"The Tube is Flickering Now": Aesthetics of Authenticity in Good Night, and Good Luck

Sina Nitzsche


The article examines the Clooney/Heslov/Soderbergh production Good Night, and Good Luck (2005). Its unusual visual style (cinematography, mise-en-scène, etc.) enables an immediate aesthetic viewing experience of Cold War America. Drawing on Fluck's discussion about aesthetics and its socio-cultural function, the "docu-drama" (Doherty 53), while referring to the era of McCarthyism, serves as an instance of articulation for the dissatisfaction with contemporary American politics.

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DOI: http://dx.doi.org/10.5283/copas.98


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