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Journal articles on the topic 'Classic Hollywood'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

Morey, Anne. "Classic Hollywood, Classic Whiteness, and: Noir Anxiety (review)." South Central Review 23, no. 1 (2006): 107–10. http://dx.doi.org/10.1353/scr.2006.0010.

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Faucette, Brian. "Buffoon Men: classic Hollywood comedians and queered masculinity." Historical Journal of Film, Radio and Television 34, no. 4 (2014): 617–18. http://dx.doi.org/10.1080/01439685.2014.964461.

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3

Hogan, Erin K. "Don Quixote, Sweded by Michel Gondry in Be Kind Rewind (2008)." Open Cultural Studies 1, no. 1 (2017): 454–67. http://dx.doi.org/10.1515/culture-2017-0042.

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Abstract In the spirit of poetic license from Be Kind Rewind (2008), this article argues that Michel Gondry’s film “swedes,” its playful neologism for ersatz remaking of Hollywood and classic films, Miguel de Cervantes’s Don Quixote. The feature follows the Sanchification of Jerry (Jack Black), Gondry’s Don Quixote, and Quixotification of Mike (Mos Def), Gondry’s Sancho, as they nostalgically wrong cinematic rights through sweding and try to save their working-class neighbourhood from condemnation and gentrification through community film making. Gondry swedes the Quixote through his engagemen

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Hain, Milan. "Multiple authorship in Anna Karenina (1935): Adapting Tolstoy’s literary classic in the Hollywood studio era." Journal of Adaptation in Film & Performance 13, no. 3 (2020): 203–22. http://dx.doi.org/10.1386/jafp_00028_1.

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Among the numerous film adaptations of Anna Karenina, the 1935 version produced by David O. Selznick for Metro-Goldwyn-Mayer remains one of the most acclaimed and celebrated – undoubtedly owing to its high production values and the performance and ‘star presence’ of the legendary Greta Garbo. However, the film has also been criticized for distorting and simplifying Tolstoy’s literary classic. In this article, I focus on the process of transposing Anna Karenina into the Hollywood screen version, locating causes of the adaptation process in extra-textual factors. Specifically, I address the econ

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Grant, Barry K. "The Classic Hollywood Musical and the “Problem” of Rock ‘n’ Roll." Journal of Popular Film and Television 13, no. 4 (1986): 195–205. http://dx.doi.org/10.1080/01956051.1986.10662008.

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McGuire, Sarah. "A defense of the modern, high-tech redneck on reality TV: Why the world loves Duck Dynasty and its resulting redemptive representation of Rednecks." SURG Journal 7, no. 3 (2014): 5–14. http://dx.doi.org/10.21083/surg.v7i3.2972.

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This article uses key terms and concepts from Television Studies to “close read” the reality TV show Duck Dynasty in its visual form. This article questions not only how Duck Dynasty represents rednecks, but also how the representation of the “redneck” is understood by the TV audience. It explores the success of Duck Dynasty as a reality TV show and argues that it redeems “rednecks” from Hollywood’s previous portrayals of the overly caricatured redneck stereotype. The Robertsons have the ability to convey truth – even if it is through a partially fake/mediated realm – and what they actually re

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CHOEYOUNGJEEN. "Interrogating the Classic Hollywood: On Thematic and Stylistic Revisionism of The Godfather." Journal of English Language and Literature 63, no. 1 (2017): 147–61. http://dx.doi.org/10.15794/jell.2017.63.1.009.

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8

Rosenberg, Norman. "Hollywood on Trials: Courts and Films, 1930–1960." Law and History Review 12, no. 2 (1994): 341–67. http://dx.doi.org/10.2307/743746.

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As long as legal scholarship focused on traditional sources that were considered“distinctively legal,” a great variety of “legal texts” were consigned to scholars in other disciplines. Thus, Oliver Wendell Holmes, Jr. (1841–1932) and his classic workThe Common Law(1881) appeared safely inside the categorical “box” identified as distinctively legal, while Louis Calhern's portrayal of Holmes and the filmThe Magnificent Yankee(MGM, 1950) fell outside.In recent years, however, both the inside/outside distinction and the legal box metaphor have become increasingly suspect. Drawing upon post-structu

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Shannon, Christopher. "Public Enemies, Local Heroes: The Irish-American Gangster Film in Classic Hollywood Cinema." New Hibernia Review 9, no. 4 (2005): 48–64. http://dx.doi.org/10.1353/nhr.2006.0014.

