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Books on the topic '1980s Film'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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1

Goode, Ian. Voices of inheritance: Aspects of British film and television in the 1980s and 1990s. typescript, 2000.

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2

Myers, David A. Bleeding battlers from Ironbark: Australian myths in fiction & film, 1890s-1980s. Capricornia Institute Publications, 1987.

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3

Beyond auteurism: New directions in authorial film practices in France, Italy and Spain since the 1980s. Intellect, 2008.

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4

Beeler, Stanley W. Dance, drugs, and escape: The club scene in literature, film, and television since the late 1980s. McFarland & Co., 2007.

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5

Betrock, Alan. From exploitation to sexploitation: Four decades of adult film posters 1930s-1960s from the collection of Eric Brad Panelle. Shake Books, 1992.

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6

Buckland, Warren, and Daniel Fairfax, eds. Conversations with Christian Metz. Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789089648259.

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From 1968 to 1991 the acclaimed film theorist Christian Metz wrote several remarkable books on film theory: Essais sur la signifi cation au cinéma, tome1 et 2; Langage et cinéma; Le signifiant imaginaire; and L’Enonciation impersonnelle. These books set the agenda of academic film studies during its formative period. Metz’s ideas were taken up, digested, refined,reinterpreted, criticized and sometimes dismissed, but rarely ignored. This volume collects and translates into English for the first time a series of interviews with Metz, who offers readable summaries,elaborations, and explanations of his sometimes complex and demanding theories of film. He speaks informally of the most fundamental concepts that constitute the heart of film theory as an academic discipline — concepts borrowed from linguistics, semiotics, rhetoric, narratology, and psychoanalysis. Within the colloquial language of the interview, we witness Metz’s initial formation and development of his film theory. The interviewers act as curious readers who pose probing questions to Metz about his books, and seek clarification and elaboration of his key concepts. We also discover the contents of his unpublished manuscript on jokes, his relation to Roland Barthes, and the social networks operative in the French intellectual community during the 1970s and 1980s.
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7

Burman, Powell Jane, and Berthelsen Lori Goldman, eds. Now playing: Hand-painted poster art from the 1910s through the 1950s. Angel City Press, 2007.

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8

Hollywood's detectives: Crime series in the 1930s and 1940s from the whodunnit to hard-boiled noir. Palgrave Macmillan, 2012.

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9

Atomy věčnosti: Český krátký film 30. až 50. let = Atoms of eternity : Czech short films in the 1930s-1950s. NFA, 2014.

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10

Spyscreen: Espionage on film and TV from the 1930s to the 1960s. Oxford University Press, 2003.

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11

Transnational representations: The state of Taiwan film in the 1960s and 1970s. HKU Press, 2014.

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12

Baer, Hester. German Cinema in the Age of Neoliberalism. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463727334.

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This book presents a new history of German film from 1980-2010, a period that witnessed rapid transformations, including intensified globalization, a restructured world economy, geopolitical realignment, and technological change, all of which have affected cinema in fundamental ways. Rethinking the conventional periodization of German film history, Baer posits 1980-rather than 1989-as a crucial turning point for German cinema's embrace of a new market orientation and move away from the state-sponsored film culture that characterized both DEFA and the New German Cinema. Reading films from East, West, and post-unification Germany together, Baer argues that contemporary German cinema is characterized most strongly by its origins in and responses to advanced capitalism. Informed by a feminist approach and in dialogue with prominent theories of contemporary film, the book places a special focus on how German films make visible the neoliberal recasting of gender and national identities around the new millennium.
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13

The 'medieval' in film: Representing a contested time on Indian screen (1920s-1960s). Orient Blackswan, 2013.

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14

Polski film popularnonaukowy: 1945-1980. Państwowe Wydawn. Nauk., 1986.

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15

Jedlička, Jan. Maremma 1980-1994: Kresby, mezzotinty, obrazy, fotografie, film = drawings, mezzotints, paintings, photographs, films. Národní galerie, 1995.

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16

Ontario, Art Gallery of, ed. Outsiders: American photography and film 1950s-1980s. 2016.

