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In the following essay, I will attempt to highlight the phenomenon in cinema known as the “counterculture youth-pic.” This trend in production started in the late 1960’s as a result of the economic and cultural influences on the film industry of that time. The following essay looks at how those influences helped to shape a new genre in the film industry, sighting Easy Rider as a main example, and suggests some possible reasons for the relatively short popularity of the genre.
“The standard story of the counterculture begins with an account of the social order against which it rebelled, a social order that was known to just about everyone by 1960 as the “mass society.” The tale of post-war malaise and youthful liveliness is a familiar one; it is told and retold with the frequency and certainty of historical orthodoxy.” (Thomas Frank, Conquest of Cool)
Following World War II, The United States entered a decade of prosperity. Consumerism flourished, and the middle class worker enjoyed the benefits of an economy on the rise. Part of the reason for this rise in the economy, was the change in the work place. Time management and efficiency were emphasized, and the conditions of corporate America reflected it. The cubicle, nine to five workday, and business dress were all products of this change. This focus on efficiency could be seen outside the workplace as well.
“College campuses were such Monoliths of conformity at the decade’s start that university of California chancellor Clark Derr, confidently predicted that “employers will love this generation” because “they were going to be easy to handle.”” (Shaky Ground, Alice Echols)
However, this conformity of the populace to fit the needs of the adult consumer society aroused feelings of disgust in the youth of the day. They felt as though corporate society saw them merely as pieces of a machine, to be worked over and used for the greatest profit. The counterculture movement can be read as a direct result.
Many factors converged to create the hippie counterculture, namely drugs and rock’n’roll, but the forming of this subculture wouldn’t have been so popular had America not at that moment economically well off. While the rebel youth of the 1960’s were rejecting Amer...
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...ericana was pictured on a motorcycle with the distinctive long handlebars and extended fork that Peter Fonda’s motorcycle sported Easy Rider.
Ironically, the very culture which strived to contradict, downright defy, society and its conventions, was eventually assimilated and even manipulated by the mass market to turn a profit. The establishment-destructive and non-conformist ideals of the generation were turned into norms. This could be seen as a major reason more counterculture films following Easy Rider did not do nearly as well. Instead of being groundbreaking and socially explicit, the movies became clichéd and redundant. Easy rider became at the same time the first, pinnacle, and last of the counterculture exploitation films.
Bibliography
Echols, Alice. Shaky Ground: the Sixties and Its Aftershocks.. New York:
Columbia UP, 2002. 17-50.
Grans, Herbert J. (1999) “A Comparative Analysis of High and Low Culture.” In Popular Culture and High Culture: An Analysis and Evaluation of Taste (pp. 89-160). New York, NY: Basic Books.
Frank, Thomas. The Conquest of Cool. Chicago: The University of Chicago
P, 1997. 74-166.
The road movie embodies the human desire for travel and progression. The vehicle of journey is a contemporary metaphor of personal transformation that oftentimes mirrors socio-cultural desires and fears. Thomas Schatz believes that one “cannot consider either the filmmaking process or films themselves in isolation from their economic, technological, and industrial context.” This statement is especially applicable to the independent American films of the late sixties, a time of great political and social debate. Easy Rider (1969) was considered a new voice in film that was pitched against the mainstream. In the 1960s, there was a shift to highlight the outsiders or the anti-heros in film. This counter-cultural radicalism seems to have also influenced the 1991 film, Thelma & Louise. The characters of both films act as figures of anti-heroism by rebelling against the conventional and unintentionally discovering themselves at the same time. Despite their different backgrounds, the protagonists of Eas...
The emergence of the American counter culture in the 1960s was directly connected to the youth of the generation. They vehemently opposed fundamental economic, social, and political doctrines, which they believed previous generations of Americans blindly accepted. The anti-establishment crusade of the counter culture created a Civil War like divide with in the country between traditionalist and reformist. Because the cultural movement was led by young people who opposed authority, traditionalist belittled reformist by attaching a stigma of rebellious adolescent behavior to their cause. Traditionalist ignored the core message of social
Despite the negative portrayal in mainstream 1960s media, justifications expressed by counterculture activists for further investigation, education and experimentation under government control of LSD were rational and valid arguments. Sex, drugs, protests, war, political upheaval, cultural chaos, and social rebellion; the many comforts TV dinner eating, republican voting, church going, suburbia conformists tried to escape through conservative ideals, town meetings, and The Andy Williams Family Hour. National consciousness in 1960s United States was alive, but existed differently in every mind it dwelled, and stirred uninterrupted in every life to which it was introduced. A dream of money, success, and a house with a white picket fence still existed within the pandemonium of the nation and many still relished in the idea of “Americanism.” Television was a base for a magnitude of world news and national information. Television situation comedies created ideal families and contenting distractions from unsettling national realities. Mainstream media, both fact and fiction, influenced the nation’s minds resulting in the effect of political change and further media influence over the government. The new decade, along with the effects of the Vietnam War and the strong influence of television, began to leak from the cracks of the nation a new counterculture of rebellious teenagers, unfamiliar narcotics, and a wave of promiscuity. Among the many issues and events molding our nation into a new decade, came the question of government and mind control. For some it was the next step into human evolution, a potential tool for mind control, a liberator of human kind, but for most LSD helped define 1960s counterculture, in which it was deeply rooted.