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McNally, Karen. "Veronica Pravadelli, Classic Hollywood: Lifestyles and Film Styles of American Cinema 1930–1960." Screen 60, no. 1 (2019): 190–92. http://dx.doi.org/10.1093/screen/hjy071.

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Koushik, Kailash, and Abigail Reed. "Star Wars: The Last Jedi, Beauty and the Beast, and Disney’s Commodification of Feminism: A Political Economic Analysis." Social Sciences 7, no. 11 (2018): 237. http://dx.doi.org/10.3390/socsci7110237.

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This paper seeks to explore the strategies Hollywood utilizes to capitalize on feminist social movements through replacing hegemonic male characters with female ones or updating traditional stories through a more “feminist” retelling. By analyzing both 2017’s Star Wars: The Last Jedi and Beauty and the Beast as representative of this corporate trend, we critique the ways in which these pseudo-feminist texts not only contribute little to the social conversation surrounding the evolving roles of women and their representations in media through the lenses of critical political economy, feminist p

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Haworth, C. "Seeing through Music: Gender and Modernism in Classic Hollywood Film Scores. By Peter Franklin." Music and Letters 94, no. 2 (2013): 365–67. http://dx.doi.org/10.1093/ml/gct045.

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13

Roust, Colin. "Seeing through Music: Gender and Modernism in Classic Hollywood Film Scores (review)." Notes 68, no. 4 (2012): 782–84. http://dx.doi.org/10.1353/not.2012.0049.

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Wisniewski, K. A. "Seeing Through Music: Gender and Modernism in Classic Hollywood Film Scores, by Peter Franklin." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 111–16. http://dx.doi.org/10.33178/alpha.3.11.

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Moss, Anne Eakin. "The Camera Shot and the Gun Sight." Zeitschrift für Medien- und Kulturforschung 10, no. 2 (2019): 25–38. http://dx.doi.org/10.28937/1000108349.

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This article examines the connections be- tween the camera shot and the gun sight in the age of classic Hollywood cinema. Com- paring THE LOST PATROL (USA 1934, John Ford) with TRINADTSAT (THIRTEEN, UdSSR 1936, Mikhail Romm), it asks what kind of relationship films from this era strove to establish between the viewer and the gun shot on screen. The ideological and stylistic differences between the films make visible divergent fantasies of agency, community and technology.

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Alvarado Duque, Carlos Fernando, and José Wilson Escobar Ramírez. "Metáfora y metonimia: estrategias retóricas de organización narrativa. Análisis de caso en el cine clásico y posmoderno." Signa: Revista de la Asociación Española de Semiótica 28 (June 28, 2019): 373. http://dx.doi.org/10.5944/signa.vol28.2019.25058.

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La metáfora y la metonimia amplifican el sistema expresivo que ha tejido el séptimo arte a lo largo de su historia. Nos interesa mostrar cómo dichas figuras son capaces de producir sentido más allá de las formas clásicas del lenguaje. Sin negar su rol funcional, su verdadera fuerza radica en su uso poético. Ambas figuras operan como estrategias narrativas que permiten hacer variaciones sobre la narrativa clásica y que dan pie a procesos transtextuales. En calidad de análisis de caso realizamos una exegesis de cuatro filmes que pertenecen al cine clásico de Hollywood y al cine postmoderno para

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Howson, Richard, and Brian Yecies. "The Role of Hegemonic Masculinity and Hollywood in the New Korea." Masculinities & Social Change 5, no. 1 (2016): 52. http://dx.doi.org/10.17583/mcs.2016.1047.

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We argue that during the 1940s Hollywood films had an important role to play in the creation of a postwar South Korean society based on the new global U.S. hegemony. The connections between political and economic change in South Korea and socio-cultural factors have hitherto scarcely been explored and, in this context, we argue that one of the key socio-cultural mechanisms that supported and even drove social change in the immediate post-war period was the Korean film industry and its re-presentation of masculinity. The groundbreaking work of Antonio Gramsci on hegemony is drawn on – in partic

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Plachouri, K. M., and S. Georgiou. "Not only a Hollywood trend: the dermatological features of villains in classic and contemporary literature." British Journal of Dermatology 181, no. 3 (2019): 592. http://dx.doi.org/10.1111/bjd.17782.

