The Stunt ManThe Stunt Man

Group II Sibyl Yang Sibyl Yang Alan ChenAlan Chen Eric LinEric Lin 2004S Veronica Chang Veronica Chang Claire HuClaire Hu Lance ShenLance Shen

Kate Liu

2010 S

-- Outline ---- Outline --

A. Postmodern TheoriesA. Postmodern Theories a. reviewa. review b. the reflexive b. the reflexive

postmodernismpostmodernism

B. The Stunt Man: B. The Stunt Man: Backgrounds Backgrounds

a.a. Vietnam War and the Vietnam War and the MediaMedia

b.b. Production History Production History

c.c. theory of cultural theory of cultural industry industry

C. Stunt Man as a C. Stunt Man as a postmodern film about postmodern film about survival in survival in postwar/postmodern postwar/postmodern society.society.

a. Ambiguities a. Ambiguities 1. illusion/reality 1. illusion/reality 2. sadness/comedy 2. sadness/comedy 3. control/freedom3. control/freedom

b. b. self-reflexive use of self-reflexive use of Symbols Symbols

1. mirror, painting, frame, etc. 1. mirror, painting, frame, etc. 2. parallet between the film in 2. parallet between the film in

production and The Stunt Manproduction and The Stunt Man 3. about film-making 3. about film-making

c. Cameron’s c. Cameron’s Survival Survival

Review forReview for Modernism and PostmodernismModernism and PostmodernismCultural / Epistemological ConceptsCultural / Epistemological Concepts

Modernism PostmodernismCultural Ideas Utopianism

Art as a Religion/AuteurEclecticism

Art as Citation/Artist as Producer

Artistic/Architectural

Forms

Stream of ConsciousnessNarrative Fragmentation

Internationalist Style

Collage, Pastiche Parody, Magic Realism, Mixing

Genres

Philosophical concerns/

Knowledge and truth

•Enlightenment philosophy•Socio-economic theory (Marx) seeks after universal Truths

•Baudrillard / Foucault Points to socio-historical / linguistic specificity of “truth”

SignificationDiscursive• provides words/images• rationalist worldview• spectatorscultural objects

Figural• more visual• spectator’s desire immersed in cultural object

• Postmodernism: Blur the traditional boundaries between cultural / arta. The rise of visibility and the status of popular culture (electronic media)b. active audience

Postmodern “Structure of Feeling”Postmodern “Structure of Feeling”(Williams 1979, 1981)(Williams 1979, 1981)

a sense of the a sense of the fragmentaryfragmentary / / ambiguous ambiguous / / uncertainuncertain nature of living nature of living

an awareness of the centrality of an awareness of the centrality of contingencycontingency

a recognition of cultural differencea recognition of cultural differencean acceleration in the pace of livingan acceleration in the pace of living

The Reflexive Postmodern IThe Reflexive Postmodern I A discourse about experienceA 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”-- of the “said before” -- a reflexive understanding of the contingency of -- a reflexive understanding of the contingency of

one’s values one’s values and culture and culture -- film/ television/ music/ literature promotes the -- film/ television/ music/ literature promotes the

feelingfeeling (produces the condition of an ironic knowingness)(produces the condition of an ironic knowingness)

The Reflexive Postmodern IIThe Reflexive Postmodern II

Postmodernism as a historical blurringPostmodernism as a historical blurring the past and present are displayed in the past and present are displayed in

““bricolagebricolage” and ” and “ “intertextualityintertextuality”” -- -- BricolageBricolage a. put unconnected signs together to produce a. put unconnected signs together to produce

a code of new meaning a code of new meaning b. a style in architecture / film/ MVb. a style in architecture / film/ MV c. also c. also a blurring of “genre” boundariesa blurring of “genre” boundaries d. double codedd. double coded

