@misc{10498/25859,
year = {2020},
url = {http://hdl.handle.net/10498/25859},
abstract = {Starting with an analysis of the significance of the French New Wave for postmodern cinema, this essay sets out to make a study of Paul Thomas Anderson’s Magnolia (1999) as the film that marks the beginning of what could be considered a paradigm shift in American cinema at the end of the 20th century. Building from the much-debated passing of postmodernism, this study focuses on several key postmodern aspects that take a different slant in this movie. The film points out the value of aspects that had lost their meaning within the fiction typical of postmodernism—such as the absence of causality; sincere honesty as opposed to destructive irony; or the loss of faith in Lyotardian meta-narratives. We shall look at the nature of the paradigm shift to link it to the desire to overcome postmodern values through a recovery of Romantic ideas.},
publisher = {Universidad de Sevilla},
keywords = {Magnolia},
keywords = {Paul Thomas Anderson},
keywords = {post-postmodern cinema},
keywords = {New Sincerity},
keywords = {French New Wave},
keywords = {Jean-Luc Godard},
keywords = {Vivre sa Vie},
title = {Post-Postmodern Cinema at the Turn of the Millennium: Paul Thomas Anderson‘s Magnolia},
doi = {10.12795/REN.2020.i24.01},
author = {Bolaño Quintero, Jesús},
}