American society and culture experienced an awakening during the 1960s as a result of the diverse civil rights, economic, and political issues it was faced with. At the center of this revolution was the American hippie, the most peculiar and highly influential figure of the time period. Hippies were vital to the American counterculture, fueling a movement to expand awareness and stretch accepted values. The hippies’ solutions to the problems of institutionalized American society were to either participate in mass protests with their alternative lifestyles and radical beliefs or drop out of society completely.
Following the great depression, a period of great prosperity overcame America. However, as a side result of this prosperity, many of the ideas expressed by writes of the 1940’s regarding the counter-culture began to die down. In their wake, the traditional ideas of conformity and support of capitalism increased. However, over the course of the documentary “Woodstock”, American ideas on love, profanity, and war are questioned by the Hippie counter-cultural
More than any other countercultural group, hippies reflected a deep discontent with technocracy- society’s reliance on scientific experts who ruled coldly and dispassionately and who wielded enormous power. Hippies said good-bye to that and hello to the mystical spirit, oneness with the universe- life as passion, passion as life, harmony, and understanding. The...
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
During the sixties Americans saw the rise of the counterculture. The counterculture, which was a group of movements focused on achieving personal and cultural liberation, was embraced by the decade’s young Americans. Because many Americans were members of the different movements in the counterculture, the counterculture influenced American society. As a result of the achievements the counterculture movements made, the United States in the 1960s became a more open, more tolerant, and freer country.
Have you ever had one of those days that were so bad that you desperately needed a night at the ice cream or candy store? The 1970’s was that really bad day, while the night of self- indulgence was the 1980’s. Americans love to escape from our daily stress, and of all the products that allow us to do so, none is more popular than the movies. Movies are key cultural artifacts that offer a view of American culture and social history. They not only offer a snapshot of hair styles and fashions of the times but they also provide a host of insights into Americans’ ever-changing ideals. Like any cultural artifact, the movies can be approached in a number of ways. Cultural historians have treated movies as a document that records the look and mood of the time that promotes a particular political or moral value or highlights individual or social anxieties and tensions. These cultural documents present a particular image of gender, ethnicity, romance, and violence. Out of the political and economic unrest of the 1970’s that saw the mood and esteem of the country, as reflected in the artistry and messages in the movies, sink to a new low, came a new sense of pride in who we are, not seen since the post-World War II economic boom of the 1950’s. Of this need to change, Oscar Award winner Paul Newman stated,
Of all the 1980’s films, that can be described as “Eighties Teen Movies” (Thorburn, 1998) or “High School Movies” (Messner, 1998), those written and (with the exception of “Pretty In Pink” (1986) and “Some Kind of Wonderful”(1987)) directed by John Hughes were often seen to define the genre, even leading to the tag “John Hughes rites de passage movies” as a genre definition used in 1990s popular culture (such as in “Wayne’s World 2” (1994 dir. Stephen Surjik)). This term refers to the half dozen films made between 1984 and 1987; chronologically, “Sixteen Candles” (1984), “The Breakfast Club” (1985), “Weird Science” (1985), “Ferris Bueller's Day Off” (1986), “Pretty In Pink” (1986) and “Some Kind Of Wonderful” (1987) (the latter two being directed by Howard Deutch). For the purpose of this study, “Weird Science” and “Some Kind of Wonderful” shall be excluded; “Weird Science” since, unlike the other films, it is grounded in science fiction rather than reality and “Some Kind of Wonderful” as its characters are fractionally older and have lost the “innocence” key to the previous movies: as Bernstein states “the youthful naivete was missing and the diamond earring motif [a significant gift within the film] was no substitute” (Bernstein, 1997, p.89). Bernstein suggests that the decadent 1980s were like the 1950s, “an AIDS-free adventure playground with the promise of prosperity around every corner … our last age of innocence” (Bernstein, 1997, p.1). The films were very much a product of the time in terms of their production (“suddenly adolescent spending power dictated that Hollywood direct all its energies to fleshing out the fantasies of our friend, Mr. Dumb Horny 14 Year Old” Bernstein, 1997, p.4), their repetition (with the growth of video cassette recorders, cable and satellite with time to fill, and also the likes of MTV promoting the film’s soundtracks) and their ideologies.
