same system.1 In part this work is clearly necessitated because of the current block observable in this type of cinema at the present time; that is to say, the inability of its products, despite their ridiculous wish to be different at any cost, to transcend the functionings of a fictional model in which any individual revolt ends in its own resorption into (and because of) the acceptance of the rigid constraints which the model implies. Constraints which are never openly proclaimed, and thereby characteristic of the ideologically-defined action which programs them.2 The result of the film-makers' oblivion of the constraints