The Stunt ManThe Stunt Man

Group IIGroup II Sibyl Yang Sibyl Yang Alan ChenAlan Chen Eric LinEric Lin Vernoy ChangVernoy Chang Claire HuClaire Hu Lance ShenLance Shen

-- Outline ---- Outline --I. TheoryI. Theory a. reviewa. review b. the reflexive postmodernb. the reflexive postmodern II. Basic Information of Vietnam WarII. Basic Information of Vietnam War

III. Stunt Man as a postmodern filmIII. Stunt Man as a postmodern film -- Ambiguity-- Ambiguity a. Theme: 1. illusion/reality a. Theme: 1. illusion/reality 2. sadness/comedy 2. sadness/comedy 3. control/freedom3. control/freedom b. Analysis b. Analysis -- Symbol-- Symbol -- Relationships/Characters-- Relationships/Characters -- Setting/scene/music-- Setting/scene/music

IV. Background information -- production -- theory of cultural industry

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

Modernism Postmodernism

Cultural formations

cultural experience of modernity Cultural sensibility

Artistic/architectural a style of architecture and writing in film / photography / novel

Philosophical concerns/

Knowledge and truth

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

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

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

Figural• more visual• immerse spectator’s desire for 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 to partake in a range of discourses and relationshipsrelationships a. the playful self-construction of multiple identitiesa. the playful self-construction of multiple identities b. invites b. invites the “other” voicesthe “other” voices which had been suppressed which had been suppressed by modernity (ex: feminism/ ethic diasporas/ ecologist…)by modernity (ex: feminism/ ethic diasporas/ ecologist…) c. anc. an ironic ironic sense sense -- of the “said before”-- of the “said before” -- a reflexive understanding of the contingency of one’s -- a reflexive understanding of the contingency of one’s

values values and culture and culture -- film/ television/ music/ literature promotes the feeling-- film/ television/ music/ literature promotes the feeling (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 “bricolabricola

gege” 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 c-- oblique references to other genre conventions and stylesonventions and styles

b. reworking and recycling of particular tb. reworking and recycling of particular typeype

enlarged cultural self-consciousness enlarged cultural self-consciousness about history and functions of cultural pr about history and functions of cultural productsoducts

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 occurunexpected association can occur

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

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

-- Markers -- Markers

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

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

uncertaintyuncertainty

* the blurring of boundaries of genre, style and history* the blurring of boundaries of genre, style and history

The Reflexive Postmodern VThe Reflexive Postmodern V

BaudrillardBaudrillard * * simulationssimulations and and hyperreality hyperreality

-- the collapsing of the -- the collapsing of the real/unrealreal/unreal, public/private,, public/private, art/realityart/reality -- “we live everywhere in an aesthetic hallucination of -- “we live everywhere in an aesthetic hallucination of reality” (Baudruillard)reality” (Baudruillard) -- -- ImplosionImplosion:: * a process leading to the collapse of boundaries * a process leading to the collapse of boundaries between real and simulations between real and simulations (the media / the social)(the media / the social)

TV is the worldTV is the world

PTSD: Post Trauma Stress PTSD: Post Trauma Stress DisorderDisorder

What is PTSD?What is PTSD? Post-Traumatic Stress Disorder (PTSD) is the Post-Traumatic Stress Disorder (PTSD) is the

name given to a cluster of symptoms often seen name given to a cluster of symptoms often seen in trauma survivors. The more severe the in trauma survivors. The more severe the trauma, the longer these symptoms will persist. trauma, the longer these symptoms will persist. In cases of major and/or repeated trauma, In cases of major and/or repeated trauma, strong reactions may continue for years. strong reactions may continue for years.

The medic scene. The medic scene.

Unusual response to normal circumstances.Unusual response to normal circumstances.

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

Learned that from the gooks."Learned that from the gooks."

Vietnam War & MediaVietnam War & Media

The Media further enhanced the gap betwThe Media further enhanced the gap between the veterans and the citizens back hoeen the veterans and the citizens back home. me.

