The Stunt Man

1. The Stunt Man Group II Sibyl Yang Alan Chen Eric Lin Vernoy Chang Claire Hu Lance Shen

2. -- Outline -- IV. Background information -- production -- theory of cultural industry I. Theory a. review b. the reflexive postmodern II. Basic Information of Vietnam War III. Stunt Man as a postmodern film -- Ambiguity a. Theme: 1. illusion/reality 2. sadness/comedy 3. control/freedom b. Analysis -- Symbol -- Relationships/Characters -- Setting/scene/music

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) -- Markers aesthetic : self-consciousness / self-reflexiveness / juxtaposition / montage / paradox / ambiguity/ uncertainty * the blurring of boundaries of genre, style and history

10. The Reflexive Postmodern V • Baudrillard * simulations and hyperreality -- the collapsing of the real/unreal, public/private, art/reality -- “we live everywhere in an aesthetic hallucination of reality” (Baudruillard) -- Implosion: * a process leading to the collapse of boundaries between real and simulations (the media / the social)  TV is the world

11. PTSD: Post Trauma Stress Disorder • What is PTSD? • Post-Traumatic Stress Disorder (PTSD) is the name given to a cluster of symptoms often seen in trauma survivors. The more severe the trauma, the longer these symptoms will persist. In cases of major and/or repeated trauma, strong reactions may continue for years. The medic scene. Unusual response to normal circumstances.

12. "Would you tell me what happened?“"All I know is he tried to run me down.“"Now, why on earth would he do that, I wonder?“"I didn't get a chance to ask him He was coming at me too goddamn fast Youwant to get home for Thanksgiving, you better figure the guy coming at youis trying to kill you. Learned that from the gooks."

13. 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

14. Background information 戰地攝影記者的敬業精神舉世公認，而本書是一本非常特殊的攝影輯，因為所有作者都已在戰場上殉職！他們用寶貴的生命去記錄1950-70年代，中南半島所發生的慘烈戰鬥，全書充滿悲情與血淚，所有作品來自美、日、南北越，更真實的反映了戰場實況與各方的詮釋

15. 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.

16. “Symbols” In “The Stunt Man” • Illusion & Reality 1. postmodernism film— blur boundaries • Sadness & Comedy 1. black humors reflect the sadness in war 2. Eli cares much about the sadness than the bloody scenes and cruelty in war. c.Control & Freedom 1. the stunt man with “”Paranoia” free? 2. Eli controls Lucky or helps him cure his “Paranoia”

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. Sadness & Comedy(Black Humor) Tomb Victorian toy Cha Cha on the plane Piglets in the cradles 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.

19. Another Ambiguity about Sadness and The Comic medal & the letter— • Nina cried beside a anonymous tomb and held a letter given by American president (because she rescued and refuge the American soldiers), but whom she was thinking about at that moment? • 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. Control &Freedom • Helicopter (Eli uses it to shoot from the air) • Crane (Eli’s transportation) Eli’s power over his • Clock stunt man and other (In Nina’s room) actors/ actresses • Wire netting • The smoke (Eli spread from his helicopter ) 金剛

21. The Relationship Among the Characters Eli’s Power • Seeming very controlling but still limited • “How tall is King Kong?” • Too confident in his power as a director • The interaction with the Police

22. 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.

23. Illusion & Reality--Eli’s good intention • When the stage manager asks Eli to get rid of Cameron as soon as possible. Eli says he just wants to help this young man who comes back from the war.--We don’t know if it’s true or not!!

24. 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.

25. 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

26. 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 trying to scare me to death?” • Ex. “I am losing you, Nina…”

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

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

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

30. 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.

31. 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

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

33. 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.

34. Illusion & Reality--Language • Movie scene--Calling for medic & the disguise toward war--Clip • Dining room talk--Different point of view toward death • Gooks & Wrecks • Pinball--I just want to get another chance

35. Music—What the Scores Present in the Movie • 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:

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

37. 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

38. 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

39. Behind The Scene—The Production of a Hollywood Film • The director is not one who has authoritative power on his work really (Neither Eli Cross nor Richard Rush). • The promotion events of “The Stunt Man” — Projection Room —The Luncheon • The anecdotes occurred in the filming process of “The Stunt Man”

40. Behind The Scene—The Production of a Hollywood Film • The efforts Rush had made to sell his film—how he dealt with the film company, his sponsor, and the film critics. • In “The Stunt Man”, Eli has the time limit to finish the shot; on the contrary, Rush met the problem such as the length of the film, and the distribution commitment and so on, as well.

41. 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/

42. Question to think about When Lucky 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’t feel betrayed or angry. And therefore, we may say that he was set free from his “Paranoia.” Q: Does Eli control Lucky or cure his “Paranoia” and set him free in some way?