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"Verrone, William"
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Krzysztof Kieslowski's Decalogue and the Ambiguity of Meaning
Here, Verrone has thematic as well as methodological connections with traditional, Biblical hermeneutic analysis; its nuanced analysis concerns commentary on and moments in the ten-part Decalogue film project, which takes as its subject matter \"the tenuous relationship of the commandments to modern everyday existence\" (Verrone). By carefully tracing the logic of the dramatic conflicts featured in The Decalogue, Verrone is able to explicate the secular, humanistic vision that infuses the project. Using examples from various films in the series, Verrone elucidates the paradox that characters discover that they must \"contend with their moral dilemmas from the perspective of a solitary being\" just as they come to understand that \"their ethical choices necessarily involve interactions with others\" (Verrone).
Journal Article
Modern realism: Early silent cinema and the perception of reality
The dissertation examines the cultural, historical, and social climate of the United States from 1900-1917, and articulates a better, more enhanced understanding of the shifting relations among film, aesthetic realism, and modernity. I center my analysis on how and why cinematic representations of actuality altered or improved levels of individual subjective perceptions and consciousness. The methodological approach is based on principles of aesthetic realism. Realism becomes the dominant mode for film production, and spectatorship and the social problem film genre become important places to study individual and collective perception. I also suggest that ideology and aesthetic naturalism inform cinematic narrative construction for the social problem film genre. Additionally, the impact of modernity and techno-realism from this time frame highlights subjectivity and fragmentation, creating in turn new ways of perceiving reality. Cinema, as an example of modern realism, portrays society in new, dynamic ways, and touches upon realism's claims of authenticity and veracity, as well as modernism's foregrounding of subjectivity. To exemplify my argument, I focus on style and narrative in Edwin S. Porter's Life of an American Fireman and The Great Train Robbery, both 1903, theme and genre-specific codes of the social problem film in D.W. Griffith's A Corner in Wheat (1909), and characterization and the \"modern\" individual in Charlie Chaplin's The Immigrant (1917). I raise questions about our received models of modernity by linking realist aesthetics to modernism, and develop a new, dynamic, and analytical approach that helps elucidate and broaden our understanding of early twentieth century American culture.
Dissertation