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17

Atakav, Eylem. Feminism and Women’s Film History in 1980s Turkey. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0010.

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This chapter explores the relationship between feminism and women's film history in the context of 1980s Turkey. In discussing women's film history, the chapter includes not only the history of women filmmakers and the films they have made but also the link between the history of Turkish film industry and feminism. It begins with a historical overview of the feminist movement in Turkey and then examines its visible traces in film texts produced during the 1980s in order to argue that those films can be most productively understood as explorations of gendered power relations. The chapter then considers how the enforced depoliticization introduced in Turkey after the 1980 coup opened up a space for feminist concerns to be expressed within commercial cinema. It also shows how this political context gave rise to the newly humanized, more independent heroine that characterized Turkish cinema during the period, but suggests that the films were nevertheless made largely within the structures of a patriarchal commercial cinema.
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18

Hidden Art of Disney's Early Renaissance the 1970s and 1980s. Chronicle Books LLC, 2019.

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19

Bollywood Cinema Showcards: Indian Film Art from the 1950s to the 1980s. Royal Ontario Museum Press, 2011.

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20

Marsh, Leslie L. Brazilian Women’s Filmmaking and the State during the 1970s and 1980s. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037252.003.0002.

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This chapter examines the role of the Brazilian state in women's filmmaking. In 1969, the Empresa Brasileiro de Filmes (Embrafilme) came into being during the most repressive years of the military regime. Originally created to promote and distribute Brazilian films abroad, Embrafilme was charged to oversee commercial and noncommercial film activities such as film festivals, the publication of film journals, and training of technicians. By the early 1980s, Embrafilme had become a vital source for independent, auteur cinema in Brazil and helped secure—but not sustain—women's place in the Brazilian film industry. Once the government took on a more supportive role in the film industry, contemporary women filmmakers began participating in filmmaking; however, women filmmakers in Brazil have conflicting opinions about the state-led agency and its role in supporting their careers as directors.
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21

Halle, Randall. The Film Apparatus. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038457.003.0002.

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This chapter illustrates how the discussion of cinematic apparatus was international and in many instances foundational for the establishment of film studies as a discipline. Apparatus offered a means to consider precisely the study of film as more than formal analysis of the projected image; it sought to arrive at a more comprehensive discussion of cinema. The production of the image was understood not simply as an industrial tale, but as a matter of signification, social relations, modes of production, methods of projection, space of reception, and subjective effects on spectators. In the 1960s, the discourse on the apparatus was connected to the quest for revolutionary forms. By the 1980s, the debates regarding apparatus theory became bogged down by considerations of ideology and an overwhelming focus on psychoanalytic models.
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22

Clasen, Mathias. Monsters Everywhere. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190666507.003.0006.

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The chapter gives an outline of the history of American horror across media, from prehistoric roots to postmodern slasher films and horror videogames. A specifically American literary horror tradition crystallizes in the mid-1800s, with authors such as Edgar Allan Poe, and is developed in the twentieth century by writers including H. P. Lovecraft. In that century, horror films—beginning with Universal’s monster films of the 1930s—became the dominant medium for the genre. Horror became a mainstream genre during the 1970s and 1980s, with the emergence of popular writers like Stephen King and many lucrative film releases. Slasher films dominated the 1980s and were reinvented in a postmodern version in the 1990s. Horror videogames became increasingly popular, offering high levels of immersion and engagement. The chapter shows that horror changes over time, in response to cultural change, but changes within a possibility space constrained by human biology.
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23

Xiao, Ying. Chinese Rock ‘n’ Roll Film and Cui Jian on Screen. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0006.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. During the 1980s and 1990s, China experienced an explosion of films for youth, imbued with the aesthetic and ethic of rock ‘n’ roll. This chapter examines a variety of films, from the countercultural to the more mainstream, focusing on the voice, image, persona, and iconography of Cui Jian, and offering an audiovisual perspective on urban youth cinema and Chinese rock. The emergence and development of Chinese rock ‘n’ roll film from the late 1980s to the twenty-first century resulted from widespread, multifaceted transformations in postsocialist China. At the core of this rock imaginary is the aesthetic of cinema vérité and postsocialist realism. In sync with the kaleidoscopic manifestation of the cityscape and long tracking shots of protagonists roaming the metropolis, rock music and the hand-held mobile camera seek to document a reality of postmodern life and capture a feeling of postsocialist anxiety-a concern for realism articulated through dialogue and ambient sound.
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24