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Leet, Don, and Scott Houser. "Economics Goes to Hollywood: Using Classic Films and Documentaries to Create an Undergraduate Economics Course." Journal of Economic Education 34, no. 4 (2003): 326–32. http://dx.doi.org/10.1080/00220480309595226.

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Moldovan, Raluca. "A Romanian Jew in Hollywood: Edward G. Robinson." American, British and Canadian Studies Journal 22, no. 1 (2014): 43–62. http://dx.doi.org/10.2478/abcsj-2014-0022.

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Abstract The present study aims to investigate the contribution that actor Edward G. Robinson brought to the American film industry, beginning with his iconic role as gangster Little Caesar in Mervyn Le Roy’s 1931 production, and continuing with widely-acclaimed parts in classic film noirs such as Double Indemnity, The Woman in the Window and Scarlet Street. Edward G. Robinson was actually a Romanian Jew, born Emmanuel Goldenberg in Bucharest, in 1893, a relatively little known fact nowadays. By examining his biography, filmography and his best-known, most successful films (mentioned above), I

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McNally, Karen. "The Geordie and the American Hero: Revisiting Classic Hollywood Masculinity in When the Boat Comes In." Journal of British Cinema and Television 4, no. 1 (2007): 102–20. http://dx.doi.org/10.3366/jbctv.2007.4.1.102.

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Freeley, Dustin. "Buffoon Men: Classic Hollywood Comedians and Queered Masculinity ScottBalcerzak. Detroit, MI: Wayne State University Press, 2013." Journal of American Culture 37, no. 4 (2014): 431–32. http://dx.doi.org/10.1111/jacc.12274.

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23

Bassil-Morozow, Helena. "Loki then and now: the trickster against civilization." International Journal of Jungian Studies 9, no. 2 (2017): 84–96. http://dx.doi.org/10.1080/19409052.2017.1309780.

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ABSTRACTLoki, one of the most mischievous of the Norse gods, is a classic Trickster figure. This mythological character is difficult to define but is an archetype that Jung himself explored. The Trickster can be understood not only as a part of the Jungian individuation process, but also, from an anthropological perspective, as a metaphor for change, embodying the dynamics between the personal and the systemic. Mythological narratives featuring Loki portray him as a figure that frequently challenges the civilising forces of society, a challenge that can lead to either destruction or renewal fo

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24

Longo, Regina. "Of World Wars and Cold Wars and Hollywood Classics: Noah Isenberg on We'll Always Have Casablanca: The Life, Legend, and Afterlife of Hollywood's Most Beloved Movie and Glenn Frankel on High Noon: The Hollywood Blacklist and the Making of an American Classic." Film Quarterly 70, no. 3 (2017): 84–91. http://dx.doi.org/10.1525/fq.2017.70.3.84.

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Varmazi, Eleni, and Funda Kaya. "Debates about the generic ontology of film noir." Catalan Journal of Communication & Cultural Studies 12, no. 1 (2020): 145–52. http://dx.doi.org/10.1386/cjcs_00019_1.

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This viewpoint discusses the various definitions given to classic film noir in order to show how the concept of film noir is difficult to demarcate as a genre, remaining a debatable subject among theoreticians. On a broader level, it might be argued that these discussions are linked with the intertextuality, the dynamism and the hybridity of film genres. One can also argue that film noir stands as one of the preliminary examples of such hybridity in the history of Western narrative cinema. Such a debate is also connected to film noir’s deviance from Hollywood conventions. While inhabiting elem

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Tjipto R, Sudjadi. "PERJALANAN FANTASI MENEMBUS RUANG DAN WAKTU (Analisis Semiotika Film The Time Machine)." REKAM: Jurnal Fotografi, Televisi, dan Animasi 11, no. 1 (2016): 11. http://dx.doi.org/10.24821/rekam.v11i1.1292.

