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Journal articles on the topic 'The Hollywood films of the 1980s'

Author: Grafiati

Published: 24 April 2022

Last updated: 30 July 2025

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1

Yunis, Alia, and Gaelle Picherit-Duthler. "Tramps vs. Sweethearts: Changing Images of Arab and American Women in Hollywood Films." Middle East Journal of Culture and Communication 4, no. 2 (2011): 225–43. http://dx.doi.org/10.1163/187398611x571382.

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AbstractThe portrayal of Arab women in Hollywood from the silent movies to today stands in sharp contrast to the portrayal of American women over the same time period and can be defined by off screen politics. By examining important American films over nearly 100 years, this article describes Arab and American women characters through five political-historical phases of US international relations that define their Hollywood images: 1) pre-World War II, 2) from World War II to the 1960s, 3) the 1970s, 4) the 1980s to 11 September 2001 and 5) post-9/11. The analysis reveals a variety of archetyp

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Sibgatullina, Alfina T. "An Ingush Star of “Turkish Hollywood”." Oriental Courier, no. 2 (2022): 139. http://dx.doi.org/10.18254/s268684310021619-8.

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In the history of Turkish cinematography, Yeshilcham is perceived as a local level Hollywood. The heyday of Yeshilcham falls on 1960–1970s and is considered the &quot;golden period&quot; of Turkish cinema. In the 1960s during the rule of the Democratic Party, there was a growth in Turkish cinema and production companies began to open their offices on Yeshilcham Street in the famous Beyoglu quarter in the heart of Istanbul. It was here that the stars of such outstanding actors as Kemal Sunal, Turkan Shoray, Taryk Arkan, Fatma Girik, Ediz Hun, Yilmaz Güney, Ferdi Tayfur, Hulya Kochiigit

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Parvulescu, Constantin, and Emanuel Copilaş. "Hollywood Peeks." East European Politics and Societies: and Cultures 27, no. 2 (2012): 241–59. http://dx.doi.org/10.1177/0888325412467054.

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In socialist Romania of the mid-1980s, workers’ clubs, theaters, student centers, opera houses, and even philharmonics used the new medium of the videocassette to organize film-viewing venues exhibiting pirated cinematic material. They were called videotheques and sold tens of thousands of admission tickets to an audience hungry for Western commercial films. This article studies the development of this quasi-legal and hybrid economic experiment. It describes its operation, analyzes its spectatorship, the alternative public spheres and patterns of resistance it produced, and the reaction of the

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Dwyer, Michael D. "The same old songs in Reagan-era teen film." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 5–18. http://dx.doi.org/10.33178/alpha.3.01.

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This article examines the recontextualization of 1950s rock in the form of “Oldies” in teen films of the 1970s and 1980s. Specifically, the article highlights the peculiar phenomenon of scenes featuring teenagers lip-synching to oldies songs in films like Risky Business (1983), Pretty in Pink (1986), Ferris Bueller's Day Off (1986), and Adventures in Babysitting (1987).In these scenes, like in the cover versions of rhythm and blues records popularized by white artists in the fifties, white teens embody black cultural forms, “covering” over the racial and sexual politics that characterized rock

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Silver, Samantha. "“Funnier Than Moms Mabley”." Feminist Media Histories 11, no. 1 (2025): 172–91. https://doi.org/10.1525/fmh.2025.11.1.172.

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This article examines the stand-up comedy albums of comedian and blues singer Hattie Noel released in the 1960s. Her career reveals previously unrecognized connections between the classic blues of the 1920s–1930s and the stand-up comedy albums of the 1960s and presents a Black feminist perspective on sexuality and the politics of the civil rights era. Noel’s comedy transcends the stereotypes she played in Hollywood films and the dehumanization she faced in her work with Disney. Using the sonic archive of her LPs to understand the history of stand-up comedy offers an alternate narrative about h

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Gallagher, Richard. "The Troubles crime thriller and the future of films about Northern Ireland." On the Cultural Circulation of Contemporary European Crime Cinema, no. 22 (March 2, 2022): 42–53. http://dx.doi.org/10.33178/alpha.22.03.

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Troubles-based crime thrillers were once a staple of Hollywood cinema in the 1990s. However, these types of films have become something of a subgenre of European crime films in the last few decades given that films produced over the period have all been produced and financed by either the United Kingdom, Ireland, France or Germany. Owing to both the financial and critical success of these films, relative to other types of films about Northern Ireland, and the more market-driven approach adopted by policymakers, the crime thriller genre has also become the primary way that audiences engage with

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Rasmus, Agnieszka. "Hollywood remakes of British films: A case of cross-pollination." Journal of Adaptation in Film & Performance 14, no. 1 (2021): 53–63. http://dx.doi.org/10.1386/jafp_00042_1.

