Download e-book for kindle: American Film and Society since 1945 by Leonard Quart

By Leonard Quart

ISBN-10: 0275967433

ISBN-13: 9780275967437

Even if movies hardly ever act as reflect reflections of daily fact, they're, however, robust cultural expressions of the goals and wishes of the yank public. within the 3rd variation in their seminal paintings, Leonard Quart and Albert Auster offer an entire post-World warfare II survey of yankee cinema and its usually complicated and contradictory values. From the self-confident affirmations of the speedy postwar period, in the course of the social and cinematic turbulence of the sixties and seventies, to the darker, extra pessimistic works of the nineties, the United States cinema has mirrored and refracted American concerns.While adhering to the chronological constitution and demanding premises of the former versions, American movie and Society in view that 1945, 3rd version, provides key analyses of post-Cold battle and Clinton-era cinema. whereas motion pictures of the nineties evoked no unmarried political or cultural present, their variety offers a wide ranging view of this most intricate time. videos that reaffirmed American patriotism (Saving inner most Ryan) and debunked its politics (Bulworth), explored lifestyles within the internal urban (Boyz N the Hood), handled homosexuality (Philadelphia), women's matters (Thelma & Louise), suburbia (American Beauty), and sexuality (Eyes large close) upload as much as a decade as multifaceted as any that Quart and Auster have thought of. No different paintings presents such an exhaustive and rigorous account of this parallel historical past of the U.S.. The breadth and intensity of this newest version will carry attraction for students, scholars, and common readers alike.

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Here it was the symbol of the returned veteran who became the embodiment of those issues. As a matter of fact, as Dr. Franklin Fearing wrote in the first issue of the Hollywood Quarterly (predecessor of the present Film Quarterly): “When Johnny Comes Marching Home” is not only the title of a popular Civil War song, it is a symbol and a situation. It is a symbol with curiously ambivalent meanings, it signifies the return of heroes, or wars ended, of happy reunions after hardwon but glorious victories, and of peace after battle.

Throughout the film, Welles takes pleasure in his cinematic virtuosity, and creates original images and sequences to evoke Elsa’s lethal charm. For example, there is an overhead shot of Elsa languidly lying down and singing on the deck of the yacht, luring O’Hara from the bowels of the boat. And an aquarium scene where her face is juxtaposed with an octopus, a metaphor for her predatoriness. For a grand finale, Welles constructs a playland sequence with grotesque laughing dolls, chutes, masks, and a house of mirrors—a labyrinth of refracted and reflected multiple selves.

The films projected a world which was almost universally corrupt and morally chaotic, but gave little sense of how particular social values and institutions helped shape or contribute to this vision (though there were exceptions like Abe Polonsky’s Force of Evil, 1948). Corruption was defined primarily in metaphysical—and, at moments, psychological—terms, though the monstrosity of characters, like Veda in Mildred Pierce, was too outsized for the film’s psychological explanations. Many characters in film noir were impotent and helpless in the face of evil, bending to its force, which seemed to reside in an inalterable human nature.

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American Film and Society since 1945 by Leonard Quart


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