By J. Nilsson
This examine examines how a selected choice of movies grew to become American cultural fabric of the Nineteen Nineties into satirical reports for audience and unearths that there are parts of resistance to norms and conventions in politics, to mainstream information channels and Hollywood, and to legitimate American heritage already embedded within the tradition.
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Additional resources for American Film Satire in the 1990s: Hollywood Subversion
Poet. Folk singer. Businessman. ” We first see him standing by a road, microphone in hand, as Bob’s campaign bus passes by, then in a car following the bus. 28 Of course, what this presupposes is a media-literate audience able to make the necessary connection. Terry goes on to establish Bob’s background. His music career, we are told, began three years earlier (the present is 1990) with the album The Freewheelin’ Bob Roberts, later followed by a second album, titled Times Are Changing Back. Both are ironic imitations of Dylan’s second and third albums, The Freewheelin’ Bob Dylan (1963) and The 40 A m e r i c a n F i l m S at i r e i n t h e 1 9 9 0 s Times They Are a-Changin’ (1964).
Just as, for instance, Aristophanes satirized contemporary politicians and philosophers, Jonathan Swift the public treatment of the poor, Jane Austen the morals of the British upper class, Charlie Chaplin aspects of modernity, George Orwell totalitarianism, Joseph Heller the absurdities of war, Stanley Kubrick the logic of the cold war, and Jon Stewart the state of journalism in the United States, the films at hand satirize, for instance, political practices, commercial media logic, and officially accepted history.
The plot showcases the strategies used by Bob and his associates in the campaign. One of the plotlines concerns the struggle against the opposing candidate, against whom they use negative campaigning and false accusations. Another is focused on a journalist’s personal crusade against Bob’s campaign. Writing for the radical journal Troubled Times, Bugs Raplin (Giancarlo Esposito) follows the campaign while investigating its involvement in drug trafficking and in a savings-andloans scandal. In order to discredit Bugs, the campaign stages Bob being shot while leaving the set of the comedy show Cutting Edge Live (the film’s version of Saturday Night Live) and frames Bugs for it.