-- intertextuality-- intertextuality

a. citation of one text within anothera. citation of one text within another

-- allusion to particular programmes -- allusion to particular programmes

-- oblique references to other genre -- oblique references to other genre conventions and stylesconventions and styles

b. reworking and recycling of particular b. reworking and recycling of particular typetype

enlarged cultural self-consciousness enlarged cultural self-consciousness about history and functions of cultural about history and functions of cultural productsproducts

The Reflexive Postmodern IIIThe Reflexive Postmodern III

Aestheticization of urban life (the result)Aestheticization of urban life (the result)

-- Artistic subcultures (Featherstone)-- Artistic subcultures (Featherstone)

a. erase the boundaries between art / everyday lifea. erase the boundaries between art / everyday life

b. turning life into a work of artb. turning life into a work of art

c. sign / images in daily lifec. sign / images in daily life

be linked in consumer culturebe linked in consumer culture

The Reflexive Postmodern IVThe Reflexive Postmodern IV

Postmodern aesthetics in TVPostmodern aesthetics in TV

-- TV-- TV

a. both image productiona. both image production

circulation of a collage of stitched-together imagescirculation of a collage of stitched-together images

unexpected association can occur

(multi-channel diversity)(multi-channel diversity)

forms a “strip text” (Newcombe)forms a “strip text” (Newcombe)

--aesthetic Markers: self-consciousness / self-reflexiveness /--aesthetic Markers: self-consciousness / self-reflexiveness /

juxtaposition / montage / paradox / ambiguity/juxtaposition / montage / paradox / ambiguity/

uncertaintyuncertainty

* the blurring of boundaries of genre, style and history

Vietnam War & MediaVietnam War & Media

The Media further enhanced the gap The Media further enhanced the gap between the veterans and the citizens between the veterans and the citizens back home. back home. "Television brought the brutality of war

into the comfort of the living room.Vietnam was lost in the living roomsof America--not on the battlefields of

Vietnam."--Marshall McLuhan, 1975

The Stunt Man: QuestionsThe Stunt Man: Questions

Q: Does Eli control Cameron or cure his “Paranoia” and set him free in some way? [ending][ending] 1) When 1) When Cameron came out from the water, came out from the water,

he saw Eli and Nina from his car window he saw Eli and Nina from his car window (they acted like a couple and waved to him). (they acted like a couple and waved to him). But later on, we know he didn‘t’ feel But later on, we know he didn‘t’ feel betrayed or angry. And therefore, we may betrayed or angry. And therefore, we may say that he was set free from his “Paranoia.”say that he was set free from his “Paranoia.”

2) The very end: Sam, rewrite the opening 2) The very end: Sam, rewrite the opening reel! Crush the little bastard in the first act! reel! Crush the little bastard in the first act!

Stunt ManStunt Man-- a sense of Ambiguity-- a sense of Ambiguity

Stunt ManStunt Man : :

-- -- from the perspective of postmodernity, from the perspective of postmodernity, Stunt Man and its production has given the Stunt Man and its production has given the audience a feeling of ambiguity of the audience a feeling of ambiguity of the boundaries between boundaries between illusion/realityillusion/reality, ,

sadness/comedy and control/freedom.sadness/comedy and control/freedom.

However, Cameron still represents However, Cameron still represents a a human drive for survivalhuman drive for survival..

Behind The Scene—The Production Behind The Scene—The Production History History

The director is not one who has The director is not one who has authoritative power on his work really authoritative power on his work really (Neither Eli Cross nor Richard Rush). (Neither Eli Cross nor Richard Rush). Financing the film -- Financing the film -- (chap 4: 24:30)(chap 4: 24:30)

Rush // Eli trying to exert control Rush // Eli trying to exert control Projection Room Projection Room (chap 15: 1:17); (chap 15: 1:17); “Luncheon Stunt “Luncheon Stunt

show” show” (1:50) (1:50)

A change in the film industry A change in the film industry (chap 16: 1:20—1:21)(chap 16: 1:20—1:21)

Out of town preview (Out of town preview (chap 16: 1:22), chap 16: 1:22), sneak previews, sneak previews, trade reviews, newspapers reviews, the academtrade reviews, newspapers reviews, the academ