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This article is an attempt at analysing Hollywood remakes and their British originals in terms of constructing and articulating their shared identity and their difference. Although the source films are considered British, they are often UK/US co-productions, made at the time of Hollywood’s active involvement in the domestic film scene during the so-called ‘Hollywood England’. This complicates neat labels not only in terms of nationality and geography but also original versus copy and points to the existence of transnational and transcultural flows already in evidence in the original works. The

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Gergely, Gábor. "Sonority, Difference and the Schwarzenegger Star Body." Film-Philosophy 23, no. 2 (2019): 137–58. http://dx.doi.org/10.3366/film.2019.0106.

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Discussions of the exilic body in Hollywood cinema have tended to focus on the personal trajectories of émigré actors in the context of the broader history of the industry in which they achieved star status. Significant work has been done in particular on the fate of European women stars in Hollywood but what has been rarely addressed, however, is the way in which Hollywood films imagine the exilic experience via the narratives built around specific stars. This article focuses on Arnold Schwarzenegger as one of the dominant stars of the 1980s–1990s, whose foreignness, accent and body are used

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Feldman-Barrett, Christine. "Through a glass darkly: How Goth reflected and reimagined the Sixties." Punk & Post-Punk 13, no. 2 (2024): 167–82. http://dx.doi.org/10.1386/punk_00246_1.

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When Goth emerged as a post-punk music genre and subcultural style in the late 1970s and early 1980s, its references to the past included nineteenth-century Gothic literature and classic Hollywood ‘monster movies’ such as 1931’s Dracula starring Bela Lugosi. Less discussed, however, is Goth’s inclusion of 1960s culture into its repertoire. While the 1960s are often synonymous with the Mod joys of ‘Swinging London’ and the cheerful flower power of San Francisco, it was also a period marked by the popular Hammer Horror films and the real-life terrors of the Moors and Manson Murders. As children

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Chan, Jessica Ka Yee. "The screen kiss in 1937: Re-reading Street Angel and Crossroads." East Asian Journal of Popular Culture 8, no. 1 (2022): 71–89. http://dx.doi.org/10.1386/eapc_00063_1.

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This article traces the evolution of the screen kiss and the discourse surrounding it in Republican Shanghai leftwing cinema in the 1930s. The period from the 1910s to the 1930s in semi-colonial Shanghai witnessed an influx of Hollywood motion pictures that featured the screen kiss. By the 1930s, the circulation of images of Hollywood screen kiss in semi-colonial Shanghai triggered erotic imagination, comparison with Hollywood norms and most importantly the desire to appropriate, if not to reproduce, Hollywood screen kisses despite censorship. Two Shanghai leftist films, Street Angel (Malu tia

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Staudt, Kathleen. "Bordering the Future? The ‘Male Gaze’ in the Blade Runner Films and Originating Novel." Borders in Globalization Review 1, no. 1 (2019): 22–28. http://dx.doi.org/10.18357/bigr11201919244.

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Philip K. Dick (1928-1982), author of numerous science fiction narratives from the 1950s-1980s, some of which Hollywood made into films, grappled with the nature of reality, the meaning of humanness, and border crossing between humans and androids (called ‘replicants’ in the films). The socially constructed female and male protagonists in these narratives have yet to be analyzed with a gender gaze that draws on border studies. This paper analyzes two Blade Runner films, compares them to the Philip K. Dick (PKD) narrative, and applies gender, feminist, and border concepts, particularly border c

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Velasco, Jovenal. "Filipino Film Melodrama of the Late 1950s: Two Case Studies of Accommodation of Hollywood Genre Models." Plaridel 1, no. 1 (2004): 31–46. http://dx.doi.org/10.52518/2004.1.1-03jvlsc.

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This paper takes two Filipino melodramas of the late 1950s – Sino’ng Maysala? and Mga Ligaw na Bulaklak – as case studies to highlight the Filipino response of accommodation of Hollywood genre films. Analysis reveals that the two films adopted many of the formalistic and thematic conventions of the Hollywood model. However, it cannot be claimed that these features completely and solely came from Hollywood. Even before filmmaking technology came to the country, the Philippines had had a long melodrama tradition in its Hispanic-influenced theater and literature. Further, the ideological values t

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Bakina, T. V. "The Birth of a Hollywood Spectacle: Visual Expression and Narrative Functions of Costumes in Cecil B. DeMille’s Silent Films." Art & Culture Studies, no. 2 (June 2021): 252–85. http://dx.doi.org/10.51678/2226-0072-2021-2-252-285.

