engleski

Subjectivity in the New Hollywood Cinema: Fathers, Sons and Other Ghosts

One of the main reasons why new Hollywood films have become economic and cultural phenomena is because they have devised complex, sophisticated and idiosyncratic strategies of storytelling. In new Hollywood blockbusters, the persistant preoccupation with the decomposition of subjectivity goes along with the general tendency to set a “ troubled subjectivity” into order. In my analyses I have argued that the emerging structure in these narratives corresponds to the Derridian différance, and that it is the differing and deferring of the subject that provides the basis for theorizing the narrative modality predicated on this deconstructive logic. Setting of the fictional world in order is dependent on the restructiring of subjectivity. The setting of the troubled subjectivity and the world into order is closely tied with reshaping the fabula, and this process especially affects the function of the character-image. The reconstruction of subjectivity is manifested in the way the character-image is re/structured, implying that the character-image is composed through decomposition, through doubling, or through fusion with another character-image. As a result, the process of storytelling is geared toward producing a new fabula, or, a new (in most cases male) subject.

Hollywood blockbuster; narrativity; mobilized subjectivity

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