%0 Journal Article 
%A Bolaño Quintero, Jesús
%T Post-Postmodern Cinema at the Turn of the Millennium: Paul Thomas Anderson‘s Magnolia
%D 2020
%@ 1133-309X
%U http://hdl.handle.net/10498/25859
%X 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.
%K Magnolia
%K Paul Thomas Anderson
%K post-postmodern cinema
%K New Sincerity
%K French New Wave
%K Jean-Luc Godard
%K Vivre sa Vie
%~ Universidad de Cádiz