Virginia City. Michael Curtiz. Warner Bros. A Southern Yankee. Edward Sedgwick. The Outriders. Roy Rowland.
Numéros en texte intégral
Santa Fe. Irving Pichel. Columbia, Roy Huggins. Randolph Scott, Donna Reed. Escape from Fort Bravo. John Sturges.
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Metro-Goldwyn-Mayer, Siege at Red River. The Horse Soldiers. John Ford. United Artists, Advance to the Rear. George Marshall. Arizona Bushwhackers. Lesley Selander. Paramount, Tauris, Rollins ed.
Other films cited are referenced only in the notes or in the body of the paper. On his way to Nevada to try and stop the shipment, Kerry Bradford Errol Flynn — the Union officer who has escaped from a southern prison and sworn revenge on his former jailer, the Confederate officer Vance Irby Randolph Scott — falls in love with Julia Hayne, a Southern Belle spy Miriam Hopkins , not suspecting that she is one of the conspirators. When Carla Forester Eleanor Parker arrives at the fort, Roper falls in love with her, unaware that she is a spy sent to help some prisoners escape.
When the prisoners do escape, Holden chases them to bring them back, until the group is attacked by Mescalero Indians. Tauris, , ; Bruce Chadwick, op. Constitution grants to the state legislatures rather than the federal government. McLaglen, , which blamed slavery for the war. Alicia R. Kreiser, op. This is a terrific volume that deserves a place on every film and history scholar's shelf.
The Columbia Companion to American History on Film: How the Movies have Portrayed the American Past
LOG IN. In effect, interpersonal relations were s, commercial television became big busi- threatened because of the inversion of roles ness; sex and violence began to undergird suc- and, in the process of role reversal, men, for cessful programs, both reflecting and causing many, became the sex object. According to prone to accept violence casually, and insen- Wolfe and other critics, the basic precepts of a sitive to social issues Comstock, More women Perhaps the most significant phenomenon had jobs previously held only by men, and of the s, which culminated as the major such visible bastions of male dominance as issue of the early s, was the Vietnam War.
This rejection greatly am- sequent cover-up, underlined the impact of plified the problems of readjustment for the the print news media, as did The Parallax returning soldier, already burdened by the View, which focuses on a journalist who at- guilt about what he had been told by public tempts to probe the assassination of a presi- spokesmen and his radical peers was an im- dential candidate.
Both films validated the moral war. Jane Kra- tional difficulties but also finding a constructive mer observes that the focus on male-female new direction in life. Such served. Manhattan She meets many significant films of the s were cre- Saul Kaplan Alan Bates , a famous painter ated.
In Looking for Mr. Goodbar, Theresa perception. The film raised a flag about the impact of sexuality. In both Manhattan and Annie Hall, television on thinking processes and behavior the protagonists embody the sexual anxieties patterns—and thus the fabric of American so- of modern men, which, when transposed on ciety. Where We Stand image of the liberated woman but also of jus- in Cambodia examines the expansion of the tifying themselves as men.
Finally, The Boat People reports on of the s is not accidental. As the decade the plight of thousands of homeless Vietnam- opened, the national mood was wrenchingly ese refugees stranded along the coast of Ma- altered by the perception that the war was wid- laysia and Southeast Asia and examines U. Films such as policies concerning these people.
Among casualties. Jon Voight is wounded, but his healing Finally, Are You Listening and Becoming Amer- brings new insights about life; on the other ican highlight the heartaches and joys of the hand, Captain Bob Hyde Bruce Dern is de- American experience. The diversity of per- stroyed because he cannot reconcile old values spectives in the films underscores the impact with the world of Woodstock. Among the Compensatory Vision important ones produced in the s were In a decade where many of the societal prob- Saigon , Vietnam: Voices in Opposition lems continued to fester, the most successful , Where We Stand in Cambodia , films were often wish-fulfillment fantasies, Lyndon Johnson Talks Politics , Indo- which offered solutions to pervasive pressures.
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The original Rocky was , and The Selling of the Pentagon Star Wars fits this description neatly had formal film school training and were able yet manages to convey a deeper meaning, as to create films that were both critically and the narrator of the documentary The Making commercially successful. Before it we are young again and soundtracks, and action, stressing form and everything seems possible. Altogether, as Peter Lev has argued, pealing, mystical solutions to problems of the films of the decade represent a form of dis- great magnitude.
It is an apt assessment that re- s was also a watershed era in many critical inforces the relationship between film and his- aspects. The decade saw the renewal and re- tory. Space Opera. London: Futura, Coming Home , F Biskind, Peter. Hester Street , F Comstock, George, et al.
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Klute , F Freeman, Jo, ed. Social Movements of the Sixties and Kramer vs. Kramer , F Seventies. New York: Longman, Goodbar , F Horizon, May The Culture of Narcissism. New Manhattan , F York: Norton, Austin: University of Texas Press, Network , F Lifton, Robert J.
Home from the War. American Film Now. Rocky , F Olson, James S. Historical Dictionary of the s.
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