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Cerita klasik usaha manusia untuk menaklukkan ruang dan waktu sudah menjadi impian sejak dahulu. Novel fiksi ilmiah terkenal The Time Machine (1895) karya H.G. Wells merupakan salah satu cerita klasik fantasi ilmiah manusia menembus batasan ruang dan waktu. Film sebagai hasil kreativitas insan menjadi media hiburan yang digemari karena mampu mewujudkan imajinasi mengarungi waktu. Hal ihwal yang belum dapat tercapai saat ini, lewat media film terwujudkan. Film fiksi ilmiah (science fiction) adalah genre film yang muncul sebagai medium realisasi imajinasi. Pada tahun 2002 industri film Hollywood

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27

Anderson, Martin. "London, Barbican: Masterprize Final." Tempo 58, no. 228 (2004): 63–64. http://dx.doi.org/10.1017/s0040298204260156.

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There's no doubt that Masterprize, the international composition competition with a mission ‘to bring music lovers and composers closer together’, is a slick and professional operation, with a tremendous outreach. The CD with the six pieces which made it to the final (of some 1,000 entries) was stuck on the front of both Gramophone and Classic FM magazines, with a joint print-run of around 100,000. The ‘gala final’ in the Barbican on 30 October, when the London Symphony Orchestra was conducted by Daniel Harding, was broadcast live on Classic FM (which reaches 6.5 million listeners a week), NPR

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Kolotaev, Vladimir Alekseevich, and Vladimir Alexeyevich Kolotayev. "The Birth of a Personality from the Carnival Spirit." Journal of Flm Arts and Film Studies 2, no. 4 (2010): 100–110. http://dx.doi.org/10.17816/vgik24100-110.

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The media space of "South Park" is organized according to M.M. Bakhtins carnival model of culture. It is bases on such attributes of folk laughter culture as bawdy gestures, obscene vocabulary, exaggerated sexuality, carnal symbols, grotesque and mockery of the upper classes. The series' creators, however, make principal conceptual changes in Bakhtins modeL If the classic carnival enhanced the hierarchical system of the power and strengthened the collective mentality, "South Park" by laughing at mass culture values weakens the crowd's instincts and encourages the emergence of a self-conscious

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Porsgaard, Matias R. "Semitic Stereotypes." Leviathan: Interdisciplinary Journal in English, no. 5 (August 19, 2019): 33–45. http://dx.doi.org/10.7146/lev.v0i5.115496.

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This article examines how Jewish characters speak, look and act on the American comedy cartoons South Park and Family Guy. Through analyses of relevant episodes, a correlation is established between being a Jewish stereotype, speaking a distinct ‘Jewish English’ dialect and being a negative character on both shows. The analyses are based on 6 key characters from the two shows who are all Jewish, and while the 3 negative and stereotypical characters use certain features associated with the ‘Jewish dialect’ defined by Sarah Bunin Benor, as well as look and act according to classic Hollywood ster

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Wills, John. "Pixel Cowboys and Silicon Gold Mines: Videogames of the American West." Pacific Historical Review 77, no. 2 (2008): 273–303. http://dx.doi.org/10.1525/phr.2008.77.2.273.

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This article explores representations of the American West in computer and videogames from the late 1970s through 2006. The article reveals how several titles, including the early Boot Hill (1977), invoked classic nineteenth-century western motifs, employing the six-shooter, wagon train, and iron horse to sell late twentieth-century entertainment technology to a global audience. Such games allowed players, typically adolescent males, to recreate a version of history and to participate actively in the more violent aspects of the ““Wild West.”” The arcade Western emerged as a subgenre within com

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BOLIN, ALICE. "Scandals of Classic Hollywood: Sex, Deviance, and Drama from the Golden Age of American Cinemaby Anne Helen PetersenBOOK DATA Anne Helen Petersen , Scandals of Classic Hollywood: Sex, Deviance, and Drama from the Golden Age of American Cinema . New York : Plume , 2014 . $16.00 paper. 304 pages." Film Quarterly 68, no. 1 (2014): 93–94. http://dx.doi.org/10.1525/fq.2014.68.1.93.

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Thomas, Priya A. "Dancing muses, roller disco and the phantasmagoric feminine: Reanimating Terpsichore in the movie musical Xanadu (1980)." Studies in Musical Theatre 13, no. 1 (2019): 53–65. http://dx.doi.org/10.1386/smt.13.1.53_1.

