By Leonard Quart
During this most up-to-date replace to American movie and Society due to the fact 1945, the authors extend upon prior variants through including motion pictures formerly ignored, and increase their research of a couple of movies by means 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 matters, yet frequently care for the $64000 subtext of desires, wants, and displacements that the yank public feels. contemporary movies that current homosexual relationships and politics, akin to Brokeback Mountain and Milk, and that handle race kin and concrete practical Crash and necessary are tested. This fourth version additionally addresses alterations within the sleek movie reminiscent of convergence and the electronic revolution.
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Extra resources for American Film and Society since 1945
There were also less successful films like Robert Siodmak’s Cry of the City (1948), which had a pungent, quasi-documentary feeling for low-life locales: perennially wet streets, neon lights reflected in windows, sinister cocktail lounges, and decaying tenements. It also contained some imaginatively constructed noirish set pieces: a gross six-foot masseuse (Hope Emerson) seen both in close-up devouring her breakfast or through a glass door, in full shot, ominously striding through a house switching on the lights in room after room; a police interview of a group of émigré abortionists that is enveloped in squalor and pathos; and a meticulously executed escape scene, accompanied by a swelling drumbeat on the sound track, as the film’s corrupt and charming villain slips right past the police.
Hollywood was unwilling to take the risk that audience sympathy could be elicited for black actors passing for white, so it made it easy for them. It gave them white actors, playing characters, who by some imperceptible accident of fate may have some black blood. The film concludes with the town’s Episcopal minister giving a sermon affirming Christian principles (“I am my brother’s keeper”) and announcing that the navy has seen the light and has begun to grant officers’ commissions to all people of all races.
Except for the momentary anxiety over the family’s possible uprooting because of the father’s new job in New York, some nervousness about whether the boy next door, John Truett (Tom Drake), loves Esther Smith (Judy Garland) and the strikingly visualized Halloween night terrors of little “Tootie” (Margaret O’Brien), the Smith family lived on the surface a warm, almost idyllic existence. The film constructed an Edenic past centering on home and family and topped off by a vision of an ever-progressing future embodied in the 1903 St.