Movie detractor Movie detractor (D.B. chap 17) (D.B. chap 17)

Cultural Industry Cultural Industry -- -- criticizing popular culture --criticizing popular culture --

Frankfurt School:Frankfurt School: a. Two points different from a. Two points different from MarxismMarxism

-- -- away from economy-determinismaway from economy-determinism

-- -- pay more attention on “Culture”pay more attention on “Culture”

b. Key points of criticism on popular cultureb. Key points of criticism on popular culture

-- the commercialized-- the commercialized

-- the standardized -- the standardized

-- -- 強制化強制化 c. c. Walter BenjaminWalter Benjamin

-- “-- “ 技術複製文化”技術複製文化” -- film production-- film production

Ambiguities In “The Stunt Ambiguities In “The Stunt Man”Man”

a.a. Illusion & RealityIllusion & Reality 1. 1. postmodernism filmpostmodernism film— blur boundaries — blur boundaries

(opening) (opening)

b.b. Sadness & Comedy Sadness & Comedy -- black humors -- black humors 1. 1. to the degree of being farcicalto the degree of being farcical

2. a way to stay human and to survive2. a way to stay human and to survive

c.c. Control & FreedomControl & Freedom 1. 1. the stunt man with “”Paranoia” or free?the stunt man with “”Paranoia” or free?

2. Eli controls Cameron or helps him cure 2. Eli controls Cameron or helps him cure his “Paranoia”his “Paranoia”

The Director // the director in the The Director // the director in the filmfilm

Both Rush and Eli have problems with the Both Rush and Eli have problems with the film company and film editting.film company and film editting.

In “The Stunt Man”, Eli has the time limit to In “The Stunt Man”, Eli has the time limit to finish the shot. finish the shot.

Rush met the problem such as the length Rush met the problem such as the length of the film.of the film.

Make-up effectMake-up effect

Car Car

Military aircraftMilitary aircraft

Tank Tank

Costume Costume

By using these stage properties in the movie, we have a concrete image of WW Ⅰ

“effects” arranged to fit the story. Boundaries are not clear

Illusion & Reality

Images of IllusionImages of Illusion

FrameFrameMirror Mirror PaintingPaintingCamera, etc. Camera, etc.

Have faith, Alice. Close your eyes... and enjoy.

The airplane scene The airplane scene Nina cried beside a anonymous tomb andNina cried beside a anonymous tomb and held a letter given by American president held a letter given by American president

(because she rescued and refuge the (because she rescued and refuge the American soldiers) – an NGAmerican soldiers) – an NG

Nina got the medal form German government Nina got the medal form German government because her father and brother died for because her father and brother died for Germany-- but whom she was thinking about Germany-- but whom she was thinking about and crying for at that moment? and crying for at that moment?

Many Examples of the cameras -- in and out of the film

Sadness & Comedy(Black Humor)Sadness & Comedy(Black Humor)

TombTombVictorian toyVictorian toyCha Cha on the plane Cha Cha on the plane Piglets in the cradlesPiglets in the cradles--surviving the absurdThese scenes don’t tell usthe real situation during the war time(not suitablefor 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.

Images of ControlImages of Control HelicopterHelicopter (Eli uses it to shoot from the air)(Eli uses it to shoot from the air)

Crane Crane

(Eli’s transportation)(Eli’s transportation) his his Nina’s alarm clockNina’s alarm clock (In Nina’s room)(In Nina’s room)

Wire nettingWire netting The smokeThe smoke

(Eli spread from his helicopter ) (Eli spread from his helicopter )

金剛金剛

Eli’s power over the

actor/actresses

controlling controlling

1.1. ““How tall is King Kong?”How tall is King Kong?”

2.2. The Burt episode The Burt episode

Sympathetic Sympathetic

1.1. Telephone my mother...and have her Telephone my mother...and have her convince me it wasn't my fault.convince me it wasn't my fault.

