{"title":"From Kankakee to Venice: Postwar American Travel Consumerism in David Lean's Summertime (1955)","authors":"Peter McInnis","doi":"10.1353/flm.2020.0019","DOIUrl":"https://doi.org/10.1353/flm.2020.0019","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"50 1","pages":"47 - 59"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44815788","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":"Futurist Cinema: Studies on Italian Avant-garde Film ed. by Rossella Catanese (review)","authors":"Nenad Jovanovic","doi":"10.1353/flm.2020.0013","DOIUrl":"https://doi.org/10.1353/flm.2020.0013","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"50 1","pages":"96 - 98"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47934906","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":"Free and Easy? A Defining History of the American Film Musical Genre by Sean Griffin (review)","authors":"D. Long","doi":"10.1353/flm.2020.0011","DOIUrl":"https://doi.org/10.1353/flm.2020.0011","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"50 1","pages":"92 - 93"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49041279","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":"Bad Film Histories: Ethnography and the Early Archive by Katherine Groo (review)","authors":"Maria A. Vélez-Serna","doi":"10.1353/flm.2020.0006","DOIUrl":"https://doi.org/10.1353/flm.2020.0006","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"50 1","pages":"81 - 83"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45823687","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 Ambivalent Legacy of Elia Kazan: The Politics of the Post-HUAC Films by Ron Briley (review)","authors":"B. F. Dick","doi":"10.1353/flm.2020.0012","DOIUrl":"https://doi.org/10.1353/flm.2020.0012","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"23 4","pages":"94 - 95"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41276504","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":"Patriotism as Institutional Racism: The Purge and the Fugitive Slave Act","authors":"C. Warren","doi":"10.1353/flm.2020.0002","DOIUrl":"https://doi.org/10.1353/flm.2020.0002","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"50 1","pages":"29 - 40"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49468406","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 Lost World of DeMille by John Kobal (review)","authors":"Kevin Brianton","doi":"10.1353/flm.2020.0009","DOIUrl":"https://doi.org/10.1353/flm.2020.0009","url":null,"abstract":"","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"50 1","pages":"88 - 89"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46172079","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}
n 1953, a Democratic Alabama state legislator named Sam Englehardt, Jr., was worried for the future of segregation. The US Supreme Court had just convened to hear arguments in Brown v. Board of Education, and the lawyers advocating for the plaintiffs were proposing that “separate but equal”—the legal principle that served as the foundation of Jim Crow—had no constitutionality in public schools. In addition, the opening remarks in the land’s highest court came just one month after the Republican Party had won national contests in the executive and legislative branches of government, victories achieved when the South was solidly a Democratic region. The country had even elected its first Republican president in two decades. President-Elect Dwight Eisenhower was noncommittal on civil rights, but his two most recent predecessors in the White House had approved desegregation of the defense industry and the US military. Meanwhile, the congressional elections had resulted in a Republican majority after four years of a Democratic Congress. The prospect of the demise of segregation in public schools thus added insult to these injuries for Englehardt and other southern, segregationist Democrats. Englehardt sought salvation in the new medium of television. In January 1953, he stood at the Alabama Capitol to deliver a proposal: establish a state-owned television system to broadcast public school curricula
{"title":"Huck (Hound) and Jim (Crow): Syndicated Television Cartoons and Southern Segregation","authors":"Christopher Lehman","doi":"10.1353/flm.2020.0000","DOIUrl":"https://doi.org/10.1353/flm.2020.0000","url":null,"abstract":"n 1953, a Democratic Alabama state legislator named Sam Englehardt, Jr., was worried for the future of segregation. The US Supreme Court had just convened to hear arguments in Brown v. Board of Education, and the lawyers advocating for the plaintiffs were proposing that “separate but equal”—the legal principle that served as the foundation of Jim Crow—had no constitutionality in public schools. In addition, the opening remarks in the land’s highest court came just one month after the Republican Party had won national contests in the executive and legislative branches of government, victories achieved when the South was solidly a Democratic region. The country had even elected its first Republican president in two decades. President-Elect Dwight Eisenhower was noncommittal on civil rights, but his two most recent predecessors in the White House had approved desegregation of the defense industry and the US military. Meanwhile, the congressional elections had resulted in a Republican majority after four years of a Democratic Congress. The prospect of the demise of segregation in public schools thus added insult to these injuries for Englehardt and other southern, segregationist Democrats. Englehardt sought salvation in the new medium of television. In January 1953, he stood at the Alabama Capitol to deliver a proposal: establish a state-owned television system to broadcast public school curricula","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"50 1","pages":"14 - 4"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43692715","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}
his article examines the function, transition, and ultimate removal of the hero from the Western film genre in the late 1960s. Most examinations of the genre, especially of its mid-twentieth-century heyday, have assumed that the Western requires a “hero.” Even “antihero” Westerns of the late 1960s depend on this assumption, for although the hero is often absent from antihero narratives, the hero and antihero exist on the same spectrum. The result has been a remarkably binary approach to the genre, with heroic figures played by the likes of Errol Flynn, Randolph Scott, Alan Ladd, and John Wayne used as lenses for understanding largescale cultural movements. This article argues instead that revisionist Westerns, which arose as early as The Ox-Bow Incident (Wellman 1943)
{"title":"Emile Durkheim Rides Again: The Death of the Western Hero and the Rise of the Moral Individualist","authors":"Scott Pearce","doi":"10.1353/flm.2020.0005","DOIUrl":"https://doi.org/10.1353/flm.2020.0005","url":null,"abstract":"his article examines the function, transition, and ultimate removal of the hero from the Western film genre in the late 1960s. Most examinations of the genre, especially of its mid-twentieth-century heyday, have assumed that the Western requires a “hero.” Even “antihero” Westerns of the late 1960s depend on this assumption, for although the hero is often absent from antihero narratives, the hero and antihero exist on the same spectrum. The result has been a remarkably binary approach to the genre, with heroic figures played by the likes of Errol Flynn, Randolph Scott, Alan Ladd, and John Wayne used as lenses for understanding largescale cultural movements. This article argues instead that revisionist Westerns, which arose as early as The Ox-Bow Incident (Wellman 1943)","PeriodicalId":53571,"journal":{"name":"Film and History","volume":"50 1","pages":"67 - 80"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46416869","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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