Titanic special effects were just ‘indirectly’ intervened in the film and mainly in the end when Titanic is starting to sink. In this context, it has been noticed by Tasker (2002, 82) that ‘prior to Titanic, it was possible to say that Cameron’s genre was science fiction or action (or some combination of the two), but his most recent film (referring to Titanic) currently holding the world box-office record of over US $1.8 billion in gross receipts appears to be a radical departure. this generic difference makes auteur criticism a useful framework for discussing Cameron as a director. as a set of organizing principles, it helps address how Titanic, a film that seems anomalous in the large sci-fi and action-oriented works of the Cameron œuvre is actually very much in the Cameron groove’. On the other hand, Davis (2001) noticed that in Titanic ‘the dissonance created by Cameron’s simultaneous desires to reenact the grave dimensions of the disaster and to tell the story of his two young lovers as they race wildly and passionately throughout the ship ultimately repels many viewers who cling to the values of mimesis and the notions of high art.’
This paper focuses on the commercial aesthetic of Titanic as it was viewed especially by Maltby Richard in his book Hollywood Cinema the 2nd edition of which was published in 2003. In order to understand the comments made by Maltby regarding the commercial aesthetic of Titanic, a review of the film and its statistics was considered as necessary. On the other hand, the commercial aesthetic of Titanic is presented as viewed by other critics in order to achieve a comparative analysis of Maltby’s views on the particular issue. In this context, the views of Sandler et al. (1999) (especially those included in their book Anatomy of a Blockbuster) are also presented in order to support the argument for the commercial aesthetic of Titanic as a film of high commercial and artistic value.
Maltby (2003) presented his views on commercial aesthetic in the first part of his book entitled ‘Commercial aesthetic’. In this part, Maltby tries to highlight the difference between art and business especially with a reference to the film industry using Titanic as an example of the simultaneous coexistence of quality (art) and commercial value .(business). .