By Leonard Quart
During this latest replace to American movie and Society because 1945, the authors extend upon prior variants through including movies formerly overlooked, and increase their research of a few movies through discussing how those works catch the temper and values of yank society in a selected decade. Interpretation of movies can contain direct connections with social and political matters, yet usually take care of the $64000 subtext of desires, wishes, and displacements that the yankee public feels. contemporary movies that current homosexual relationships and politics, reminiscent of Brokeback Mountain and Milk, and that tackle race family and concrete real looking Crash and helpful are tested. This fourth version additionally addresses adjustments within the smooth movie equivalent to convergence and the electronic revolution.
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Additional resources for American Film and Society since 1945
His fiancée confronts his self-pity and tells Al she needs him; predictably, his neurosis (as does our concern about the fate of the returned veteran) then quickly dissolves. The same theme of postwar adjustment was taken up by Till the End of Time (1946), where the crippled veteran has no girlfriend but rather a mother and a friendly army officer who rouse him from his anger and withdrawal to enter the world again. These films paled by comparison with Samuel Goldwyn and William Wyler’s The Best Years of Our Lives (1946), which dealt with the return home of three World War II veterans from different social backgrounds and the psychological, economic, and physical problems of readjustment they confronted.
And though it ultimately allowed each of its characters a graceful, albeit predictable, reentry into postwar American society, it suggested that there were genuinely real and traumatic problems inherent in returning home from the war. There were also hints that underneath the film’s essentially optimistic surface there existed some feelings of doubt about America’s future. ) This anxiety about America was not merely confined to the returned veteran, but it also extended to other areas of American life.
The Cabinet of Dr. Caligari and Nosferatu). , Port of Shadows), the Warner gangster films of the 1930s, and a strain of 19th-century romanticism. Some leading figures among these expatriate directors were Billy Wilder (Double Indemnity, 1944), Otto Preminger (Laura, 1945), Robert Siodmak (The Killers, 1945, and Cry of the City, 1948) and Fritz Lang (Woman in the Window, 1944, and Scarlet Street, 1945). They made films that tended to, in stylistic terms, deliberately disquieting editing, low-key lighting, night for night shooting, subjective view shots, voice over and flashback, and oblique camera setups.
American Film and Society since 1945 by Leonard Quart