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The article explores the functions of film costumes in the works of Cecil B. DeMille, the American film director, whose pictures of the late 1910s and early 1920s are notable for their artistic achievements in the field of set and costume design. On the material of certain films from his “matrimonial cycle”, the author analyses the narrative and spectacular functions of costumes, while making an emphasis on the director’s role in the development of the artistic uniqueness and visual extravagance of Hollywood films of this period. The films of this cycle display some key strategies in film cost

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Xu, Sicong. "A Discussion of Hollywood's 1940s-1960s Film Reproduction History under Bazin's Film Theory: Taking Casablanca (1942) and Singin' in the Rain (1952) as Examples." Communications in Humanities Research 66, no. 1 (2025): 27–32. https://doi.org/10.54254/2753-7064/2025.22477.

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The period from WWII to the 1950s marked Hollywoods rapid evolution. Drawing on Andr Bazins theories about cinemas intrinsic link to reality and its documentary function, this paper examines Casablanca (1942) and Singin in the Rain (1952) to analyze how Hollywood narratives mirrored sociohistorical contexts while reflecting contemporary political, economic, and cultural influences. Casablanca, though framed as a romance, emerged during WWIIs final stages, channeling patriotic sentiment into soft propaganda to mobilize public unity. Conversely, Singin in the Rain, produced in Hollywoods musical

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Niu, Shengshuang. "Combining and Defining Auteur Film and Film Auteurism." Studies in Art and Architecture 3, no. 3 (2024): 20–23. http://dx.doi.org/10.56397/saa.2024.09.05.

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This paper provides a concise overview of the history of film as a dynamic visual medium, analyzing European cinema of the nineteenth century and Hollywood films of the 1930s and 1940s. It argues that early films cannot be classified as auteur films due to the lack of a systematic auteur theory guiding their creation. Furthermore, it highlights that although Alfred Hitchcock is widely recognized as the first auteur director of Hollywood cinema, his relationship with producers at the time was notably strained. The paper concludes that the concept of auteur film necessitates that the director is

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Stratton, J. "Not really white - again: performing Jewish difference in Hollywood films since the 1980s." Screen 42, no. 2 (2001): 142–66. http://dx.doi.org/10.1093/screen/42.2.142.

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Chard, Holly. "Give People What They Expect: John Hughes Family Films and Seriality in 1990s Hollywood." Film Studies 17, no. 1 (2017): 111–27. http://dx.doi.org/10.7227/fs.17.0007.

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This article explores serial production strategies and textual seriality in Hollywood cinema during the late 1980s and early 1990s. Focusing on John Hughes‘ high concept family comedies, it examines how Hughes exploited the commercial opportunities offered by serial approaches to both production and film narrative. This article first considers why Hughes‘ production set-up enabled him to standardise his movies and respond quickly to audience demand. The analysis then explores how the Home Alone films (1990–97), Dennis the Menace (1993) and Baby‘s Day Out (1994) balanced demands for textual rep

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Lu, Xiao. "Hollywood Genre, Cultural Hybridity, and Musical Films in 1950s Hong Kong." Arts 12, no. 6 (2023): 237. http://dx.doi.org/10.3390/arts12060237.

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Following the trauma of the Second World War, Hong Kong, under British governance, enjoyed considerable economic and political freedom to establish a local entertainment industry. Musical films became a major genre of Hong Kong’s film releases in the 1950s. Local melodramas, Hollywood musicals, celebrities, and ideals of female beauty were all present in the growth of Hong Kong musical films, which culminated in a glorious display of cinematic art. This article aims to provide insight into the popularity of Chinese-speaking musical films by examining the social, economic, and political complex

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Zimbroianu, Cristina. "Some Like it Hot in Communist Romania and Francoist Spain." Laocoonte. Revista de Estética y Teoría de las Artes, no. 10 (December 20, 2023): 103. http://dx.doi.org/10.7203/laocoonte.0.10.27268.

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Resumen  Las películas norteamericanas fueron una gran inspiración, especialmente para los espectadores que tuvieron que vivir bajo regímenes totalitarios. Representaban los valores capitalistas que eran la puerta de entrada al mundo occidental. En la Rumania comunista, estas películas se estrenaron principalmente a mediados de los años sesenta y setenta, y en España desde los años sesenta hasta el final del régimen franquista en 1975. Sin embargo, no todas las películas de Hollywood fueron bien recibidas en estos países, ya que tenían que cumplir las normas de la dictadura comunista en

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Pápai, Zsolt. "Solidarity with the Dead." AMERICANA E-journal of American Studies in Hungary 20, no. 1 (2024): 26–33. https://doi.org/10.14232/americana.2024.1.26-33.

