By Leonard Quart
During this most up-to-date replace to American movie and Society considering the fact that 1945, the authors extend upon prior versions through including motion pictures formerly overlooked, and expand their research of a few movies by way of discussing how those works seize the temper and values of yankee society in a specific decade. Interpretation of motion pictures can contain direct connections with social and political concerns, yet frequently take care of the real subtext of goals, wishes, and displacements that the yankee public feels. fresh motion pictures that current homosexual relationships and politics, equivalent to Brokeback Mountain and Milk, and that tackle race kinfolk and concrete practical Crash and necessary are tested. This fourth version additionally addresses adjustments within the sleek movie resembling convergence and the electronic revolution.
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Additional resources for American Film and Society since 1945
Blacks, from Birth of a Nation (1915), had usually been seen by Hollywood either as brutal, savage bucks or as good toms and mammies. , Imitation of Life, 1934) whose skin color allowed them to pass into white society. However, until the 1940s problem, films’ blacks were confined mainly to minor roles, and racism was never explored as an issue. By the end of the decade, Hollywood began to deal with the issue, and a number of films dealing with race prejudice were released. In one of these, Home of the Brave (1949), an educated, emotionally disturbed black GI, Peter Moss (James Edwards), is cured of a trauma (psychosomatic paralysis) by a white psychiatrist.
They now could get upset because an innocent man — a non-Jew — has by mistake become a victim of prejudice. It was not only Jews who got a touch of liberal optimism from Hollywood in the 1940s. Blacks, from Birth of a Nation (1915), had usually been seen by Hollywood either as brutal, savage bucks or as good toms and mammies. , Imitation of Life, 1934) whose skin color allowed them to pass into white society. However, until the 1940s problem, films’ blacks were confined mainly to minor roles, and racism was never explored as an issue.
There is nothing serene or simple about the city that they’re hungry to experience. ” Their energy is so infectious that it allows them to liberate three young women—an overworked taxi driver (Betty Garrett), an oversexed socialite (Anne Miller) (class differences are no obstacle), and a pert ballerina reduced for financial reasons to kootch dancing at Coney Island (Vera Ellen). 30 It is this inexhaustible sense of energy, joy, and confidence that more than anything else characterizes the 1940s and its films.