The Stunt Man

1. The Stunt Man

2. -- Outline -- A. Postmodern Theories a. review b. the reflexive postmodernism B. The Stunt Man: Backgrounds • Vietnam War and the Media • Production History • theory of cultural industry C. Stunt Man as a postmodern film about survival in postwar/postmodern society. a. Ambiguities 1. illusion/reality 2. sadness/comedy 3. control/freedom b. self-reflexive use of Symbols 1. mirror, painting, frame, etc. 2. parallet between the film in production and The Stunt Man 3. about film-making c. Cameron’s Survival

3. Review forModernism and PostmodernismCultural / Epistemological Concepts • Postmodernism: Blur the traditional boundaries between cultural / art • The rise of visibility and the status of popular culture (electronic media) • active audience

4. Postmodern “Structure of Feeling”(Williams 1979, 1981) • a sense of the fragmentary / ambiguous / uncertain nature of living • an awareness of the centrality of contingency • a recognition of cultural difference • an acceleration in the pace of living

5. The Reflexive Postmodern I • A discourse about experience  to partake in a range of discourses and relationships a. the playful self-construction of multiple identities b. invites the “other” voices which had been suppressed by modernity (ex: feminism/ ethic diasporas/ ecologist…) c. an ironic sense -- of the “said before” -- a reflexive understanding of the contingency of one’s values and culture -- film/ television/ music/ literature promotes the feeling (produces the condition of an ironic knowingness)

6. The Reflexive Postmodern II • Postmodernism as a historical blurring  the past and present are displayed in “bricolage” and “intertextuality” -- Bricolage a. put unconnected signs together to produce a code of new meaning b. a style in architecture / film/ MV c. also a blurring of “genre” boundaries d. double coded

7. -- intertextuality a. citation of one text within another -- allusion to particular programmes -- oblique references to other genre conventions and styles b. reworking and recycling of particular type  enlarged cultural self-consciousness about history and functions of cultural products

8. The Reflexive Postmodern III • Aestheticization of urban life (the result) -- Artistic subcultures (Featherstone) a. erase the boundaries between art / everyday life b. turning life into a work of art c. sign / images in daily life  be linked in consumer culture

9. The Reflexive Postmodern IV • Postmodern aesthetics in TV -- TV a. both image production circulation of a collage of stitched-together images  unexpected association can occur (multi-channel diversity)  forms a “strip text” (Newcombe) --aesthetic Markers: self-consciousness / self-reflexiveness / juxtaposition / montage / paradox / ambiguity/ uncertainty * the blurring of boundaries of genre, style and history

10. Vietnam War & Media • The Media further enhanced the gap between the veterans and the citizens back home. "Television brought the brutality of warinto the comfort of the living room.Vietnam was lost in the living roomsof America--not on the battlefields of Vietnam."--Marshall McLuhan, 1975

11. The Stunt Man: Questions Q: Does Eli control Cameron or cure his “Paranoia” and set him free in some way? [ending] 1) When Cameron came out from the water, he saw Eli and Nina from his car window (they acted like a couple and waved to him). But later on, we know he didn‘t’ feel betrayed or angry. And therefore, we may say that he was set free from his “Paranoia.” 2) The very end: Sam, rewrite the opening reel! Crush the little bastard in the first act!

12. Stunt Man-- a sense of Ambiguity • Stunt Man : -- from the perspective of postmodernity, Stunt Man and its production has given the audience a feeling of ambiguity of the boundaries between illusion/reality, sadness/comedy and control/freedom. However, Cameron still represents a human drive for survival.

13. Behind The Scene—The Production History • The director is not one who has authoritative power on his work really (Neither Eli Cross nor Richard Rush). • Financing the film -- (chap 4: 24:30) • Rush // Eli trying to exert control • Projection Room (chap 15: 1:17); “Luncheon Stunt show” (1:50) • A change in the film industry (chap 16: 1:20—1:21) • Out of town preview (chap 16: 1:22), sneak previews, trade reviews, newspapers reviews, the academ • Movie detractor (D.B. chap 17)

14. Cultural Industry -- criticizing popular culture -- • Frankfurt School: a. Two points different from Marxism -- away from economy-determinism -- pay more attention on “Culture” b. Key points of criticism on popular culture -- the commercialized -- the standardized -- 強制化 c. Walter Benjamin -- “技術複製文化” -- film production

15. Ambiguities In “The Stunt Man” • Illusion & Reality 1. postmodernism film— blur boundaries (opening) • Sadness & Comedy -- black humors 1. to the degree of being farcical 2. a way to stay human and to survive c.Control & Freedom 1. the stunt man with “”Paranoia” or free? 2. Eli controls Cameron or helps him cure his “Paranoia”

16. The Director // the director in the film • Both Rush and Eli have problems with the film company and film editting. • In “The Stunt Man”, Eli has the time limit to finish the shot. • Rush met the problem such as the length of the film.

17. Illusion & Reality “effects” arranged to fit the story. Boundaries are not clear Make-up effect Car Military aircraft Tank Costume By using these stage properties in the movie, we have a concrete image of WW Ⅰ

18. Images of Illusion Have faith, Alice. Close your eyes... and enjoy. • Frame • Mirror • Painting • Camera, etc.

19. Many Examples of the cameras -- in and out of the film • The airplane scene • Nina cried beside a anonymous tomb and held a letter given by American president (because she rescued and refuge the American soldiers) – an NG • Nina got the medal form German government because her father and brother died for Germany-- but whom she was thinking about and crying for at that moment?