Rabkin, William, Randy Lofficier, and Jean-Marc Lofficier. The Dreamweavers: Interviews With Fantasy Filmmakers of the 1980s. McFarland & Company, 1995.

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25

1962-, Goldberg Lee, ed. The dreamweavers: Interviews with fantasy filmmakers of the 1980s. McFarland & Company, 1995.

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26

Hip Hop On Film Performance Culture Urban Space And Genre Transformation In The 1980s. University Press of Mississippi, 2013.

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27

Monteyne, Kimberley. Hip Hop on Film: Performance Culture, Urban Space, and Genre Transformation in The 1980s. University Press of Mississippi, 2015.

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28

Kluge, Alexander. Difference and Orientation. Edited by Richard Langston. Cornell University Press, 2019. http://dx.doi.org/10.7591/cornell/9781501739200.001.0001.

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This book's author is one of contemporary Germany's leading intellectuals and artists. A key architect of the New German Cinema and a pioneer of auteur television programming, who has also written books and articles, and continues to make films. However, his reputation outside of the German-speaking world still largely rests on his films of the 1960s, 1970s, and 1980s. This book assembles thirty of the author's essays, speeches, glossaries, and interviews, revolving around the capacity for differentiation and the need for orientation toward ways out of catastrophic modernity. The volume brings together some of the author's most fundamental statements on literature, film, pre- and post-cinematic media, and social theory, nearly all for the first time in English translation. Together, these works highlight a career-spanning commitment to unorthodox, essayistic thinking.
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29

Penrose, Angela. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198753940.003.0001.

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In 1994 the Academy of International Business elected Edith Penrose an Emeritus Distinguished Fellow of the Academy—an honour only bestowed once before, on Charles Kindleberger. Her distinctive contribution was singled out in two areas; the theory of the growth of the firm and the understanding of the interface between the strategies and activities of international and multinational enterprises and the nation states—particularly the developing countries—in which they operated. The first topic engaged her in the 1950s and early 1960s, the latter in the later 1960s and 1970s. These topics led on to a third; the implications for firms and national governments of the emergence of a more liberalized and closely integrated global economy, which she addressed as a professor emeritus in the 1980s and early 1990s. Her major contribution to the field of economics was ...
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30

Vosen Callens, Melissa. Ode to Gen X. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832412.001.0001.

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Even for the casual viewer, the Netflix series Stranger Things will likely feel familiar, reminiscent of popular 1980s coming-of-age movies. While Stranger Things and these classic 1980s films are all tales of childhood friendship and shared adventures, they are also narratives that reflect and shape the burgeoning cynicism of the 1980s. Throughout Ode to X: Institutional Cynicism in “Stranger Things” and 1980s Film, Melissa Vosen Callens explores the parallels between iconic 1980s films featuring children and teenagers and the first three seasons of Stranger Things, moving beyond the 1980s Easter eggs to a common underlying narrative: Generation X’s (Gen X) growing distrust in American institutions. Throughout, Vosen Callens demonstrates how Stranger Things draws on popular 1980s popular culture to pay tribute to Gen X’s evolving outlook on three key and interwoven American institutions: family, economy, and government.
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31

Caps, John. Stolen Moments. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0015.