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From the 1950s onwards, Hollywood has broken with the racist portrayal of Natives found in classic Westerns of previous decades, yet the emancipation/rehabilitation of Natives has still barely succeeded. This is due to the evaluative principles and value perspectives of Hollywood films. Hollywood films are structurally unsuitable for the emancipation/rehabilitation of Natives. This paper proves this assertion in three steps. First, we will briefly review the situation before the supposed turning point of the 1950s and outline the paradigm shift of the fifties. In the second step, we examine th

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Anderson, Wayne. "A Moral Duty to Uphold the Family Farm”: The Religious Response to the 1980s Farm Crisis." Agricultural History 96, no. 4 (2022): 531–52. http://dx.doi.org/10.1215/00021482-10009791.

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Abstract The 1980s Farm Crisis began receiving national attention in the middle of the decade in large part because of Hollywood films such as Country and the star-studded Farm Aid concert. However, religious leaders and organizations had already started to warn of an impending crisis as early as 1978. They were motivated by a scriptural belief in land stewardship as well as empathy for their struggling rural parishioners. Throughout a series of noteworthy conferences, position statements, and protest actions coordinated by religious organizations across the denominational spectrum, Midwest-ba

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Haina, Jin. "Intertitle translation of Chinese silent films." APTIF 9 - Reality vs. Illusion 66, no. 4-5 (2020): 719–32. http://dx.doi.org/10.1075/babel.00183.jin.

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Abstract There is a misconception that film translation did not exist in China before 1949. The paper argues that the translation of Chinese silent films was vibrant in the 1920s and the early 1930s. Most of the extant copies of Chinese films from that period have bilingual intertitles. Chinese film companies have two purposes in translating their productions: the potential profit obtained from international audiences, and the desire to change the negative image of Chinese people portrayed in Hollywood films and project a positive image of China. Driven by these two objectives, Chinese film co

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Tosaka, Yuji. "The Discourse of Anti-Americanism and Hollywood Movies: Film Import Controls in Japan, 1937–1941." Journal of American-East Asian Relations 12, no. 1-2 (2003): 59–80. http://dx.doi.org/10.1163/187656103793645397.

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AbstractOCLC Online Computer Library Center In interwar Japan, urban middle-class audiences patronized Hollywood movies rather than domestic native films that should have appealed to them as native and culturally familiar. The rise of militant nationalism and cultural nativism fueled the growth of official movements that celebrated an indigenous Japanese essence and eschewed allegedly foreign, modern “contamination.” The alleged Americanizing influence of Hollywood cinema became an increasingly worrisome problem for Japanese officials beginning in the early 1930s. This article examines Japan's

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Shervington, Laurent. "The Ambivalent Object(s) of America in Wim Wenders." CINEJ Cinema Journal 10, no. 1 (2022): 187–223. http://dx.doi.org/10.5195/cinej.2022.507.

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This article will consider Wim Wenders’ relationship to America in several of his films during the New German Cinema Movement of the 1970s and 1980s. In particular, it will explore the place America occupies as a fantasy object, framing this through the distinct roles individual objects play in Wenders’ films. Firstly, in the initial period of his life, various accounts point to the fact that the director related to American culture as a substitute for his own country’s fascistic past. Such a viewpoint is then countered in his film Alice in the Cities (1972), where the protagonist is initially

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Higgins, Scott. "Seriality's Ludic Promise: Film Serials and the Pre-History of Digital Gaming." Eludamos: Journal for Computer Game Culture 8, no. 1 (2014): 101–13. http://dx.doi.org/10.7557/23.6158.

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This essay explores the American Sound Serial film as part of a continuum to which digital gaming may also belong. By drawing on concepts derived from the study of video games, this study broadens our understanding of youth-oriented films produced in Hollywood from the 1930s to the mid 1950s. In turn, this provides a new vantage on continuities between old and new serial forms, and sheds light on digital gaming’s pre-history.

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Gegen, Gegen. "Femme Fatale in French Film Noir." Advances in Humanities Research 1, no. 1 (2021): 1–5. http://dx.doi.org/10.54254/ahr.2021001.