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This article takes as its main focus Robert Greenwald’s cult classic movie musical, Xanadu (1980). Reconsidering Xanadu’s distinction as one of the most critically and commercially panned films produced in Hollywood history, my reading uncovers the ways in which the musical’s campy, neo-mythological iteration of Terpsichore resuscitates key Romantic leitmotifs of the muse as technosensual, airborne woman. Focusing on the roller skate as wearable technology, I trace Xanadu’s muse to its historical predecessors. By extension, I reveal how the moving body’s prosthetic territories (i.e. the roller

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Pietrzak, Maciej. "David Avidan’s Message from the Future. Nuclear fantasies of the galactic poet." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (2021): 127–39. http://dx.doi.org/10.14746/i.2020.37.07.

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   David Avidan’s Message from the Future (1981) is one of few Israeli science fiction films ever made. This ambitious project of the well-known avant-garde poet has been forgotten for many years, as a result of a financial and artistic failure of the movie. The paper shows Avidan’s doomed film as an interesting cultural text that can be read as the director’s commentary on the Israeli reality of his time. Contrary to the artist’s claims about the global ambitions of the picture, Message from the Future is immersed in the local, exploring it under the guise of narrative struc

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Fan, Ni. "Ne Zha’s image transformation in Chinese animation cinema (1961‐2019)." Film, Fashion & Consumption 10, no. 1 (2021): 277–98. http://dx.doi.org/10.1386/ffc_00025_1.

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This article analyses Ne Zha’s image evolution through different animated films in the PRC from 1961 to 2019. Three key Ne Zha films are Uproar in Heaven, Ne Zha Conquers the Dragon King and Ne Zha, representing the era of ‘classical Chinese animation’, ‘modern Chinese animation’ and ‘postmodern Chinese animation’, respectively. In 2019, Ne Zha became the summer hit and the highest-grossing Chinese original animation earning ¥5.035 billion at the Chinese box office. Explorations of how classical artistic traditions and legendary stories have been transposed into these films shows that Chinese

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Antón Sánchez, Laura. "When Woman Teams Up with Monster." Comparative Cinema 8, no. 15 (2020): 60–86. http://dx.doi.org/10.31009/cc.2020.v8.i15.05.

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How has the relationship between women and monsters influenced the cultural construction of femininity? In contemporary Hollywood audiovisuals, where selfawareness of the story takes on a special importance, particular emphasis is given to the examination of the way in which one of the most memorable horror movie scenes is presented: the one in which the woman meets the monster. The classic scream of horror has been replaced by a thrilling empathic relationship, plausible thanks to its imaginary link with the idea of otherness. This rapprochement, marked by language, has developed in tandem wi

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Boczkowska, Kornelia. "Easy Rider and Thelma & Louise revisited, or on experimental film remakes of the road movie." Journal of Adaptation in Film & Performance 14, no. 2 (2021): 145–61. http://dx.doi.org/10.1386/jafp_00050_1.

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Although remakes and road movies are particularly endemic to Hollywood cinema, experimental filmmakers have also embraced the road movie tradition and reproduced existing material for new audiences to retell, readdress and rearticulate the prior story, exploring the dialectics between repetition, differentiation and genre. Interestingly, however, while the remake, seen mostly as a genre phenomenon, has received some critical attention, remaking in the avant-garde film scene has been rarely explored by adaptation theory and practice. To somewhat fill in this gap, the article situates two recent

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UNGUREANU, CAMIL, and IVAN PINTOR. "THE BATTLE FOR RE-IMAGINING CATALONIA: CINEMATIC POPULISM, MYTH-MAKING, AND CATHEDRAL OF THE SEA (JORDI FRADES, 2018)." Catalan Review 35, no. 1 (2021): 69–88. http://dx.doi.org/10.3828/catr.35.4.

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In this article, we argue that the TV series event with the highest audience in recent Catalan history, La catedral del mar /Cathedral of the Sea (Jordi Frades, 2018), is an example of commercial cinematic populism. Cathedral of the Sea is built on formal elements of the classic Hollywood style (for example, continuous editing, linear narrative, lack of moral ambiguity), and a series of substantive dichotomies (people/ elite, the popular hero/ the villain, the good/ the bad) and myths (the savior, the unity of the people). In analyzing their significance, we distinguish three hermeneutic layer

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Piedras, Pablo. "Postales de Río: imagénes y canciones de un país carioca en el cine argentino clásico-industrial // Postcards from Rio: images and songs of a carioca country in classic-industrial argentine cinema." Contemporânea Revista de Comunicação e Cultura 17, no. 3 (2020): 392. http://dx.doi.org/10.9771/contemporanea.v17i3.34513.