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This chapter details Mancini's career in the late 1980s. The 1980s was another transitional period in the whole field of film scoring. The intrepid John Williams still ruled with one prestigious assignment after another, prodded by but not dependent on his associations with directors Spielberg and Lucas. Other veterans enjoyed renewed success during these years: John Barry's Oscar win for Dances with Wolves and Dave Grusin's scores for The Fabulous Baker Boys and The Firm. The new breed was beginning to take over, though; James Horner wrote blandly but appropriately for Field of Dreams, Hans Zimmer similarly for Rain Man. Meanwhile, Mancini was scoring three limited-release films: Physical Evidence, Fear, and Welcome Home.
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32

DeFrantz, Thomas F. Hip-Hop in Hollywood. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.001.

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In the early 1980s, Hollywood began to exploit hip-hop dance—especially breaking—to produce a limited series of movie musicals. These “breaksploitation” films set a standard of participation for young artists, and in particular, young artists of color, to enter the movie industry as laborers, and to enter the global imagination of film audiences as representative agents of change. This chapter explores the traditions of Hollywood musicals and dance artists of color just before the hip-hop film production era; the innovations of these early 1980s films in terms of their casting, creative approaches, and presentation of contemporary social dance; and the communities that these mediated projects both catered to and generated. Together, these films inspired a global audience for breakdancing, and are inextricably linked to the sweep and scale of young people’s interest in these corporeal practices.
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33

Sawhney, Rashmi. Revising the Colonial Past, Undoing “National” Histories. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0012.

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This chapter investigates the historical imagination of 1980s Indian women filmmakers seeking “companionship” with generations of women enduring or resisting convention in India's colonial past. Leveraging the emergence in the 1980s of an Indian women's cinema—and reflecting on the cinematic construction of gender debates in colonial India through its films, the chapter highlights the challenges they pose to establishing “national” narratives of gender or film history. Three films about gender and reform in late-nineteenth and early-twentieth-century colonial India are discussed: Phaniyamma (Prema Karanth, 1983), Rao Saheb (Vijaya Mehta, 1986), and Sati (Aparna Sen, 1989). Together these films present a constellation that supports the development of a feminist historiography of Indian cinema. The chapter also considers how literature on Indian regional cinemas, published in regional languages with little translation, has contributed to the marginalization of such cinemas in the construction of Indian film history.
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34

Gautreau, Justin. The Last Word. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190944551.001.0001.

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The Last Word argues that the Hollywood novel opened up space for cultural critique of the film industry at a time when the industry lacked the capacity to critique itself. While the young studio system worked tirelessly to burnish its public image in the wake of celebrity scandal, several industry insiders wrote fiction to fill in what newspapers and fan magazines left out. Throughout the 1920s and 1930s, these novels aimed to expose the invisible machinery of classical Hollywood cinema, including not only the evolving artifice of the screen but also the promotional discourse that complemented it. As likeminded filmmakers in the 1940s and 1950s gradually brought the dark side of the industry to the screen, however, the Hollywood novel found itself struggling to live up to its original promise of delivering the unfilmable. By the 1960s, desperate to remain relevant, the genre had devolved into little more than erotic fantasy of movie stars behind closed doors, perhaps the only thing the public couldn’t already find elsewhere. Still, given their unique ability to speak beyond the institutional restraints of their time, these earlier works offer a window into the industry’s dynamic creation and re-creation of itself in the public imagination.
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35

McGowan, Todd. Interview with Spike Lee. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038143.003.0002.

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This chapter presents an interview with Spike Lee. Topics covered include what he thinks about the love/hate relationship between Italian Americans and black Americans in the 1970s and 1980s; whether he feels that he played a part in helping create images of black male leadership and strength; whether he thinks that Miracle at St. Anna's (2009) “look” at World War II's atrocities helps provide a window into seeing how far people can take violence and cruelty past the edge of reason; what the thinks about the fact that some of his best films have been overlooked by the Oscars; his use of multiracial production teams; and his film projects.
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36

Animated Encounters: Transnational Movements of Chinese Animation, 1940s-1970s. University of Hawaii Press, 2019.

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37

Alexy, Allison, and Daisy Yan Du. Animated Encounters: Transnational Movements of Chinese Animation, 1940s-1970s. University of Hawaii Press, 2019.