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The term film noir was coined by two French film critics Borde and Chaumenton in 1956 to describe American detective stories mode in the 1940s. Noir films were seen as a counter-cultural movement within Hollywood at that time, and the French new wave continued this feature in the 1960s. Therefore, the term noir itself connects the Frenchness and Americanness. This paper tends to map out the film noir sensibilities in French content through unfolding the characteristics of femme fatale in two French noir films Jean-Luc Godards A bout de souffle (Breathless) (1960) and Jean-Jacques Beineixs Diva

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Gegen, Gegen. "Femme Fatale in French Film Noir." Advances in Humanities Research 1, no. 1 (2021): 1–5. http://dx.doi.org/10.54254/2753-7080/1/ahr_001.

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The term film noir was coined by two French film critics Borde and Chaumenton in 1956 to describe American detective stories mode in the 1940s. Noir films were seen as a counter-cultural movement within Hollywood at that time, and the French new wave continued this feature in the 1960s. Therefore, the term noir itself connects the Frenchness and Americanness. This paper tends to map out the film noir sensibilities in French content through unfolding the characteristics of femme fatale in two French noir films Jean-Luc Godards A bout de souffle (Breathless) (1960) and Jean-Jacques Beineixs Diva

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Carnicé Mur, Margarida. "Divismo, maturità e politica sessuale negli "Hollywood film" di Anna Magnani." Schermi. Storie e culture del cinema e dei media in Italia 6, no. 10 (2021): 33–47. http://dx.doi.org/10.54103/2532-2486/16462.

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In the 1950s Anna Magnani played an important role in the internationalization of European stardom, becoming the first Italian actress to win an Oscar in 1955. She was 46 years old and had reached international success at the age of 37. Related to the aesthetical concerns of Italian Neorealism, and considered a pioneer in modern representation of female psychology and desire, Magnani’s case puts into question the idea that, according to Edgar Morin, grace, beauty and youth are sine qua non conditions to become a star. Between 1955 and 1960 the actress participated in three Hollywood movies alo

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Falkof, Nicky. "Hard bodies and sidelong looks: Spectacle and fetish in 1980s action cinema." Excursions Journal 1, no. 1 (2010): 17–35. http://dx.doi.org/10.20919/exs.1.2010.121.

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From Stallone and Schwarzenegger to Gibson and Willis, the Hollywood action star of the 1980s was a hard-bodied hero with an attitude to match. But more than this, the action hero was an ideological construct; referenced by the president, ubiquitous in popular cultural production and reception of the time, his excessive muscularity forms a complex and problematic textual canvas for reading the hegemonic desires of Reaganite America. I this paper I consider cinematic relations to the heroic body through the dual prism of Freud’s conception of fetishism and De Bord’s formulation of the spectacle

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HESS, CAROL A. "Competing Utopias? Musical Ideologies in the 1930s and Two Spanish Civil War Films." Journal of the Society for American Music 2, no. 3 (2008): 319–54. http://dx.doi.org/10.1017/s1752196308080103.

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AbstractAlthough literature inspired by the Spanish Civil War has been widely studied, music so inspired has received far less scholarly attention, and film music even less so. Musical ideologies of the 1930s, including the utopian thinking of many artists and intellectuals, emerge in some surprising ways when we consider two films of the era. Both The Spanish Earth (1937), an independent documentary, and Blockade (1938), produced in Hollywood, were intended to awaken Loyalist sympathies. The music for the former, consisting of recorded excerpts chosen by Marc Blitzstein and Virgil Thomson and

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Beadling, Laura L. "Cherokee film as Cherokee storytelling: Randy Redroad’s The Doe Boy (2001) as filmic Deer Woman story." New Cinemas: Journal of Contemporary Film 18, no. 1 (2020): 3–18. http://dx.doi.org/10.1386/ncin_00018_1.

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Rather than the stereotypical nineteenth-century leathers-and-feathers warriors familiar from countless Hollywood Westerns, many Native filmmakers focus their films on contemporary Native communities. In contrast, Native filmmakers create very different representations of Native life and especially Native masculinity. Along with the foundational Smoke Signals (Eyre 1998), Randy Redroad’s The Doe Boy (2001) was one of the first Native-created films that helped initiate a cluster of Native American films that centre on masculinity and male‐male relationships. Indigenous masculinity is often a si

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Tarancón, Juan A. "“Se habla español: A Certain Tendency in the Western Film”." Miscelánea: A Journal of English and American Studies 36 (December 31, 2007): 101–17. http://dx.doi.org/10.26754/ojs_misc/mj.20079766.