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Este ensayo aborda las representaciones que el cine argentino del período clásico-industrial realizó de Brasil, a través de un corpus conformado por seis películas significativas de la etapa. Entre las principales características observadas en estas obras es posible sostener que Río de Janeiro funciona, sin excepciones, como epítome de Brasil y que las figuraciones de dicha ciudad sincretizan imaginarios asociados a la modernidad, el cosmopolitismo y el desarrollo, e imaginarios asociados a la tradición, el exotismo y a las visiones del país como un paraíso natural. En este sentido, aunque el

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Crosthwait, George. "The Afterlife as Emotional Utopia in Coco." Animation 15, no. 2 (2020): 179–92. http://dx.doi.org/10.1177/1746847720937443.

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This article situates the Pixar computer animation Coco (dir. Lee Unkrich and Adrian Molina, 2017) within a recent selection of afterlife fictions and questions why such narratives might appeal to our contemporary moment. The author’s response is structured around the idea of utopia. In Coco, he identifies several conceptions of utopic space and ideals. The afterlife fiction places characters and viewers in a reflexive location which affords them the opportunity to examine their lives as lived (rather than in death). Transplanting Richard Dyer’s work on classic Hollywood musicals as entertainm

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YANG, MINA. "Moulin Rouge! and the Undoing of Opera." Cambridge Opera Journal 20, no. 3 (2008): 269–82. http://dx.doi.org/10.1017/s095458670999005x.

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AbstractWhile Moulin Rouge! (2001) riffs on and even exaggerates conventions from classic Hollywood backstage musicals, it owes a clear debt to an even earlier musico-dramatic genre – the opera. Combining operatic and film musical elements with those of pop videos, contemporary cinema and the rave scene, Baz Luhrmann's film engages with many of the thorny issues that have concerned opera critics of late, such as power, gender, exoticism, authorship, and identity construction and performance. The spotlight on the central love triangle of a consumptive courtesan, a writer and a wealthy patron ma

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Lane, Kris. "The sweet trade revived." New West Indian Guide / Nieuwe West-Indische Gids 74, no. 1-2 (2000): 91–97. http://dx.doi.org/10.1163/13822373-90002571.

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[First paragraph]Women Pirates and the Politics of the Jolly Roger. ULRIKE KLAUSMANN, MARION MEINZERIN & GABRIEL KUHN. New York: Black Rose Books, 1997. x + 280 pp. (Paper US$ 23.99)Pirates! Brigands, Buccaneers, and Privateers in Fact, Fiction, and Legend. JAN ROGOZINSKI. New York: Da Capo Press, 1996. xvi + 398 pp. (Paper US$ 19.95)Sir Francis Drake: The Queens Pirate. HARRY KELSEY. New Haven: Yale University Press, 1998, xviii + 566 pp. (Cloth US$ 35.00)A General History of the Robberies and Murders of the Most Notorious Pirates. CAPT. CHARLES JOHNSON (edited and with introduction by DA

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Jukić, Tatjana. "The October Garbo: Classical Hollywood and the Revolution." Studia Litterarum 2, no. 2 (2017): 56–63. http://dx.doi.org/10.22455/2500-4247-2017-2-2-56-63.

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Bren, Frank. "Ripple Effect: the Theatrical Life of Max Linder." New Theatre Quarterly 25, no. 3 (2009): 241–54. http://dx.doi.org/10.1017/s0266464x09000426.

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By 1909 the French actor, playwright, and director Max Linder was probably the most popular male film star of his time, and his success as an innovative writer-actor of variety and revue continued until the outbreak of the First World War. But this followed five years of frustration in stage-ornament roles on the professional, ‘legitimate’ stage, and only after success in the cinema did his playlets, integrating filmed and live action, further enhance his fame in variety venues across Europe. After the war, and Linder's stints in Hollywood, his long descent into bouts of manic depression tragi

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Byrne, Peter. "Paging Dr Love." British Journal of Psychiatry 195, no. 2 (2009): 117. http://dx.doi.org/10.1192/bjp.195.2.117.