"Television brought the brutality of war"Television brought the brutality of warinto the comfort of the living room.into the comfort of the living room.

Vietnam was lost in the living roomsVietnam was lost in the living roomsof America--not on the battlefields of Vietnof America--not on the battlefields of Vietn

am."am."--Marshall McLuhan, 1975--Marshall McLuhan, 1975

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

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

Stunt ManStunt Man : :

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

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

However, Cameron still represents However, Cameron still represents a humaa human drive for survivaln drive for survival..

““Symbols” In “The Stunt Symbols” In “The Stunt Man”Man”

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

b.b. Sadness & ComedySadness & Comedy 1. 1. black humors reflect the sadness in warblack humors reflect the sadness in war

2. Eli cares much about the sadness than 2. Eli cares much about the sadness than the bloody scenes and cruelty in war.the bloody scenes and cruelty in war.

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

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

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

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

These scenes don’t tell usThese scenes don’t tell usthe real situation during the real situation during the war time(not suitablethe war time(not suitablefor a war movie), but they for a war movie), but they tell us the harms brought tell us the harms brought by war indirectly.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.

medal & the lettermedal & the letter—— 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), but whom she was thinking American soldiers), but whom she was thinking about at that moment?about at that moment?

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?

Another Ambiguity about Sadness and The Comic

Control &FreedomControl &Freedom 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) Eli’s power over his Eli’s power over his Clock Clock stunt man and othstunt man and oth

erer (In Nina’s room) actors/ actresses(In Nina’s room) actors/ actresses Wire nettingWire netting The smokeThe smoke

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

金剛金剛

Eli’s PowerEli’s Power

Seeming very controlling but still Seeming very controlling but still limited limited

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

2.2. Too confident in his power as a Too confident in his power as a directordirector

3.3. The interaction with the PoliceThe interaction with the Police

The Relationship Among the Characters

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.

Illusion & Reality--Eli’s good Illusion & Reality--Eli’s good intentionintention

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

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 th

ree years ago.Ex. “Nina, why are you trying to scare me t

o 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 PseudoThe name “Eli” was Richard’s own Pseudonymnym

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

e nature of the panice 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

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

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

tz: “tz: “SplendidSplendid””The Director’s (Eli’s) Theme: “The Director’s (Eli’s) Theme: “Powerfully RPowerfully R

hythmic & Scheminghythmic & 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

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

Behind The Scene—The Production Behind The Scene—The Production of a Hollywood Filmof a Hollywood Film

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).

The promotion events of “The Stunt Man”The promotion events of “The Stunt Man”

— — Projection RoomProjection Room

——The LuncheonThe LuncheonThe anecdotes occurred in the filming The anecdotes occurred in the filming

process of “The Stunt Man”process of “The Stunt Man”

Behind The Scene—The Production Behind The Scene—The Production of a Hollywood Filmof a Hollywood Film

The efforts Rush had made to sell his filmThe efforts Rush had made to sell his film—how he dealt with the film company, his —how he dealt with the film company, his sponsor, and the film critics.sponsor, and the film critics.

In “The Stunt Man”, Eli has the time limit to In “The Stunt Man”, Eli has the time limit to finish the shot; on the contrary, Rush met finish the shot; on the contrary, Rush met the problem such as the length of the film, the problem such as the length of the film, and the distribution commitment and so and the distribution commitment and so on, as well.on, as well.

For Your References…For Your References…

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

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

““The Stunt Man” Official WebThe Stunt Man” Official Website—http://www.thestuntmasite—http://www.thestuntman.com/n.com/

Question to think aboutQuestion to think about

When Lucky came out from the water, he When Lucky came out from the water, he sawsaw

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

Q: Does Eli control Lucky or cure his Q: Does Eli control Lucky or cure his “Paranoia” and set him free in some way?“Paranoia” and set him free in some way?