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2016
Narrative complexity is a trend in contemporary cinema. Since the late 1990s there has been a palpable increase in complex storytelling in movies. But how and why do complex movies create perplexity and confusion? How do we engage with these challenges? And what makes complex stories so attractive?
Kiss, Miklós, Willemsen, Steven
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Narrative complexity is a trend in contemporary cinema. Since the late 1990s there has been a palpable increase in complex storytelling in movies. But how and why do complex movies create perplexity and confusion? How do we engage with these challenges? And what makes complex stories so attractive?
Kiss, Miklós, Willemsen, Steven
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12. Inception’s Singular Lack of Unity Among Christopher Nolan’s Puzzle Films
2015Andrew Kania
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Dall’Ikea a Proust : paradossi del puzzle film
Imago : studi di cinema e media : 12, 2, 2015, 2016Una riflessione sulle tendenze narrative del cinema contemporaneo e sulle sue conseguenze sul piano della ...
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Residue: The privilege of spatiality in the puzzle film
New Cinemas: Journal of Contemporary Film, 2020Typical discourses around the puzzle film – a genre that typically eschews classic storytelling for more complex narrative techniques, such as entangled secondary/tertiary plotlines, and characters with mental or psychological instability – often privilege the manipulation of the film’s temporality and narratology. However, in this article, I perform a
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Managerial Objectives, the R‐Rating Puzzle, and the Production of Violent Films
The Journal of Business, 2004We analyze project choice in the motion picture industry and find evidence consistent with revenue maximization and excessive hedging. We find that movies that are very violent or feature sex and violence do not provide excess returns, but they increase revenues, particularly in the international market.
S. Ravid, Suman Basuroy
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Chapter 5 Impossible Puzzle Films: Between Art Cinema and (Post-)Classical Narration
2016exaly +2 more sources
Hong Kong Puzzle Films: The Persistence of Tradition
2016This chapter examines the fate of traditional modes of practice, as well as of local storytelling norms, in contemporary Hong Kong cinema. It contests some widely-held yet arguably specious assumptions: first, that the "Mainlandization" and "Hollywoodization" of Hong Kong cinema eradicate local filmmaking practices and aesthetic norms; and second, that
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