Jonathan Rayner

TNWC05 16/11/06 11:26 AM Page 120 5 American films of the Cold War Representations of naval operations, up to and including actual combat, in films made during the Cold War appear as varied and problematic as the political and operational complexities afflicting the navies themselves in that period. The moral clarity and narrative certainty sought in the war film genre, as it had evolved during the Second World War (in the clear delineation of goals, the unity to be sought and the enemies to be defeated in order to achieve them), were not readily or

in The naval war film
Frank Sinatra, Postwar Liberalism and Press Paranoia
Karen McNally

Anti-Communist hysteria had a wide-ranging impact on Hollywood across the postwar period. As writers, directors and stars came under the scrutiny of the House Un-American Activities Committee (HUAC) due to the content of their films and their political activities, careers were interrupted indefinitely and Hollywood‘s ability to promote cultural change in the new era following World War II was severely hampered. Frank Sinatra‘s heavy involvement in liberal politics during this period illustrates the problems confronting the American film industry as it attempted to address the country‘s imperfections.

Film Studies
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Author: Peter Marks

This book argues the centrality of hybridity to Terry Gilliam's films. Gilliam had a collaborative approach to filmmaking and a desire to provoke audiences to their own interpretations as other forms of intertextual practice. Placing Gilliam in the category of cinematic fantasist does some preliminary critical work, but crudely homogenises the diversity of his output. One way of marking this range comes from understanding that Gilliam employs an extraordinary variety of genres. These include medieval comedy; children's historical adventure; dystopian satire; the fantastic voyage; science fiction; Gonzo Journalism; fairy tale; and gothic horror. Gilliam's work with Monty Python assured him a revered place in the history of that medium in Britain. As a result, the Python films, And Now for Something Completely Different, The Holy Grail, Life of Brian and The Meaning of Life, along with his own, Jabberwocky, Time Bandits, and Brazil, show him moving successfully into the British film industry. Most of his films have been adaptations of literary texts, and Jabberwocky forges an extended tale of monsters and market forces. The Adventures of Baron Munchausen builds on some tales from the original texts, constructing a complex examination of fantasy, representation and mortality. Taking crucial ingredients from medieval and older mythologies, the screenplay of The Fisher King resituates them and reworks them for modern America. Gilliam's complex interaction with Britain and America explains his ambiguous place in accounts of American and British films.

Cultural and economic relations between the British film industry and Hollywood
Jonathan Stubbs

American Film Institute’s ‘greatest American films of all time’ list – also highlighted the particularly close relationship between American and British film culture. Four of the twenty-five films had British-born directors (Charlie Chaplin, David Lean, and Alfred Hitchcock twice) and three of them were filmed using British studios ( Star Wars (1977), 2001: A Space Odyssey (1967), and Lawrence of Arabia (1962)). 3 Thus, while Brown’s gifts located the ‘special relationship’ in the late nineteenth century and the Second World War, Obama’s gift evoked (quite

in Culture matters
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Sam Rohdie

determined, but internally so, naturally, as if the bowl of soup, not Kuleshov, and his arrangement of images determined the hunger on the actor’s face. In American films, which inspired Kuleshov, things were different. In these films, an actor and a bowl of soup or a revolver were in the same real space and time as they would be in the theatre. They were, as in the theatre, put-into-scene (mise en scène) in

in Montage
Jonathan Rayner

TNWC03 16/11/06 11:27 AM Page 80 3 Hollywood and the one-ocean war The contribution of the American film industry to the war effort can be divided chronologically between preparatory propagandist films made before the attack on Pearl Harbor, and combat films made after it, and formally between non-fiction (newsreels, documentary and instructional films) and feature film productions. As in Britain, a convoluted relationship between the propaganda arm of government and the filmmaking establishment was wrought to mobilise and exploit the entertainment industry

in The naval war film
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Andrew Spicer

distinctiveness of film noir or neo-noir within its respective national cinema at particular moments, but also discusses its interaction with American film noir and neo-noir. As each contributor argues, although European film noirs have characteristics that are specific to their national cultural formation, each has been profoundly affected, in various ways, by American noir, in a complex, two-way dialogue that ranges from imitation to

in European film noir
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Felicity Chaplin

(1939) and Le Quai des brumes (1938) and Jean-Luc Godard’s À bout de souffle (1960). These films, each in its own way, are examples of French film noir and their female protagonists read as femme fatales. However, the femme fatale of French film noir is different from the femme fatale of American film noir; she comes from a different cultural tradition and is informed by a different cultural figure. The femme fatale moves easily between American noir and French noir, and while her narrative function remains the same – to bring closure through the hero’s death or

in La Parisienne in cinema
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Encountering the monstrous in American cinema
Susan J. Tyburski

-anxiety, creating monstrous visions that mirror our fears about the fate of our civilization and the planet we call home. In her 2007 study of millennial horror films in America, Apocalyptic Dread , Kirsten Moana Thompson explores ‘social anxieties, fears, and ambivalence about global catastrophe’ appearing in American films beginning in the 1990s. 10 She explains that the word

in Ecogothic
Open Access (free)
The early British films of Joseph Losey
Neil Sinyard

1949 American film, The Dividing Line (US: The Lawless ), and Viveca Lindfors in The Damned (US: These are the Damned ). The American background is also reflected in the writers he uses, frequently blacklisted comrades: Carl Foreman and Harold Buchman for The Sleeping Tiger , Howard Koch for The Intimate Stranger , Ben Barzman for Blind Date . The film in which Losey’s background is most

in British cinema of the 1950s