Cinema's most successful director is a commercial and cultural
force demanding serious consideration. Not just triumphant
marketing, this international popularity is partly a function of
the movies themselves. Polarised critical attitudes largely
overlook this, and evidence either unquestioning adulation or
vilification--often vitriolic--for epitomising contemporary
Hollywood. Detailed textual analyses reveal that alongside
conventional commercial appeal, Spielberg's movies function
consistently as a self-reflexive commentary on cinema. Rather than
straightforwardly consumed realism or fantasy, they invite
divergent readings and self-conscious spectatorship which
contradict assumptions about their ideological tendencies.
Exercising powerful emotional appeal, their ambiguities are
profitably advantageous in maximising audiences and generating
media attention.
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