With all the social, political and cultural changes occurring in the 1960s, youth culture was embracing the ideologies of rebellion and counterculture. The Folk music of the sixties was giving way to the new Rock revolution and with this came the iconic Rock Rebel. The Rock Rebel is a romanticized existential figure who revolts against social conventions in a quest to find value or a sense of freedom beyond the pre-existing conforms of society. (Camus; 1967) Through analysing, in a sociological context, the way the music industry utilized film to help create or reinvent star image of Rock icons The Beatles and The Rolling Stones, we can see how the signifier of the Rock Rebel has evolved with the developing Rock culture. (Dyer; 1979:1)
In recent times, such stereotyped categorizations of films are becoming inapplicable. ‘Blockbusters’ with celebrity-studded casts may have plots in which characters explore the depths of the human psyche, or avant-garde film techniques. Titles like ‘American Beauty’ (1999), ‘Fight Club’ (1999) and ‘Kill Bill 2’ (2004) come readily into mind. Hollywood perhaps could be gradually losing its stigma as a money-hungry machine churning out predictable, unintelligent flicks for mass consumption. While whether this image of Hollywood is justified remains open to debate, earlier films in the 60’s and 70’s like ‘Bonnie and Clyde’ (1967) and ‘Taxi Driver’ (1976) already revealed signs of depth and avant-garde film techniques. These films were successful as not only did they appeal to the mass audience, but they managed to communicate alternate messages to select groups who understood subtleties within them.
Unlike the society before this movement, the hippie did not try to change America through violence, the hippie tried to change things through peace and love. The Hippie Movement was a moment during the mid 1960s through the early 1070s where sex, drugs and Rock-n-Roll, was at the forefront of mainstream society. No one really knows the true definition of a Hippie, but a formal definition describes the hippie as one who does not conform to social standards, advocating a liberal attitude and lifestyle. Phoebe Thompson wrote, “Being a hippie is a choice of philosophy. Hippies are generally antithetical to structured hierarchies, such as church, government, and social castes. The ultimate goal of the hippie movement is peace, attainable only through love and toleration of the earth and each other. Finally, a hippie needs freedom, both physical freedom to experience life and mental freeness to remain open-minded” (Thompson12-13). Many questions are asked when trying to figure out how this movement reached so many of America’s youth, and what qualities defined a hippie as a hippie?
When people hear the term hippie, they think of men and woman in loose clothing with flowers weaved in their hair. Although these men and women did in fact wear these things, they left a significant impact on society. Hippies were a part of the Counterculture movement, which basic ideals were to reject the ideas of mainstream society. The movement itself began with the protesting of the Vietnam War. Eventually, the movement was more than just protesting the war. Hippies promoted the use of recreational drugs, religious tolerance; they also changed society’s views and attitudes about lifestyle and social behavior. The Counterculture movement was the most influential era in the 20th century because the people of this time changed society’s outlook, and broached the topics of drugs, fashion, and sexual freedom.
The sixties was a decade of liberation and revolution, a time of great change and exciting exploration for the generations to come. It was a time of anti-war protests, free love, sit-ins, naked hippie chicks and mind-altering drugs. In big cities such as San Francisco, Los Angeles, New York and Paris, there was a passionate exchange of ideas, fiery protests against the Vietnam War, and a time for love, peace and equality. The coming together of like-minded people from around the world was spontaneous and unstoppable. This group of people, which included writers, musicians, thinkers and tokers, came to be known as the popular counterculture, better known as hippies. The dawning of the Age of Aquarius in the late sixties was more than just a musical orgy. It was a time of spiritual missions to fight for change and everything they believed in. Freedom, love, justice, equality and peace were at the very forefront of this movement (West, 2008). Some wore beads. Some had long hair. Some wore tie-dye and others wore turtle-neck sweaters. The Hippie generation was a wild bunch, to say the least, that opened the cookie jar of possibilities politically, sexually, spiritually and socially to forever be known as one of the most memorable social movements of all time (Hippie Generation, 2003).