20. Sadness & Comedy(Black Humor) Tomb Victorian toy Cha Cha on the plane Piglets in the cradles --surviving the absurd These scenes don’t tell us the real situation during the war time(not suitable for a war movie), but they tell us the harms brought by war indirectly. The comic elements (Black humors)added by Eli in his movie The sadness in the war. People become helpless, hopeless in the war.

21. Images of Control • Helicopter (Eli uses it to shoot from the air) • Crane (Eli’s transportation) his • Nina’s alarm clock (In Nina’s room) • Wire netting • The smoke (Eli spread from his helicopter ) 金剛 Eli’s power over the actor/actresses

22. Eli’s Ambiguities • controlling • “How tall is King Kong?” • The Burt episode Sympathetic • Telephone my mother...and have her convince me it wasn't my fault.

23. Control & Freedom--Eli &Cameron • Eli just uses Cameron as a tool?-- Accessional Value • Eli wants to help Cameron? • Savior —Eli seems to be the savior for Cameron. He brings Lucky back to the society in the end. On the other hand, we can also say Lucky is the savior for Eli. He give Eli the chance to get Bert’s accident back to control.

24. Eli’s good intention • 47:00 Why me? • Why are you tryin‘ to save my ass? • Because you're as crazy as the young man I'm making this film about. • Why war? 00:28 • Probably all we know is that we shall die... of nothing more important than wrinkles. And it makes us so scared, so crazy, we'll do anything- Fight wars, fight windmills, go off bridges, anything. • Why the film: 37:00 • Being scared shitless, whistling in the dark, inventing enemies.  home for thanksgiving.

25. Cameron’s Drive for Survival • Wanna get home for Thanksgiving, you better figure the guy comin' at you is tryin' to kill you. • 01:38 • Who are you? -- Somebody trying to stay alive. • I did the same as everybody else,just one of the boys.I shot my M-16 at every sound. Of course, I didn't know if I was killing gooks or cherries.

26. Sadness & Comedy--Cameron’s violence • When the worker mentions the Korea War, Cameron becomes mad and violent suddenly. –reflection of his trauma • This scene shows Cameron might not be really so innocent.

27. Ambiguities in the Degree of Control • The Degree of Eli’s Control over Nina • Eli tells Nina that her parents has seen the sex scene • Spotlighting on Cameron and Nina. • The hug at the end of the graveyard scene; Nina is unhappy with Cameron’s attitude towards Eli; Raymond tries to tease Eli

28. In Discipline and Punish, Foucault describes how a system disciplines people.「規訓『造就』了個人，就是這種權力的特殊技術，同時將個人當作對象，以及他運作的工具（Foucault） • Is there love between Eli and Nina? Ex. According to Sam, they were lovers three years ago. Ex. “Nina, why are you scaring me to death?” • Ex. “I am losing you, Nina…”

29. Ambiguities of Illusion/Reality • Cameron and Nina • sexy image on TV. • The encounter –Rescue scene • Nina in the frame

30. The party after quarrel with the theme music • Is Nina complicit with Eli? Why?Clip

31. Nina appears to be very supportive about the idea of final counteraction. • The final scene—Seeming to be naïve and innocent Clip

32. Illusion and Reality • Raymond and Nina in Bed— “Isn’t anything what it seems? No.” It is a reaffirmation of their love; however, without that scene, the preview number rose abruptly.

33. The Connection Between Eli and Richard Rush • The name “Eli” was Richard’s own Pseudonym • Peter O’ toole’s Example • Barbara:Tenacity • Manipulating or not? • The final screenplay rewrite: to examine the nature of the panic

34. Control & Freedom--Eli &Sam • Friendship • Business interest

35. Sadness & Comic--Eli & Bert • Bert’s death is an accident for Eli. • Bert’s death for Eli? --Eli really feels sad about it. or--Bert is a part of the movie, Eli can find anyone to replace him.

36. Illusion & Reality--Language • Movie scene--Calling for medic & the disguise toward war--Clip • Dining room talk--Different point of view toward death (production: chap 6: 36-38:42) • Gooks & Wrecks • Pinball--I just want to get another chance

37. Music—What the Scores Present in the Movie • (1:48:25) • The Main Theme: “Circusy” • The Main Theme Composed in Grand Waltz: “Splendid” • The Director’s (Eli’s) Theme: “Powerfully Rhythmic & Scheming” • The Love Theme: “Romantic” • Theme Song—Bits & Pieces:

38. Concepts Related to The Stunt Man • 1. Blend of Various Film Genres Social Satire?

39. Concepts Related to The Stunt Man • 2. The Disorder of Scenes • 3. The Screening Room —Showing WHAT? — The Sin? The Conspiracy? The embodiment of crime? Or The Truth? • 4. The Social Satire — The temporary actors performed by local policemen

40. For Your References… • “The Sinister Saga of Making The Stunt Man”—Available on Engsite. • “The Player”—Showing the cultural reality in Hollywood film making. • “The Stunt Man” Official Website—http://www.thestuntman.com/