The End of the World
In writing definitively about American films of the nineteen fifties, Douglas Brode refers to the societal hysteria resulting from fear of both the communist threat and the possibility of nuclear war. Accompanying this general state of mind was the emergence of the science fiction film as a major genre. Titles in the genre dealt with fantasy topics ranging from alien invasion (The Thing, 1951, or Invasion of the Body Snatchers, 1956), to biologial "missing links" (The Creature from the Black Lagoon, 1954), to the bizarre side-effects of nuclear contamination (The Incredible Shrinking Man, 1957), or to actual nuclear war (The World, the Flesh and The Devil, 1959).
Another interesting example of this last category is Stanley Kramer's On the Beach, released in the last month of a decade which would be remembered for its omnipresent bomb culture. As the turn of the decade approached, some changes were apparent. At the same time that exchanges between Eisenhower and Khrushchev were bringing new, less frightening discourses to the political arena, Kramer's film in the bomb culture tradition negotiated new approaches to the depiction of the nuclear threat. As is so often the case in genre studies, On the Beach should be considered in terms of how it is representative of the context from which it emerged, but also in terms of what makes it unique. Through such an examination, as well as a survey of the impact that the film had upon its audiences, I hope to discuss On the Beach as integral in a culture of the bomb which spoke proactively and unequivocally against nuclear armament.
Bomb Culture & Science Fiction in the Fifties
"As the notion of an all-out nuclear confrontation became a viable possibility, w...
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...reatly changed from Arnold's day) for their evocation of some part of each of us which reaches toward others in defense against a world which can be truly frightening.
On the Beach is much the same. Aesthetically and narratively, it is impressive; it would be difficult not to be moved by the final honest exchange between Admiral Bridie and Lieut. Hosgood; the reflection of the young husband and wife as they recall their first meeting; or the chilling void of a grey, white and black world in which people used to live. Produced as part of the culture under- the-bomb, On the Beach speaks memorably of that specific context; produced as a carefully planned passionate requiem on the potency and vulnerability of human existence, it transcends this context, and reminds us today that no matter what the threat, as long as there is the human spirit, there is "still time."
In the piece “Cinema/Ideology/Criticism,” Jean Luc-Comolli and Jean Narboni define the critic's job as the discernment of “which films, books and magazines allow the ideology a free, unhampered passage, transmit it with crystal clarity, serve as its chosen language” and which films “attempt to make it turn back and reflect itself, intercept it, make it visible by revealing its mechanisms, by blocking them” (753). Through their examination, seven film categories are outlined. Clue falls into the “E” category, which is defined as “films which seem at first sight to belong firmly within the ideology and to be completely under its sway, but which turn out to be so only in an ambiguous manner” (75...
... out of a 1950s woman's film. The melodramatic influences of the film continue to manifest themselves in the newer release, just as Apocalypse Now continues to influence the epic movies of contemporary filmmakers. The unison of operatic spectacle and personal conflict spawned an original genre in the 1970s that remains an effective method of addressing social concerns. As we enter another period of political unrest and social change, it is likely that a new wave of melodramatic films is beginning to form on the horizon; there are certainly parallels between a government that declares war on terrorism and the U.S. army in Vietnam, who "knew everything about military tactics, but nothing about where they were or who the enemy was" (Cowie 143). From Conrad to Coppola, nuclear family to nuclear terrorism; never get off the boat, unless you're willing to go all the way.
Stanley Kubrick’s sexual parody, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, illustrates an unfathomed nuclear catastrophe. Released in the midst of the Cold War, this 1964 film satirizes the heightened tensions between America and Russia. Many sexual insinuations are implemented to ridicule the serious issue of a global nuclear holocaust, in an effort to countervail the terror that plagued America at that time. Organizing principles, such as Kubrick’s blunt political attitudes about the absurdity of war and the satirical genre, are echoed by the film style of his anti-war black comedy, Dr. Strangelove.
Literature and film have always held a strange relationship with the idea of technological progress. On one hand, with the advent of the printing press and the refinements of motion picture technology that are continuing to this day, both literature and film owe a great deal of their success to the technological advancements that bring them to widespread audiences. Yet certain films and works of literature have also never shied away from portraying the dangers that a lust for such progress can bring with it. The modern output of science-fiction novels and films found its genesis in speculative ponderings on the effect such progress could hold for the every day population, and just as often as not those speculations were damning. Mary Shelley's novel Frankenstein and Fritz Lang's silent film Metropolis are two such works that hold great importance in the overall canon of science-fiction in that they are both seen as the first of their kind. It is often said that Mary Shelley, with her authorship of Frankenstein, gave birth to the science-fiction novel, breathing it into life as Frankenstein does his monster, and Lang's Metropolis is certainly a candidate for the first genuine science-fiction film (though a case can be made for Georges Méliès' 1902 film Le Voyage Dans la Lune, his film was barely fifteen minutes long whereas Lang's film, with its near three-hour original length and its blending of both ideas and stunning visuals, is much closer to what we now consider a modern science-fiction film). Yet though both works are separated by the medium with which they're presented, not to mention a period of over two-hundred years between their respective releases, they present a shared warning about the dangers that man's need fo...