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When women's roles in the war effort brought their empowerment, from The Flame Within (1936) to Lady in the Dark (1944), the institution of movie psychiatry reminded women of their place - as passive recipients of male wisdom and treatments. The female movie psychiatrist (The Flame Within) is frequently no different from the successful but unhappy career woman (Lady in the Dark) - their career will never bring the same fulfilment as a solid marriage. The female movie psychiatrist must be ‘cured’ by her love for her male patient. Dr Constance Peterson (Ingrid Bergman) has no difficulties helpin

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Wallace, Lee. "Three by Three: Lisa Cholodenko’s Attachment Trilogy." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 3 (2019): 97–125. http://dx.doi.org/10.1215/02705346-7772399.

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Lisa Cholodenko’s three films High Art (US, 1998), Laurel Canyon (US, 2002), and The Kids Are All Right (US, 2010) all tell the same story: a sexual and emotional ingenue arrives in a tightly circumscribed social world that both resembles and departs from a conventional family. At its heart is an established couple whose seemingly secure erotic bond is marked by deep ambivalence. This bond is stretched beyond recognition as it bends to the presence of the sexual outsider, who is first incorporated into, then ejected from, the pseudofamilial world. Though irreparably altered, the established co

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Crookston, Cameron. "Can I Be Frank with You?" GLQ: A Journal of Lesbian and Gay Studies 27, no. 2 (2021): 233–52. http://dx.doi.org/10.1215/10642684-8871677.

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When Fox 21 Television Studios announced that Laverne Cox would play the role of Frank N. Furter in their 2016 The Rocky Horror Picture Show: Let’s Do the Time Warp Again, most public response circled around how Cox’s visible political identity as a trans woman spoke to the problematic nature of Rocky Horror’s language and dated identity politics. Released in 1975, Richard O’Brien and Jim Sharman’s The Rocky Horror Picture Show has been a touchstone of queer popular culture for more than forty years. Rocky Horror is constructed as a self- conscious pastiche of multiple cultural moments and que

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Beidler, Philip D. "South Pacific and American Remembering; or, “Josh, We're Going to Buy This Son of a Bitch!”." Journal of American Studies 27, no. 2 (1993): 207–22. http://dx.doi.org/10.1017/s0021875800031534.

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For many post-1945 Americans, the title South Pacific does not describe a text so much as a process of remembering. For the cultural historian, it offers an account of production. It is the relationship of these that will be my subject. The pattern of the former will largely depend, of course, on the rememberer – something of a book perhaps, a play, a movie, a song, another song. The latter, albeit complicated, is traceable. It has a literary provenance in a 1947 collection of fictional narratives by James A. Michener entitled Tales of the South Pacific, variously described as short stories or

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Finke, Laurie A., and Susan Aronstein. "GOT GRAIL? MONTY PYTHON AND THE BROADWAY STAGE." Theatre Survey 48, no. 2 (2007): 289–311. http://dx.doi.org/10.1017/s0040557407000695.

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Money matters. In Act 2 of Spamalot, Eric Idle's Broadway musical based on the 1975 cult classic Monty Python and the Holy Grail, the show's star, Tim Curry, as King Arthur, comments that the characters are running around in a “dark and very expensive forest.” The joke, it turns out, is entirely on us. Monty Python and the Holy Grail was an inexpensive independent film, costing $250,000 to make, a bargain compared to the same year's The Rocky Horror Picture Show ($1,200,000) and Python's own 1979 Life of Brian ($4,000,000). From its release, Holy Grail ran continuously in many theatres, and la

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Lyons, J. "Indie, Inc.: Miramax and the Transformation of Hollywood in the 1990s * Hollywood's Indies: Classics Divisions, Specialty Labels and the American Film Market." Screen 56, no. 2 (2015): 282–86. http://dx.doi.org/10.1093/screen/hjv021.

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Leon Frias, Isaac. "Las minorias sexuales no existen: las exclusiones del Hollywood clasico." Ventana indiscreta, no. 22 (December 2019): 4–9. http://dx.doi.org/10.26439/vent.indiscreta2019.n022.4652.

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