Hi everyone,
A question;
Part of my thesis centres on the notion that changes
in the notion of ideology (collapsing grand
theory)have meant that there is no such thing as a
'fixed' meaning--that meaning is contextually
relative. My central hypothesis is; if there is no
suck thing as fixed meaning how can one sustain a
consistent textual analysis of film?
I want to use Sophia Coppola's THE VIRGIN SUICIDES as
a source text that asserts the absence of fixed
meaning--connected to the literary intention of author
Jeffrey Eugenides.
Can anyone think of work that deals with incoherent
rationale of film as a contributor to loss of dominant
ideologies? I'm thinking of taking it from the angle
of an increase in the number of films that rely on
intertextuality and an incoherent internal rationale
among audience participants, especially in the
mainstream youth bracket--'Dude where's my Car?' and
that sort of thing, for example.
Carol J. Clover's MEN WOMEN AND CHAINSAWS is on my
list. Any ideas?
Sincerely
David Gove Surman
__________________________________________________
Do You Yahoo!?
Everything you'll ever need on one web page from News and Sport to Email and Music Charts
http://uk.my.yahoo.com
|