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Download Mike Nichols : sex, language, and the reinvention of by Kyle Stevens PDF

By Kyle Stevens

With iconic videos like Who's frightened of Virginia Woolf?, The Graduate, and Carnal Knowledge, Mike Nichols used to be the main widespread American director throughout the cultural upheavals of the Nineteen Sixties. Mike Nichols: intercourse, Language, and the Reinvention of mental Realism argues that he overhauled the fashion of mental realism, and, in doing so, keeps to form the legacies of Hollywood cinema. It additionally finds that misreadings of his movies have been principal to foundational debates on the emergence of Cinema reviews as a self-discipline, inviting new reflections on serious dogma.

Focusing on Nichols' vintage video clips, in addition to later motion pictures equivalent to Silkwood, The Birdcage, and Angels in America, Kyle Stevens demonstrates that Nichols' realism lies now not within the plausibility of his characters yet of their inherent secret. via getting to the difficult phrases and silences, breaths and laughter, that contain those characters, Stevens uncovers new insights into the subversive capability of various cinematic components, and divulges how Nichols' satirical oeuvre, and Hollywood itself, participated in different of the nation's so much pressing social, political, and philosophical advances.

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Mike Nichols : sex, language, and the reinvention of psychological realism

With iconic video clips like who is terrified of Virginia Woolf? , The Graduate, and Carnal wisdom, Mike Nichols used to be the main renowned American director in the course of the cultural upheavals of the Nineteen Sixties. Mike Nichols: intercourse, Language, and the Reinvention of mental Realism argues that he overhauled the fashion of mental realism, and, in doing so, maintains to form the legacies of Hollywood cinema.

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That only ever exist (or existed) in spectators’ minds. It is about our familiarity with, and our estrangement from, kinds of relations, 18 Mike Nichols and so, for accuracy's sake, we might talk about psychological depth—as a discursive ideal—rather than realism. Even experiments with registers of performance like recitation or pastiche, as in Godard’s Two or Three Things I Know About Her (1966) or Vera Chytilová’s Daisies (1966), may convey the barest of motivations, veering toward the puppet-like, but to label them nonminded or implausible misses the point.

The criterion of plausibility suggests that psychological realism consists in characters’ actions being reasonable in a given situation. To call a character “unbelievable” or “implausible” generally means that the character’s reactions to her world are extraordinarily befuddling in some way. Hence, this psychological realism is less descriptive than prescriptive. It demands characters exhibit a consistent internal logic: that what they do comports with audience’s 16 Mike Nichols expectations of what they would do based on what they have done.

Anscombe, J. L. 27 In the 1950s and 1960s, this shift was the most recent development in the twentieth-century philosophical upheaval famously labeled “the linguistic turn” by Richard Rorty in 1967: “the view that philosophical problems are problems which may be solved (or dissolved) either by reforming language, or by understanding more about the language we presently use” (3). 28 Wittgenstein demonstrated the philosophical importance of the truth that the meaning of a word does not inhere in it, but that “the meaning of a word is its use in the language” (§43).

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