Eli’s Ambiguities

Control & Freedom--Eli Control & Freedom--Eli &Cameron&Cameron

Eli just uses Cameron as a tool?-- Eli just uses Cameron as a tool?-- Accessional ValueAccessional Value

Eli wants to help Cameron?Eli wants to help Cameron?SaviorSavior —Eli seems to be the savior for —Eli seems to be the savior for

Cameron. He brings Lucky back to the Cameron. He brings Lucky back to the society in the end. On the other hand, we society in the end. On the other hand, we can also say Lucky is the savior for Eli. He can also say Lucky is the savior for Eli. He give Eli the chance to get Bert’s accident give Eli the chance to get Bert’s accident back to control. back to control.

Eli’s good intentionEli’s good intention

47:00 Why me? 47:00 Why me? Why are you tryin‘ to save my ass?Why are you tryin‘ to save my ass? Because you're as crazy as the young man I'm making this Because you're as crazy as the young man I'm making this

film about.film about. Why war? 00:28Why war? 00:28 Probably all we know is that we shall die... of nothing more Probably all we know is that we shall die... of nothing more

important than wrinkles. And it makes us so scared, so important than wrinkles. And it makes us so scared, so crazy, we'll do anything- Fight wars, fight windmills, go off crazy, we'll do anything- Fight wars, fight windmills, go off bridges, anything. bridges, anything.

Why the film: 37:00 Why the film: 37:00 Being scared shitless, whistling in the dark, inventing Being scared shitless, whistling in the dark, inventing

enemies. enemies. home for thanksgiving. home for thanksgiving.

Cameron’s Drive for Survival Cameron’s Drive for Survival

Wanna get home for Thanksgiving, you better Wanna get home for Thanksgiving, you better figure the guy comin' at you is tryin' to kill you.figure the guy comin' at you is tryin' to kill you.

01:38 01:38 Who are you? -- Somebody trying to stay alive.Who are you? -- Somebody trying to stay alive. I did the same as everybody else,just one of the I did the same as everybody else,just one of the

boys.I shot my M-16 at every sound. Of course, I boys.I shot my M-16 at every sound. Of course, I didn't know if I was killing gooks or cherries.didn't know if I was killing gooks or cherries.

Sadness & Comedy--Sadness & Comedy--Cameron’s violenceCameron’s violence

When the worker mentions the Korea War, When the worker mentions the Korea War, Cameron becomes mad and violent Cameron becomes mad and violent suddenly. –reflection of his traumasuddenly. –reflection of his trauma

This scene shows Cameron might not be This scene shows Cameron might not be really so innocent.really so innocent.

Ambiguities in the Ambiguities in the Degree of ControlDegree of Control

The Degree of Eli’s Control over NinaThe Degree of Eli’s Control over Nina

1.1. Eli tells Nina that her parents has seen Eli tells Nina that her parents has seen the sex scenethe sex scene

2.2. Spotlighting on Cameron and Nina.Spotlighting on Cameron and Nina.

3.3. The hug at the end of the graveyard The hug at the end of the graveyard scene; scene; Nina is unhappy with Cameron’s Nina is unhappy with Cameron’s attitude towards Eli; Raymond tries to tease attitude towards Eli; Raymond tries to tease EliEli

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…”

Cameron and NinaCameron and Nina

1.1. sexy image on TV.sexy image on TV.

2.2. The encounter –Rescue sceneThe encounter –Rescue scene

3.3. Nina in the frameNina in the frame

Ambiguities of Illusion/Reality

4.4. The party after quarrel with the theme The party after quarrel with the theme musicmusic

5.5. Is Nina complicit with Eli? Why?Is Nina complicit with Eli? Why? ClipClip

6.6. Nina appears to be very supportive Nina appears to be very supportive about the idea of final counteraction.about the idea of final counteraction.

