{"title":"The Ambivalent Treatment of Counter-cultural Identity in the \"Outlaw Biker\" Film, 1966-72","authors":"Ben Medeiros","doi":"10.1353/flm.2019.0014","DOIUrl":"https://doi.org/10.1353/flm.2019.0014","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"49 1","pages":"39 - 49"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46449335","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"When Broadway Went to Hollywood by Ethan Mordden (review)","authors":"B. F. Dick","doi":"10.1353/flm.2019.0015","DOIUrl":"https://doi.org/10.1353/flm.2019.0015","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"49 1","pages":"72 - 73"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46086424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Cinema of Oliver Stone: Art, Authorship and Activism by Ian Scott and Henry Thompson (review)","authors":"Jonathan Hayes","doi":"10.1353/flm.2019.0019","DOIUrl":"https://doi.org/10.1353/flm.2019.0019","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"49 1","pages":"78 - 80"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45311411","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reform Cinema in Iran: Film and Political Change in the Islamic Republic by Blake Atwood (review)","authors":"Jean-Baptiste De Vaulx","doi":"10.1353/flm.2019.0001","DOIUrl":"https://doi.org/10.1353/flm.2019.0001","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"49 1","pages":"108 - 109"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44148088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Political Theory and Film: From Adorno to Žižek by Ian Fraser (review)","authors":"Nenad Jovanovic","doi":"10.1353/flm.2019.0007","DOIUrl":"https://doi.org/10.1353/flm.2019.0007","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"49 1","pages":"91 - 93"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48091174","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"John Lasseter by Richard Neupert (review)","authors":"P. Murphy","doi":"10.1353/flm.2019.0016","DOIUrl":"https://doi.org/10.1353/flm.2019.0016","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"49 1","pages":"81 - 83"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45711587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ike Nichols’s The Graduate has been called “a Sixties emblem,”1 and with good reason: the film illustrates some of the defining aspects of the decade, including the hypersensitivity to a generation gap, the radicalization of sexual mores, and the antiestablishment search for authenticity. Yet a major element of the film has been ignored for a half century: the emerging women’s movement. Unsurprisingly, the central female characters, Mrs. Robinson and her daughter, Elaine, gained rather shallow attention at the time of the film's release in 1967. More surprisingly, critical commentary on the two characters since then has continued to lack sufficient analysis. More directly for historians and educators, The Graduate offers a primary historical document of the early Second Wave feminist movement of the 1960s. The characters of Mrs. Robinson and Elaine embody two successive generations of white, affluent women that represent critical changes in the mid-twentieth-century history of American women. By late 1968, only The Sound of Music and Gone With the Wind were more successful films than The Graduate,2 with the film, the director (Mike Nichols), and the actors (Dustin Hoffman, Anne Bancroft, and Katharine Ross) earning numerous accolades,3 but, unlike those films, The Graduate resists any inflection toward the epic, staying firmly and modestly inside domestic melodrama. There is no angelic Maria or devilish Scarlett to move the narrative outside the boundaries of family concerns. The film centers on Benjamin Braddock, who, in his listlessness after newly graduating college, has an affair with Mrs. Robinson, the wife of his father’s business partner. Later, however, Ben falls in love with Mrs. Robinson’s daughter, Elaine, who soon discovers the affair. After agonizing attempts to repair his relationship with her, Ben persuades Elaine to leave her husband at the altar. The new couple flee and catch a bus, uncertain of their future but content to leave the traditional marriage dangling in the past. Some commentators have argued that The Graduate lacks sufficient references to iconic Sixties events and therefore does not properly represent the decade. Bethlehem Shoals, writing for Politico in 2012, argues that the film is not “about that fabled decade, its seismic cultural shifts, or the freedom that people found as a result of its progressive politics. What was radical about the film is the love (and lust) story, not what it has to say about the greater world” or “any of the
{"title":"\"It's too late…Not for me\": The Graduate (1967) and the History of Women","authors":"S. Cash","doi":"10.1353/flm.2019.0003","DOIUrl":"https://doi.org/10.1353/flm.2019.0003","url":null,"abstract":"ike Nichols’s The Graduate has been called “a Sixties emblem,”1 and with good reason: the film illustrates some of the defining aspects of the decade, including the hypersensitivity to a generation gap, the radicalization of sexual mores, and the antiestablishment search for authenticity. Yet a major element of the film has been ignored for a half century: the emerging women’s movement. Unsurprisingly, the central female characters, Mrs. Robinson and her daughter, Elaine, gained rather shallow attention at the time of the film's release in 1967. More surprisingly, critical commentary on the two characters since then has continued to lack sufficient analysis. More directly for historians and educators, The Graduate offers a primary historical document of the early Second Wave feminist movement of the 1960s. The characters of Mrs. Robinson and Elaine embody two successive generations of white, affluent women that represent critical changes in the mid-twentieth-century history of American women. By late 1968, only The Sound of Music and Gone With the Wind were more successful films than The Graduate,2 with the film, the director (Mike Nichols), and the actors (Dustin Hoffman, Anne Bancroft, and Katharine Ross) earning numerous accolades,3 but, unlike those films, The Graduate resists any inflection toward the epic, staying firmly and modestly inside domestic melodrama. There is no angelic Maria or devilish Scarlett to move the narrative outside the boundaries of family concerns. The film centers on Benjamin Braddock, who, in his listlessness after newly graduating college, has an affair with Mrs. Robinson, the wife of his father’s business partner. Later, however, Ben falls in love with Mrs. Robinson’s daughter, Elaine, who soon discovers the affair. After agonizing attempts to repair his relationship with her, Ben persuades Elaine to leave her husband at the altar. The new couple flee and catch a bus, uncertain of their future but content to leave the traditional marriage dangling in the past. Some commentators have argued that The Graduate lacks sufficient references to iconic Sixties events and therefore does not properly represent the decade. Bethlehem Shoals, writing for Politico in 2012, argues that the film is not “about that fabled decade, its seismic cultural shifts, or the freedom that people found as a result of its progressive politics. What was radical about the film is the love (and lust) story, not what it has to say about the greater world” or “any of the","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"49 1","pages":"21 - 38"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41569038","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Robin Wood on the Horror Film: Collected Essays and Reviews ed. by Barry Keith Grant (review)","authors":"K. Lukancic","doi":"10.1353/flm.2019.0009","DOIUrl":"https://doi.org/10.1353/flm.2019.0009","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"49 1","pages":"100 - 99"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47419137","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Place of Darkness: The Rhetoric of Horror in Early American Cinema by Kendall R Phillips (review)","authors":"B. Speller","doi":"10.1353/flm.2019.0018","DOIUrl":"https://doi.org/10.1353/flm.2019.0018","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"49 1","pages":"63 - 64"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46014818","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Father Knows Best (TV Milestones Series) by Mary Desjardins (review)","authors":"Jesse Schlotterbeck","doi":"10.1353/flm.2019.0005","DOIUrl":"https://doi.org/10.1353/flm.2019.0005","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"49 1","pages":"74 - 75"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45196579","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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