By Leonard Quart
This post-World battle II survey of yank cinema presents an in-depth exploration of ways movie acts as a strong cultural expression of the yankee public's desires and desires.
• comprises an advent that addresses the historical past of the decade and discusses occasions reminiscent of the assaults of September eleventh, 2001, storm Katrina, the wars in Iraq and Afghanistan, the commercial trouble, and the election of President Barack Obama
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Extra info for American Film and Society since 1945
Given this fact, it is understandable that the Daily Worker would have attacked the film for being Trotskyist;15 that a number offilm critics could condemn it for its Cold War anti-communism; and a great many people in the 1960s new left could love and embrace it. ls For Viva Zapata is touched both with populist and anarchist sentiments. The film is filled with images of the peasants acting heroically and collectively to promote the revolution. For the most part Kazan tends to romanticise the peasants, projecting them in static archetypal images and silhouettes as models of innocence and solemn dignity.
In McCarey's feverish world being an intellectual is clearly a dangerous, un-American vocation, and redemption can be found only in the moralisms of John's elementary school principal father and the hysterical religiosity of his mother. For McCarey it is the heart and emotions, no matter how pathological, that will not lie or lead you astray, but the intellect makes you question and doubt and leaves you open to subversive ideas and the rejection of commonsense wisdom. Nor was McCarey alone in this view of the perfidy of the intellectual.
28 Fortunately there were a few films that were a sharp departure from this facile optimism. In vivid contrast to films like Lost Boundaries and Gentleman's Agreement was Force qf Evil (1948), written and directed by Abraham Polonsky (soon to be a victim of the blacklist). On the surface Force of Evil is a formula melodrama about the numbers racket, whose gunplay and violent confrontations are awkwardly edited and devoid of dramatic tension. However, there is much more to the film than the story ofa bad-good guy who by the film's climax is ready to go straight.
American Film and Society since 1945 by Leonard Quart