By Peter Lev, David Cook, Frances Gateward, Paula J. Massood, Lester D. Friedman, Michael DeAngelis, Mimi White, Mia Mask, Glenn Man, Frank Tomasulo, Charles Maland
A arrogant look on the seventies-the so-called Me Decade-unveils a kaleidoscope of huge hair, blaring tune, and damaged politics-all effortless objectives for satire, cynicism, and eventually even nostalgia. American Cinema of the Seventies, notwithstanding, appears to be like past the strobe lighting fixtures to bare how profoundly the seventies have motivated American existence and the way the flicks of that decade signify a height second in cinema historical past. faraway from a placid period, the seventies was once a decade of social upheavals. occasions reminiscent of the killing of scholars at Kent kingdom and Jackson country universities, the Watergate investigations, the legalization of abortion, and the tip of the yankee involvement in Vietnam are just a number of among the landmark occurrences that challenged the rules of yank tradition. The director-driven videos of this period mirror this turmoil, experimenting with narrative buildings, delivering a gallery of scruffy antiheroes, and revising conventional style conventions. Bringing jointly ten unique essays, American Cinema of the Seventies examines the diversity of movies that marked the last decade, together with Jaws, Rocky, Love tale, Shaft, soiled Harry, The Godfather, Deliverance, The Exorcist, Shampoo, Taxi driving force, superstar Wars, Saturday evening Fever, Kramer vs. Kramer, and Apocalypse Now. Lester D. Friedman is the Senior Scholar-in-Residence within the Media and Society application at Hobart and William Smith schools and the writer of various books on movie.
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Additional info for American Cinema of the 1970s: Themes and Variations (Screen Decades: American Culture / American Cinema)
In the effort to depict student rebellions without taking a deﬁnitive political stance, the ﬁlms often end up leaving their main characters with no clear ground on which to stand, though at times the ambiguity does seem to be the result of a calculated (if failed) effort to offer a complex rendering of the sociocultural scene. Moreover, the counterculture also promoted doing one’s own thing, dropping out, and staying cool, attitudes that are at odds with goal-oriented action, collective political agendas, and conventional character motivation.
The place of “All in the Family” in American cultural history rests 18 LESTER D. FRIEDMAN on how it foregrounded issues previously deemed taboo by nervous television executives, such as breast cancer and menopause, homosexuality and impotence, rape and feminism. Most shockingly, “All in the Family” dealt with racial issues in an overt manner never seen on mainstream American television. ’ It seeks to throw a humorous spotlight on our frailties, prejudices, and concerns. ” Spewing forth derogatory caricatures and racist slang terms when referring to minorities, Archie articulated the growing resentment of the “silent majority” toward the cultural changes that had rocked the social foundation of the nation.
The professor who insists on this line of questioning presumably represents everything that is Harry Bailey (Elliot Gould) in Getting Straight (Richard Rush, Columbia) ultimately sides with student protesters against the university establishment. Jerry Ohlinger’s Movie Material Store. 34 MIMI WHITE wrong with the smug, effete, self-satisfaction of entrenched professors and their “aberrant” perspectives. Harry responds to the insistent harping on homosexual themes in Fitzgerald’s work by jumping on the seminar room table, spouting off-color limericks, and ultimately kissing the offending professor on the lips (a gesture of ambiguous impertinence that may inadvertently conﬁrm the implications of the professor’s line of questioning) before going off to ﬁnd his girlfriend.
American Cinema of the 1970s: Themes and Variations (Screen Decades: American Culture / American Cinema) by Peter Lev, David Cook, Frances Gateward, Paula J. Massood, Lester D. Friedman, Michael DeAngelis, Mimi White, Mia Mask, Glenn Man, Frank Tomasulo, Charles Maland