Film genre patterns and complex narrative strategies in the service of authorship

Abstract

Film genre patterns and complex narrative strategies in the service of authorship

From the Euro-American canon of contemporary filmmaking a selection of films has been made, the directors of which transition from low-budget, arthouse, regional first features made in the years 1997–1998 mainly Cube and Pi, with occasional references to Run, Lola, Run and Following to big-budget, Hollywood-funded blockbusters presented in the years 2009–2010 Splice and Black Swan, occasionally referring to The International and Inception. Within this framework the issue of how generic patterns are used by these directors fond of narrative complexity is discussed. While in the debut features narrative complexity is the main issue, leading to a revisionist usage of sci-fi Natali and psychological thriller/horror Aronofsky, as well as action film Tykwer and noir detection film Nolan, in the 2009–2010 blockbusters narrative complexity is hidden behind apparently sincere generic imitation. This latter procedure, on closer inspection, reveals the allegorical recreation of genres as types as defined by Laetz and McIver Lopes in The Routledge Companion to Film and Philosophy. The aim is to examine narratively complex designs as tools in establishing the authorial names of these directors, based on their first features, with attention paid to the consistency of film genres referenced.