Kubrick came across the novel Red Alert, and instead of deciding to make the work into a film that tackled the notion of nuclear war in a serious manner, he chose to make the film a satire. This was immensely risky. Only two years after the conclusion of the Cuban Missile Crisis, which nearly plunged the world into a nuclear holocaust, as the topic of nuclear war as a film subject, let alone a satire, was considered taboo and by no means socially ac...
I wish in this paper to sketch a project involving nuclear iconography and post-Cold War culture. At the heart of this project is the claim that the current historical moment forms a legitimation crisis for the scientific, military, industrial, governmental, and "cultural" institutions whose interests are configured in the design, manufacture, deployment, and "use" of nuclear weapons. Within this moment, a variety of progressive and regressive movements have been intitiated through the production and reception of nuclear weapons rhetoric. The role of visual iconography in nuclear hegemony has traditionally received minor attention (e.g., compared with the "nukespeak" of foreign policy, mass media news coverage, and literary works). Recent scholarly articles and books have attempted to correct this verbalist imbalance by examining the genres and discourses of nuclear art (e.g., painting), cinema and photography. Collectively, this work establishes that the Bomb is -- after W.J.T. Mitchell -- an "imagetext" in which verbal and iconic discourses interanimate to produce ways of (not) seeing and forms of (not) feeling that have historically positioned cultural subjects in relation to the technologies, policies, figures, locations, events, and institutions (in both senses as "customary practices" and "formal organizations") which have constituted the nuclear condition . . .
Suid, Lawrence. "The Pentagon and Hollywood: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)." American History/ American Film: Interpreting the Hollywood Image. Eds. John E. O'Connor and Martin A. Jackson. Boston: Frederick Ungar Publishing Co., 1979.
“As I Lay Dying”, is a well known novel, written by William Faulkner, who tells a story about a dying mother and her one last dying wish. The Bundren family tries to attempt to grant the mother’s, Addie Bundren, last wish but each character had his or her selfish reasons for actually traveling to where Addie Bundren wished to be buried at. The journey to Jefferson burial grounds had the Bundren’s helping one another through the different situations that occurred, but also the Bundren family had many differences between each character that caused betrayal to one another.
So, no matter where you live in Texas, the affects of climate change can be felt in one if not more ways. With changes already occurring to our cities, urban areas, and water resources, it is obvious that climate change has already started to affect Texas. Yet it is hard to predict with certainty what impact these changes will have on the life of the everyday Texan. One thing is for certain, and that is that in the coming years a solution to the decrease of greenhouse gases will need to be found and acted upon quickly.
Doherty, Thomas. Projections of Power-Hollywood, American Culture, and World War II. New York City: Columbia University Press, 1993. Book.
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.
Fyne, Robert. The Hollywood propaganda of World War II. Metuchen, N.J.: Scarecrow Press, 1994. Print.
Texas climate cannot be simply explained by variations in mean temperatures and rainfall, but must be combined with variation in severe and high impact weather too. Tornados hail, and hurricanes are common occurrences throughout springtime. Hurricanes can yield substantial amounts of rainfall causing major flooding. [NG,2005] Drought also must be included when focusing on high impact weather in Texas.
The founding fathers constructed the Constitution with the notion that “all men were created equal.” However, many minorities still struggle for the same rights and opportunities as others. “Mother to Son” and “The Negro Speaks of Rivers” are poems written by Langston Hughes that use symbolism to exemplify the struggles of African Americans as they attempt to persevere through adversity. Hughes utilizes the stairs in “Mother to Son” and the rivers in “The Negro Speaks of Rivers” as his main modes of symbolism.
On a conscious level the characters make decisions based upon three criteria. They can act on sensation, they can use reason for guidance, or they can act upon their innate intuition. “Faulkner is able to indicate the particular combination of sensation, reason, and intuition possessed by each of his characters… through a subtle manipulation of language and style” (Vickery 51). Faulkner portrays each character through their thought process and thus characterizes them as the product of their choices.