Research Commons
      • Browse 
        • Communities & Collections
        • Titles
        • Authors
        • By Issue Date
        • Subjects
        • Types
        • Series
      • Help 
        • About
        • Collection Policy
        • OA Mandate Guidelines
        • Guidelines FAQ
        • Contact Us
      • My Account 
        • Sign In
        • Register
      View Item 
      •   Research Commons
      • University of Waikato Research
      • Arts and Social Sciences
      • Arts and Social Sciences Papers
      • View Item
      •   Research Commons
      • University of Waikato Research
      • Arts and Social Sciences
      • Arts and Social Sciences Papers
      • View Item
      JavaScript is disabled for your browser. Some features of this site may not work without it.

      Inconsistent Cinema: Paul Thomas Anderson, There will be blood and the postmodern filmmaker

      Barrett, Kyle
      Thumbnail
      Files
      Barrett Inconsistent Cinema.pdf
      Published version, 2.000Mb
      Link
       journals.kpu.ca
      Find in your library  
      Citation
      Export citation
      Barrett, K. (2021). Inconsistent Cinema: Paul Thomas Anderson, There will be blood and the postmodern filmmaker. Mise-en-scène: The Journal of Film & Visual Narration, 6(1), 54–67.
      Permanent Research Commons link: https://hdl.handle.net/10289/14435
      Abstract
      Paul Thomas Anderson’s early work up to and including There Will Be Blood (2007) are examples of incoherent, postmodern cinema. Anderson’s formative years produced four critically acclaimed features, Hard Eight (1996), Boogie Nights (1997), Magnolia (1999), and Punch-Drunk Love (2002), all of which presented related themes and aesthetics. Though There Will Be Blood does depict a complex father-son relationship similar to that found in Hard Eight, Boogie Nights, and Magnolia, the film is stylistically a radical departure for Anderson. While certain experimentation occurred in Punch-Drunk Love, There Will Be Blood is the start of the next phase of Anderson’s career, one which reflects a meditative sensibility. For instance, in place of kinetic cinematography, rapid cutting, and multiple narratives are longer takes, extended tracking shots, and a leisurely editing style. Finally, contextualizing Anderson’s career within the era of “Indiewood,” a fusion of studio and independent filmmaking, key visual techniques employed during his early work emphasize the shift in his aesthetics, high-lighting a singular, postmodern voice in Hollywood cinema.
      Date
      2021
      Type
      Journal Article
      Publisher
      Kwantlen Polytechnic University, Canada
      Rights
      This article is published under the Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) license.
      Collections
      • Arts and Social Sciences Papers [1423]
      Show full item record  

      Usage

      Downloads, last 12 months
      332
       
       

      Usage Statistics

      For this itemFor all of Research Commons

      The University of Waikato - Te Whare Wānanga o WaikatoFeedback and RequestsCopyright and Legal Statement