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If, at any moment, the traditional Turnerian West thesis wavered in its assertion of the significance of the epic frontier narrative in U.S. history, the texts that followed, Hollywood’s films among them, helped solidify and perpetuate a set of values and certainties about gender, race, and land that became a synonym for United States national identity and purpose. Drawing upon these general widespread assumptions, this article examines the role and the impact of frontier narratives in the Hollywood western film. Hollywood films have not always endorsed the official version of history and they

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Akser, Murat. "Editorial." CINEJ Cinema Journal 3, no. 2 (2014): 1–4. http://dx.doi.org/10.5195/cinej.2014.116.

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This issue of CINEJ focuses on a varity of topics: American tourism to Mexico and 1950s Hollywood film, cinematic pedagogy of Gilles Deleuze and Manoel de Oliveira, United Arab Emirates building a national cinema, crowdfunding in documentaries, flying scenes in Steven Spielberg's films, Rudaali in film narrative, a brief history of motorcycle in cinema, romantic relief in the Hollywood Blockbuster, filmosphy of Turkish cinema and flash animation as a counter cultural tool.

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Cai, Xianyun, Ruihan Li, Dian Tian, and Xinting Xu. "The Evolution of Feminism Through Chick Flicks from 1960s to 2010s in Hollywood." Communications in Humanities Research 68, no. 1 (2025): 155–62. https://doi.org/10.54254/2753-7064/2024.23625.

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Chick flick, the commercial film that appeals to female audiences, roots from womans film prevalent in early 20th century. This essay traces the evolution of chick flicks from the 1960s to 2010s in Hollywood. We divide the chick flicks in three stages (1960s-1970s, 1970s-1990s, 1990s- 2010s) by the development of feminism from the second to third wave. We analyze several films chosen to represent the chicks flicks of each stage-Breakfast at Tiffany's (1961), Pretty in Pink (1986), The Devil Wears Prada (2006) ----from three aspects: (1) The characters' personas, including their outlook on love

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Klaehn, Jeffery. "‘It’s the brightness of the idea’: Talking comics with Brendan McCarthy." Studies in Comics 12, no. 1 (2021): 151–57. http://dx.doi.org/10.1386/stic_00058_7.

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Visionary British artist and designer Brendan McCarthy is internationally known for his singularly unique approach to art and craft. His comics debut, Sometime Stories, was published in 1977, and he went on to publish work with Vanguard Illustrated, Strange Days, 2000 AD, and Vertigo. He was part of the famous ‘British Invasion’ of the comics industry in the 1980s, which actually led to the creation of DC Vertigo and created new pathways for comics to gain wider influence within both Hollywood and the broader pop culture. With writer Peter Milligan, he co-created Freakwave, Strange Days, Parad

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Khaliya, Meutia, and Agus Setiawan. "Pengaruh Amerika Serikat dalam Budaya Perfilman Korea Selatan 1950-an: Madame Freedom Karya Han Hyung-mo." Fajar Historia: Jurnal Ilmu Sejarah dan Pendidikan 7, no. 1 (2023): 14–33. http://dx.doi.org/10.29408/fhs.v7i1.7269.

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In the 1950s around the Korean War, the United States provided a lot of assistance to South Korea, including in the field of film. Hollywood films are increasingly influencing Korean cinema, including films by Han Hyung-mo who is considered one of the pioneers in South Korean cinema, especially after he released the film Madame Freedom. Therefore, the formulation of the problem in this study is what was the role of the United States in South Korean films in the 1950s and how was the influence of the United States included in the film Madame Freedom. This study uses the historical method with f

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Reck Miranda, Suzana. "Background musicians and their (in)visibilities." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 31–47. http://dx.doi.org/10.33178/alpha.19.04.

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This article focuses on the career of Brazilian tambourine player Russo do Pandeiro, who participated as a background musician in musical numbers of Brazilian and Hollywood films from the 1930s to the 1950s, yet his work remains mostly uncredited. Although these background musicians consistently appear throughout the films in which they starred, they still constitute a largely unexplored object of research. I aim to revive this Brazilian tambourine player from a marginalised setting and invest in an understanding of his contribution to cinema through an intermedial perspective rather than priv

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Wallin, Zoë, and Nicholas Godfrey. "‘The Boys Can Kill’." Film Studies 20, no. 1 (2019): 1–20. http://dx.doi.org/10.7227/fs.20.0001.