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38

Alexy, Allison, and Daisy Yan Du. Animated Encounters: Transnational Movements of Chinese Animation, 1940s-1970s. University of Hawaii Press, 2019.

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39

Hanssen, Eirik Frisvold. Silent Ghosts on the Screen. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.9.

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During the 1910s and early 1920s, some thirty known film adaptations of works by Henrik Ibsen were produced in a number of countries. Chapter 9 examines the four American silent film Ibsen adaptations still known to exist: The Pillars of Society (1911), Peer Gynt (1915), Ghosts (1915), and Pillars of Society (1916). Drawing on extant film material, contemporary film reviews, and trade press articles, it approaches these films, through their various adaptation strategies and their trade press reception, in terms of broader discourses about what is often characterized as the transitional period in US film history, focusing in particular on discussions throughout the 1910s concerning medium specificity and media borders. The essay emphasizes stylistic and narrative strategies in the four films, in particular those connected to space, narrative, and performance, as well as ethical and moral considerations associated with the Ibsen film, including their contemporaneous reception.
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40

Thomson, C. Claire. The Film World’s Cooperative Store: Institutions and Films of the 1930s and 1940s. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424134.003.0005.

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This chapter traces the early history of state-sponsored informational filmmaking in Denmark, emphasising its organisation as a ‘cooperative’ of organisations and government agencies. After an account of the establishment and early development of the agency Dansk Kulturfilm in the 1930s, the chapter considers two of its earliest productions, both process films documenting the manufacture of bricks and meat products. The broader context of documentary in Denmark is fleshed out with an account of the production and reception of Poul Henningsen’s seminal film Danmark (1935), and the international context is accounted for with an overview of the development of state-supported filmmaking in the UK, Italy and Germany. Developments in the funding and output of Dansk Kulturfilm up to World War II are outlined, followed by an account of the impact of the German Occupation of Denmark on domestic informational film. The establishment of the Danish Government Film Committee or Ministeriernes Filmudvalg kick-started aprofessionalisation of state-sponsored filmmaking, and two wartime public information films are briefly analysed as examples of its early output. The chapter concludes with an account of the relations between the Danish Resistance and an emerging generation of documentarists.
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41

Street, Sarah. A Suitable Job for a Woman. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0016.

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This chapter examines Natalie Kalmus's role as an ambassador for Technicolor Corporation during the 1930s and 1940s. Kalmus became involved in Technicolor through her husband Herbert Kalmus, who founded the company in 1915 with Daniel Comstock and W. Burton Westcott. She was credited as “color consultant” on most Technicolor films from the late 1920s to 1949. Drawing on her papers by the Margaret Herrick Library in Los Angeles, this chapter considers Kalmus's record and somewhat controversial legacy as a woman commanding an extremely important place in the history of color film. It explores how, as a public figure and advocate of color, Kalmus wielded influence beyond film production, advising women to wear particular colors to go with their hair and mood. It shows that Kalmus was exemplary of a mode of employment created and perpetuated by gendered assumptions about color expertise.
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42

Kailuweit, Rolf, and Vanessa Tölke, eds. TangoMedia. Rombach Wissenschaft, 2020. http://dx.doi.org/10.5771/9783968216478.

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Initially conceived as a form of music and dance with vulgar connotations, tango emerged in the large cities located in the River Plate region in Argentina and Uruguay in the late 19th century. Brought to the public’s attention via early forms of the media (records, the radio and film), tango established itself in Europe before finding a mass audience in the region in which it originated from the 1930s to the 1950s. Tango’s revival in Europe in the 1980s also reignited its popularity in the River Plate region. Tango is a media product that pervades all social strata and transcends both regional and national borders. It’s not only the music and the dance itself that have turned tango into a pop-cultural phenomenon, but its music’s lyrics, the visual imagery it creates and its specific character. This book examines tango’s historical, social and media dimensions in 13 contributions.
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43

Slide, Anthony, Jane Burman Powell, and Lori Goldman Berthelsen. Now Playing: Hand-Painted Poster Art from the 1910s Through the 1950s. Angel City Press, 2007.

