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The cinema of Oliver StoneArt, authorship and activism$
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Ian Scott and Henry Thompson

Print publication date: 2016

Print ISBN-13: 9780719099168

Published to Manchester Scholarship Online: January 2017

DOI: 10.7228/manchester/9780719099168.001.0001

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(p.160) 4 Love
The cinema of Oliver Stone

Ian Scott

Henry Thompson

Manchester University Press

This chapter explores the representation of love in Stone’s filmmaking highlighting the importance of a transition that began in the mid-to-late 1990s with U Turn. The argument here posits that U Turn represents a marker in Stone’s career, not because of the loss of aesthetic vitality as some critics observed, that had been integral to earlier films, but precisely because the film marks the emergence of a distinctive melodramatic shift in Stone’s work, and a shift towards the darker aspects of parental love in particular. The significance of a melodramatic filter for viewing Stone’s later films is then used to assess Alexander and W. before investigating the way in which relationships and emotional love is worked into both these films and in Wall Street: Money Never Sleeps and Savages.

Keywords:   Stone, love, melodrama, camp, Bush

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