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In the late 1960s, Hollywood had the youth demographic in its sights. In 1969 Butch Cassidy and the Sundance Kid proved that Westerns could appeal to this market, and sparked a cycle of youth Westerns. The cycle framework provides a new lens to refocus this group of Westerns. When the films are situated alongside the other production trends and cycles of the period, as they were in the contemporary trade discourses, they emerge as part of a short-lived strategy for financing Western films that targeted the youth market. An industrial and discursive analysis of the marketing and reception of th

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Cesarino Costa, Flávia, and John Gibbs. "Chanchadas and intermediality." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 28–30. http://dx.doi.org/10.33178/alpha.19.03.

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This audiovisual essay investigates the intermedial nature of Brazilian film comedies produced during the 1940s and 50s by exploring the musical numbers of Aviso aos navegantes (Calling All Sailors, Watson Macedo, 1950). Brazilian cinema of this period is a privileged arena of different media strategies. Its “mixed” style is informed by Hollywood cinema but also by the domestic influence of radio, Carnival, and by the local forms of comic staging of the teatro de revista (the Brazilian equivalent of music hall or vaudeville). Of particular interest in this regard are the chanchadas, a body of

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Carstensen, Thorsten. "After the Fall: Hollywood Cinema and the Redefinition of America in the 1970s." Kulturwissenschaftliche Zeitschrift 4, no. 2 (2019): 95–112. http://dx.doi.org/10.2478/kwg-2019-0093.

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Abstract This manuscript traces Hollywood's response to the disintegration of U.S. national consensus in the 1970s under the spell of Vietnam and Watergate, with a strong focus on the representation of masculinity. In my comparative reading of several canonized movies of the 1970s (The Deer Hunter, Dirty Harry, The Godfather, Rocky), I demonstrate how Hollywood cinema, amid America's struggle to redefine its shared values and regain its self-confidence, advocated a return to myths of the past in order for the country to rewrite what historians have called the narrative of “victory culture.” As

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Fhlainn, Sorcha Ní. "A Rift between Worlds: The Retro-1980s and the Neoliberal Upside Down in Stranger Things." Gothic Studies 24, no. 2 (2022): 201–18. http://dx.doi.org/10.3366/gothic.2022.0134.

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The Netflix series Stranger Things (2016–) is one of a host of recent 1980s-set texts that returns to the decade through the lens of cultural nostalgia. Recalling and resituating its viewers in the Reagan era, the series presents a contemporary Gothic narrative by returning to the 1980s as a period of profound cultural importance, setting its secondary Gothic space, The Upside Down, as a Gothic neoliberal shadow world that conveys profound implications for a terrifying future. Examining the 1980s as a nexus point for socio-political anxieties and nostalgic recall, which has dominated the econo

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Fuller, Stephanie. "Pan-American Highways: American Tourism to Mexico and 1950s Hollywood film." CINEJ Cinema Journal 3, no. 2 (2014): 5–33. http://dx.doi.org/10.5195/cinej.2014.92.

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This article examines American films from the early 1950s which feature journeys to Mexico. Movies such as Where Danger Lives (John Farrow, 1950), Gun Crazy (Joseph H. Lewis, 1950), Out of the Past (Jacques Tourneur, 1947) and Wetbacks (Hank McCune, 1954) present journeys to Mexico as escapes from American life in which romanticised freedom is closely connected to mobility and automobiles. The article explores the connection between the films’ cinematic vistas of Mexican landscapes and American tourism to Mexico in this period. Through their journeys to and across the border, these films call

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Shehadeh, Michel. "Reel Bad Arabs." American Journal of Islam and Society 19, no. 4 (2002): 139–42. http://dx.doi.org/10.35632/ajis.v19i4.1906.

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When it comes to Arab characters in movies, Hollywood has only one kind:Bad Arabs. So argues Jack Shaheen, professor emeritus of mass communications at Southern Illinois University and a fonner CBS News consultant onMiddle East affairs in his new book,Reel Bad Arabs: How Hollywood Vilifiesa People.In this groundbreaking study, Shaheen provides long-awaited evidencethat since "cameras started cranking to the present," Hollywood, for morethan a century, has targeted Arabs. It has portrayed them, knowingly orunknowingly, as "uncivilized religious fanatics and money-mad cultural·others'." He conv

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Wielde, Beth A., and David Schultz. "Wonks and Warriors: Depictions of Government Professionals in Popular Film." Public Voices 9, no. 2 (2017): 61. http://dx.doi.org/10.22140/pv.217.