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44

Marsh, Graham, Tony Nourmand, and Peter Doggett. X-Rated Adult Movie Posters of the 1960s And 1970s: The Complete Volume. Reel Art Press Limited, 2017.

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45

Bondebjerg, Ib. Images of Europe, European Images: Postwar European Cinema and Television Culture. Edited by Dan Stone. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199560981.013.0033.

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The audio-visual culture of Europe right after 1945 was a culture in ashes in a Europe soon to be divided into east and west under the Cold War. It was a Europe where nation-states had to reconstruct and revitalise a cinema culture damaged by war, and where television did not emerge until the 1950s, or in some countries even later. Already during the 1980s, a cultural policy and a policy for film and media was starting to develop, and both the MEDIA programmes (from 1987) and the EURIMAGE programme (from 1988) represented the institutionalisation of support for the diversity of film and media culture in Europe as a whole. This article explores European images in cinema and television culture during the postwar period. It also discusses fascism and new wave cinema in Southern Europe, new wave cinema in Scandinavia and the rise of a modern welfare culture, European media culture and the Communist ‘Ice Age’, European art television and national fiction series, the transnational power of television, documentary film and television, and digital television and film in European perspective.
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46

Fertig, Mark. Film noir 101: The 101 best film noir posters from the 1940s-1950s. 2014.

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47

Badley, Linda. Making the Waves. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252035913.003.0001.

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This chapter presents a commentary on Lars von Trier's film career. It argues that unlike auteurs shaped by existing conditions, trends, or movements within or outside the mainstream industry, Trier is self-authorized, his career “a prototype auteurist initiative,” a project “not primarily to make films but to construct Lars von Trier, the auteur filmmaker.” If his films are identified by auteurist trademarks as trilogies and movements, he systematically violates commandments like the lynchpin of continuity editing, the 180-degree rule. More characteristic yet, though, is his propensity for making 180-degree turns, whether between trilogies or within films. The remainder of the chapter focuses on Trier's work, including his student films, his television commercials from the late 1980s, and films such as The Idiots (1998), Breaking the Waves (1996), Dancer in the Dark (2000), and The Boss of It All (2006).
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48

Mukherjee, Debashree. Scandalous Evidence. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0003.

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This chapter examines the status and work of women in the early Bombay film industry (1930s–1940s), using the historiographic productivity of actresses embroiled in scandals as an entry point. It reconstructs scandal narratives in a jigsaw fashion using a variety of sources, including film magazines, biographies, creative nonfiction writing, fan letters, and interviews conducted in Bombay from 2008 to 2013. The chapter considers how the film historian might use “illegitimate” sources of history to approach lived histories of Indian cinema's work culture. It approaches scandal as a discursive form that proliferates textually and orally rather than as a temporally contained mediatized event. Taking two Bombay actresses of the 1930s and 1940s, Devika Rani and Naseem Banu, as case studies, and moving outward from the initial scandal narratives, the chapter re-imagines the possibilities and pressures that stars like them encountered in the film studio as well as in the public eye. It argues that the early film actress should be seen as a manifestation of, and model for, the urban working woman in 1930s and 1940s Bombay.
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49

Verma, Neil. Radio, Film Noir, and the Aesthetics of Auditory Spectacle. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038594.003.0005.

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This chapter discusses the relationship between 1940s radio and cinema. While classic noirs began to flourish at the cinema, most Americans listened to radio for about four hours a day over some nine hundred stations, most of which were affiliated with one of four large commercial networks that centralized content. During these years, drama formats were second only to music as the most common network offering in the evening; crime and mystery shows prospered especially well. Although constituting only 13 percent of evening drama in the mid-1930s, the category rose to 33 percent during the war, and by the 1950s crime stories could be up to half of all plays on air on a given evening. Seen in aggregate, noir on the radio adds up to tens of thousands of hours of material heard by tens of millions of listeners from 1937 to 1955, the most active years for auditory drama on American airwaves ever.
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50

Miller, Mark, and Jim Willis. 1960s on Film. ABC-CLIO, LLC, 2020.

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