Contemporary Hollywood Crime Film and the New Individualism
This article focuses on contemporary Hollywood films Silver City (2004), The Constant Gardener (2005) and The Departed (2006) in order to examine the intersection of the cultural discourse of the New Individualism, characterized by the helplessness and anxiety of the subject in the face of social ch...
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| Format: | Article |
| Language: | English |
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European Association for American Studies
2009-11-01
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| Series: | European Journal of American Studies |
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| Online Access: | https://journals.openedition.org/ejas/7650 |
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| _version_ | 1841558094977433600 |
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| author | Luis M. García-Mainar |
| author_facet | Luis M. García-Mainar |
| author_sort | Luis M. García-Mainar |
| collection | DOAJ |
| description | This article focuses on contemporary Hollywood films Silver City (2004), The Constant Gardener (2005) and The Departed (2006) in order to examine the intersection of the cultural discourse of the New Individualism, characterized by the helplessness and anxiety of the subject in the face of social change, with the generic conventions of the crime film. It explores the ways in which such conventions as crosscutting and suspense, the victim-hero of the thriller, or the trope of self-assertion through escape from the social space both articulate the New Individualism discourse and are transformed under its influence. |
| format | Article |
| id | doaj-art-0c8b1aac5902456b9fab23053621bd5f |
| institution | Kabale University |
| issn | 1991-9336 |
| language | English |
| publishDate | 2009-11-01 |
| publisher | European Association for American Studies |
| record_format | Article |
| series | European Journal of American Studies |
| spelling | doaj-art-0c8b1aac5902456b9fab23053621bd5f2025-01-06T09:10:40ZengEuropean Association for American StudiesEuropean Journal of American Studies1991-93362009-11-014210.4000/ejas.7650Contemporary Hollywood Crime Film and the New IndividualismLuis M. García-MainarThis article focuses on contemporary Hollywood films Silver City (2004), The Constant Gardener (2005) and The Departed (2006) in order to examine the intersection of the cultural discourse of the New Individualism, characterized by the helplessness and anxiety of the subject in the face of social change, with the generic conventions of the crime film. It explores the ways in which such conventions as crosscutting and suspense, the victim-hero of the thriller, or the trope of self-assertion through escape from the social space both articulate the New Individualism discourse and are transformed under its influence.https://journals.openedition.org/ejas/7650Crime filmNew IndividualismthrillermelodramaAlain TouraineZygmunt Bauman |
| spellingShingle | Luis M. García-Mainar Contemporary Hollywood Crime Film and the New Individualism European Journal of American Studies Crime film New Individualism thriller melodrama Alain Touraine Zygmunt Bauman |
| title | Contemporary Hollywood Crime Film and the New Individualism |
| title_full | Contemporary Hollywood Crime Film and the New Individualism |
| title_fullStr | Contemporary Hollywood Crime Film and the New Individualism |
| title_full_unstemmed | Contemporary Hollywood Crime Film and the New Individualism |
| title_short | Contemporary Hollywood Crime Film and the New Individualism |
| title_sort | contemporary hollywood crime film and the new individualism |
| topic | Crime film New Individualism thriller melodrama Alain Touraine Zygmunt Bauman |
| url | https://journals.openedition.org/ejas/7650 |
| work_keys_str_mv | AT luismgarciamainar contemporaryhollywoodcrimefilmandthenewindividualism |