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The importance of studying public service portrayals in popular film lies in theimportance of popular culture itself. Popular culture defines generations, both creating and reflecting trends. It provides a window to worlds that may otherwise be a mystery. Popular film messages merge with other media and environmental factors to form a perceived reality for many (Kelly and Elliott 2000).This article examines the depiction of non-elected public servants in movies. It seeks to identify how these individuals are depicted in film and to determine if there are any specific stereotypes or patterns th

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Banner, Lois. "“The Mystery Woman of Hollywood”." Feminist Media Histories 2, no. 4 (2016): 84–115. http://dx.doi.org/10.1525/fmh.2016.2.4.84.

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“‘The Mystery Woman of Hollywood’: Greta Garbo, Feminism, and Stardom” analyzes feminism as manifested in Greta Garbo's life and career. It focuses on her European background; the media discourse on her; feminism in her films and in the United States in the 1920s; and Garbo's rebellion against Louis B. Mayer and Irving Thalberg, the heads of her studio, Metro-Goldwyn-Mayer (MGM). It also deals with her dress reform stance, her masculine femininity, the nature of her fans (especially the “Garbomaniacs”), and her friendships with the screenwriters Salka Viertel and Mercedes de Acosta. It conclud

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Snelson, Tim. "Old Horror, New Hollywood and the 1960s True Crime Cycle." Film Studies 19, no. 1 (2018): 58–75. http://dx.doi.org/10.7227/fs.19.0005.

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This article focuses on a cycle of late 1960s true crime films depicting topical mass/serial murders. It argues that the conjoined ethical and aesthetic approaches of these films were shaped within and by a complex climate of contestation as they moved from newspaper headlines to best-sellers lists to cinema screens. While this cycle was central to critical debates about screen violence during this key moment of institutional, regulatory and aesthetic transition, they have been almost entirely neglected or, at best, misunderstood. Meeting at the intersection of, and therefore falling between t

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Luo, Qing. "The Research on the Representation of LGBTQ in Eastern and Western Films." Communications in Humanities Research 3, no. 1 (2023): 1116–26. http://dx.doi.org/10.54254/2753-7064/3/2022936.

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In recent years, increased public awareness and understanding of the LGBTQ community have led some film and television productions to venture into LGBTQ themes. However, there is still some under-representation in these films. These films often come from the independent sector of film, and there is a lack of such films in the major Hollywood studios. Stereotypes about this group still exist despite the lack of diversity and representation of this group in media. Through visual analysis, discourse analysis and other analysis methods, the author examines the representation of LGBTQ people in bot

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PLATTE, NATHAN. "BeforeKongWas King: Competing Methods in Hollywood Underscore." Journal of the Society for American Music 8, no. 3 (2014): 311–37. http://dx.doi.org/10.1017/s1752196314000224.

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AbstractIn many histories of American film music, Max Steiner's score forKing Kong(1933) marks a new era by establishing norms in original, symphonic underscoring that would dominate Hollywood for decades.Kong's reign, however, eclipses diverse approaches to underscoring practiced at studios before and after its release. In this study, I compare the methods of Max Steiner at RKO and Nathaniel Finston at Paramount to show how both influenced film music implementation and discourse in the years leading up toKong. Steeped in the practices of silent cinema, Finston championed collaborative scoring

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Briteramos, Alyssa. "Punking: How appropriation revitalised it and the role institutions play in the protection and longevity of this elusive art." Nordic Journal of Dance 14, no. 2 (2023): 22–39. http://dx.doi.org/10.2478/njd-2023-0017.

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Abstract From the streets of Los Angeles in the early 1970s, a dance style named Punking emerged. This occurred at the height of the civil rights movement in the underground LGBTQ+ clubs of LA by a group of BIPOC queer men. A blend of sharp, exaggerated poses and movements borrowed from Hollywood films and pop culture became an art form that reflected their identity and encapsulated the escapism and liberation of a group of young queer people growing up in an environment where being queer was illegal and dangerous. By the late 1980s and 1990s, the dance faded, but it still influenced dance sty

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Khor, Denise. "“Filipinos are the Dandies of the Foreign Colonies”: Race, Labor Struggles, and the Transpacific Routes of Hollywood and Philippine Films, 1924–1948." Pacific Historical Review 81, no. 3 (2012): 371–403. http://dx.doi.org/10.1525/phr.2012.81.3.371.

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In the 1930s and 1940s Filipino laborers, many of whom were en route to agricultural hubs on the Pacific Coast, packed into movie theaters owned by Japanese immigrants to view Hollywood and Philippine-produced films. These cultural encounters formed an urban public sphere that connected both sides of the Pacific. Filipino patrons remade their public identities and communities through their consumption of film and urban leisure in the western city. This article traces this localized history of spectatorship and exhibition in order to reconsider prevailing understandings of the history of the U.

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