7.7. The final scene—Seeming to be The final scene—Seeming to be naïve and innocent naïve and innocent ClipClip

Raymond and Nina in Bed—Raymond and Nina in Bed—

““Isn’t anything what it seems? No.”Isn’t anything what it seems? No.”

It is a reaffirmation of their love; It is a reaffirmation of their love; however, without that scene, the however, without that scene, the preview number rose abruptly.preview number rose abruptly.

Illusion and Reality

The Connection Between The Connection Between Eli and Richard RushEli and Richard Rush

The name “Eli” was Richard’s own The name “Eli” was Richard’s own PseudonymPseudonym

Peter O’ toole’s ExamplePeter O’ toole’s ExampleBarbara:TenacityBarbara:TenacityManipulating or not? Manipulating or not? The final screenplay rewrite: to examine The final screenplay rewrite: to examine

the nature of the panicthe nature of the panic

Control & Freedom--Eli &SamControl & Freedom--Eli &Sam

FriendshipFriendshipBusiness interestBusiness interest

Sadness & Comic--Eli & BertSadness & Comic--Eli & Bert

Bert’s death is an accident for Eli. Bert’s death is an accident for Eli. Bert’s death for Eli?Bert’s death for Eli?

--Eli really feels sad about it.--Eli really feels sad about it.

or--Bert is a part of the movie, Eli can or--Bert is a part of the movie, Eli can find anyone to replace him. find anyone to replace him.

Illusion & Reality--LanguageIllusion & Reality--Language

Movie scene--Calling for medic & the Movie scene--Calling for medic & the disguise toward war--Clipdisguise toward war--Clip

Dining room talk--Different point of Dining room talk--Different point of view toward deathview toward death (production: chap 6: 36-38:42) (production: chap 6: 36-38:42)

Gooks & WrecksGooks & WrecksPinball--I just want to get another Pinball--I just want to get another

chance chance

Music—What the Scores Present in the Music—What the Scores Present in the MovieMovie

(1:48:25)(1:48:25)

The Main Theme: “The Main Theme: “CircusyCircusy””The Main Theme Composed in Grand The Main Theme Composed in Grand

Waltz: “Waltz: “SplendidSplendid””The Director’s (Eli’s) Theme: “The Director’s (Eli’s) Theme: “Powerfully Powerfully

Rhythmic & SchemingRhythmic & Scheming””The Love Theme: “The Love Theme: “RomanticRomantic””Theme Song—Bits & Pieces: Theme Song—Bits & Pieces:

Concepts Related to The Stunt Concepts Related to The Stunt ManMan

1. Blend of Various Film Genres1. Blend of Various Film Genres

Eli’s FilmEli’s Film Rush’s FilmRush’s Film

TitleTitle(About World Wars (About World Wars

in Europe)in Europe)The Stunt ManThe Stunt Man

GenresGenresActionAction ComedyComedy ActionAction ComedyComedy

SentimentSentiment AbsurdityAbsurdity RomanceRomance DramaDrama

PlacePlaceThe National Monument The National Monument

in San Diegoin San DiegoThe National Monument The National Monument

in San Diegoin San Diego

Social Satire?

Concepts Related to The Stunt Concepts Related to The Stunt ManMan

2. The Disorder of Scenes2. The Disorder of Scenes

3. The Screening Room 3. The Screening Room ——Showing Showing WHAT?WHAT?

—— The Sin? The Conspiracy? The embodiment of crime? The Sin? The Conspiracy? The embodiment of crime? Or The Truth?Or The Truth?

4. The Social Satire4. The Social Satire— — The temporary actors performed by local policemenThe temporary actors performed by local policemen

For Your References…For Your References…

““The Sinister Saga of Making The Sinister Saga of Making The Stunt Man”—Available on The Stunt Man”—Available on Engsite.Engsite.

““The Player”—Showing the The Player”—Showing the cultural reality in Hollywood film cultural reality in Hollywood film making.making.

““The Stunt Man” Official The Stunt Man” Official Website—http://www.thestuntmWebsite—http://www.thestuntman.com/ an.com/