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The last decade from 2000 to 2009 is framed, at one finish, through the disturbing disaster of the September 11 assaults at the international alternate heart and, on the different, via the election of the 1st African American president of the us. In among, the U.S. and the realm witnessed the swift enlargement of latest media and the net, such traditional failures as storm Katrina, political uprisings world wide, and an immense meltdown of global economies.

Amid those crises and revolutions, American motion pictures answered in a number of methods, occasionally without delay reflecting those turbulent instances, and occasionally ultimately couching background in conventional genres and tales.

In American Cinema of the 2000s, essays from ten most sensible movie students research such renowned sequence because the groundbreaking Matrix movies and the gripping adventures of former CIA covert operative Jason Bourne; new, offbeat motion pictures like Juno; and the resurgence of documentaries like Michael Moore’s Fahrenheit 9/11.  every one essay demonstrates the advanced ways that American tradition and American cinema are sure jointly in refined and not easy methods.

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But perhaps that is Figgis’s point—to demonstrate that content no longer matters in the new regime of cinema. Unlike Kurosawa’s Rashomon (1950), in which the same story told from multiple perspectives captivates the viewer, in Timecode it is the fact of multiple perspectives, and not the story, that is captivating. It is a self-reflexive narrative about a production company, Red Mullet, which happens also to be Timecode’s production company. The film exposes the behind-the-scenes aspects of making a film, from developing storylines to securing funding, casting actors, and the like.

For Dana Polan, 2009 described a generic trend that rethinks and remakes questions about identity politics: reconfiguring masculinities as masculine redemptions in movies from The International and The Hangover to The Taking of Pelham 1 2 3; remaking historical personalities to reflect the present in Public Enemies and Taking Woodstock; and transforming identity politics into identity products in films such as Hannah Montana. Kubrick’s 2001 could not have anticipated the complexities of the new American millennium and the all-too-earthly imbroglios of its politics, wars, technologies, and disasters.

2001 Movies, Smart Films, and Dumb Stories LINDA RUTH WILLIAMS Though no one knew it as January dawned, this was the year that will forever be divided into Before and After by the events of 9/11. Yet 9/11 was only a brief moment in the stories of the year. George W. Bush was sworn in as president in January, succeeding Bill Clinton; Wikipedia was launched. In April the first space tourist went into orbit. S. news organizations and two Democratic senators, killing five people. Oklahoma City bomber Timothy McVeigh was executed in June; the “shoe-bomber” Richard Reid attempted to blow up a plane in December.

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