Does Film Noir mirror the culture of contemporary America?. 6 Mar 2003. 29 Jan 2005 http://odur.let.rug.nl/~usa/E/noir/noir01.html. Horsley, Lee. Thriller (Noir), 1930-.
http://www.filmbug.com/dictionary/moviehistory.php (accessed ). Gallagher, Gary W. 2008. Causes won, lost, and forgotten: how Hollywood & popular art shape what we know about the Civil War. Chapel Hill: University of North Carolina Press. George Mason University.
The movies produced during the Cold War glorified American democracy and an evaluation is completed discussing the impact of this glorification on society. The analysis emphasizes how these beliefs infiltrated all genres of moviemaking, according to researchers of film propaganda and American politics. Several secondary sources are used to look at film propaganda produced during the era of McCarthyism and the anti-communist hysteria existing exclusively in this time period. Section B: Summary of Evidence As the United States transitioned out of World War II in 1945 and into a period of tension with the Soviet Union instigated by fear of the spread of Communism, the country’s distress moved to a new enemy. This hysteria became known as the Second Red Scare, lasting from 1947 to 1954 and initiated by Senator Joseph McCarthy.
Between 1939s and 1940s were considered propaganda films that were designed for entertainment during the Depression and World War II. During the 1930s many German and Europeans immigrated to the U.S. and helped the American film industry with powerf... ... middle of paper ... ...ory telling tie it all in together. J.P. Telotte, author of “Voices in the Dark: The Narrative Patterns of Film Noir”, states by, “grounding their social commentary in a factual context, by aligning narrative with the newsreels of the day, these films also challenged the way audiences saw their world. (Telotte 155) References NAREMORE, J. (1998).
If a Hollywood production failed to live up to the agreement, it would not be releas... ... middle of paper ... ...te, 1999. 409-412. Ross, Steven J. “Confessions of a Nazi-Spy: Warner Bros., Anti-Fascism and the Politicization of Hollywood. Warner’s War: Politics, Pop Culture & Propaganda in Wartime Hollywood.
In addition, motion pictures were created to present fictional and non-fictional stories for education and entertainment. The United States, and specifically Hollywood, became the center of the film industry world-wide. The widespread social and political changes which occurred in the mid-20th century shaped the country we live in today and Hollywood began creating films about events at the time. A few common themes for this time period include racism and civil rights, communism, youth culture, musical trends, and the Vietnam War. The film’s director was largely responsible for the accuracy of a movie and, because of freedom of speech, directors were open to presenting these events in the manner that he or she wished.
Retrieved from: http://www.americaspurpose.org/report/conclusion.asp Cettl, R. Terrorism in American cinema: an analytical filmography, 1960-2008. USA: Library of Congress Cataloguing-in-publication Data, 2009. pp 4-11 Dr. Kingsley, S. American Responds to Terrorism. How Have other Countries Handled It? Constitutional Rights Foundation: los Angeles, 2011. Retrieved from: http://www.crf-usa.org/america-responds-to-terrorism/terrorism-how-have-other-countries-handled-it.html Linden, E. Focus on Terrorism.
Latinos, Politics, and American Cinema Feature films in the United States influence American viewers' attitudes on a wide variety of topics. Americans attitudes toward politics are shaped by films, and specifically the politics of racial interaction. The history of modern feature films begins with Birth of a Nation (1915), a film that misrepresents the Black race by justifying the existence and role of the Ku Klux Klan in American society. From this racist precedent, producers and directors understood that visual messages, however latent, were a useful means of communicating a political message to a large audience. After this epiphany, a myriad of films were made for different political causes.
There is much that separates the two golden eras of Hollywood. Filmmakers of both generations employed styles and techniques that reflected the convention and technology of each respective era. Meanwhile, America underwent seismic social change in the sixties. At the end of the second world war, which had occurred during the first golden era, the average American viewed government as a dependable and trustworthy institution to an authority. By the time Francis Ford Coppola won his sixth Academy Award, that perception of government had transformed into one of a regime that was incapable and dishonest.
The Meta-Narrative of American History “One man’s dream is another man’s nightmare”, and perhaps one nation’s war is a potential Hollywood movie. While many Hollywood filmmakers have deemed it their true calling to present the war topic to the public in creating pictures which, according to McCrisken and Pepper, allow them to “critically engage with complicated questions about what constitutes ‘America’ domestically and internationally in the post-Cold War world.” A subject which leaves room for little to no debate is the perception that Hollywood directors, along with their pedagogical and informative topics, usually resort to films in order to convey messages and inform their viewers of the “bigger picture” they might seem to have glanced so quickly at. Such is the case with the two high-profile war movies, which are the subject of debate in this thesis, Oliver Stone’s Platoon (1986) and David Russell’s Three Kings (1999). Upon their release, with the emphasis on the former, they have both created quite a buzz which attracted the attention of many historians and created controversy which would be put under the microscope and thus promoting historical inquiry which the Americans would soon want to unravel (McCrisken & Pepper, 2005). In order to better understand the topic at hand, it is of extreme importance to tackle the perceived motive behind the advancements of the American army in the Vietnam War, and their involvement in the Gulf War.