By Leonard Quart
This post-World conflict II survey of yank cinema offers 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 heritage of the decade and discusses occasions corresponding to the assaults of September eleventh, 2001, storm Katrina, the wars in Iraq and Afghanistan, the industrial hindrance, and the election of President Barack Obama
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Additional info for American Film and Society since 1945
Homer does not want to be pitied or treated as a freak; he rejects Wilma and is forlorn and angry (he rages against his little sister and her friends treating him as a freak), and what he needs is a willingness to accept Wilma's love. However, before the predictable conclusion is reached there are tender understated scenes where Homer's father undresses him THE FORTIES 21 and takes off his hooks; and Homer sitting sombrely in the shadows puts Wilma to the test by removing his hooks and describing how helpless he is: Wilma of course passes the test.
For example, in one important scene Zapata (Marlon Brando) is depicted occupying the Presidential palace, and continuing both to temporise and to intimidate the peasants as the tyrant Diaz had done before him. Obviously, in this somewhat abstract schematic sequence, Kazan wants to demonstrate to the audience that power corrupts and that revolutionary regimes have sustained the tyrannical patterns of their rightwing predecessors. However, Viva Zapata cannot be reduced to an anticommunist polemic on the lines of My SonJohn since it is filled with diverse (sometimes half-developed) strains which lead to often contradictory perceptions.
In the thirties two new black stereotypes began to appear, noble victims who were symbols of general rather than racial oppression, and 'tragic mulattoes' (for example, Imitation of Life, 1934), whose skin allows them to pass into white society. However, until the THE FORTIES 31 I 940s problem films blacks were confined to minor roles, and racism was never explored as an issue. 27 By the end of the decade Hollywood began to deal with the issue and a number of films dealing with race prejudice were released.
American Film and Society since 1945 by Leonard Quart