American Cinema, 1976 to Present

2015 ◽  
Author(s):  
Derek Nystrom
Keyword(s):  
Vietnam War ◽  
The United States ◽  
Economic Life ◽  
American Film ◽  
Special Effects ◽  
Film Genre ◽  
American Cinema ◽  
New Hollywood ◽  
Multiple Markets ◽  
Film Style

American cinema has undergone a series of profound transitions since 1976. In many histories of American film, 1976 marks the end of one New Hollywood—the so-called “Hollywood Renaissance” of art cinema-inspired, personal filmmaking driven by young auteurs—and the start of another New Hollywood, this one more oriented toward blockbuster films that, many critics argue, eschew classical principles of narration in order to foreground special effects sequences and to provide opportunities for merchandizing and other product tie-ins. Whether or not one agrees with this characterization of what these critics call “postclassical” film style, it is indisputable that Hollywood’s corporate and industrial structures in this period treat the domestic theatrical release of a narrative feature film as just one moment in the cultural and economic life of a given “property.” Significant developments in exhibition technologies—cable television, home video, and the Internet—created multiple windows of release for a particular film, not to mention the increasingly important foreign markets. Meanwhile, the return of vertical integration by the incorporation of US film studios into multinational corporate parent companies enabled the monetizing of different film-related properties across multiple markets and media streams, thus dispersing our understanding of what constitutes the film “text.” These changes in industrial practice took place during larger shifts in the United States’ position on the world stage, as the Cold War’s end scrambled one set of geopolitical coordinates while the 9/11 attacks and the ensuing wars generated another. American cinema registered these shifts in a number of ways, both in its depiction of political and military conflicts—many of which rerouted contemporary issues through earlier moments in US history (especially the Vietnam War)—and through its reimagination of gender identity, particularly the various forms of masculinity that critics have aligned with the Reagan, Clinton, and Bush eras. Other changes in race, gender, and sexual identity in American life often found their most provocative expression in the rise of a new “independent” American film movement. Critics have explored whether this movement has generated genuinely alternative forms of film narration and aesthetics, as well as whether their “independence” from major studios is better understood as a partial or qualified one. This article outlines the various critical resources that address these developments, as well as related questions, such as the relationship of American cinema to postmodernism and the shifts in film genre that attended the aforementioned developments.

When the Movies Mattered

2019 ◽  
Keyword(s):  
Civil Rights ◽  
Vietnam War ◽  
Civil Rights Movement ◽  
Interpersonal Relationships ◽  
Sexual Revolution ◽  
American Cinema ◽  
New Hollywood ◽  
Urban Decay ◽  
Uncertain Outcomes ◽  
The Times

The “New Hollywood” that emerged in the late sixties is now widely recognized as an era of remarkable filmmaking, when directors enjoyed a unique autonomy to craft ambitious, introspective movies that evinced a cinematic world of hard choices, complex interpersonal relationships, compromised heroes, and uncertain outcomes. The New Hollywood Revisited brings together a remarkable collection of authors (some of whom wrote about the New Hollywood as it unfolded), to revisit this unique era in American cinema (circa 1967-1976). It was a decade in which a number of extraordinary factors – including the end of a half-century-old censorship regime and economic and demographic changes to the American film audience – converged and created a new type of commercial film, imprinted with the social and political context of the times: the civil rights movement, the Vietnam War, the sexual revolution, women’s liberation, economic distress, urban decay, and, looming, the Shakespearean saga of the Nixon presidency. This volume offers the opportunity to look back, with nearly fifty years hindsight, at a golden age in American filmmaking.

The Vietnam War in Film

2019 ◽  
Author(s):  
Sylvia Shin Huey Chong
Keyword(s):  
Southeast Asia ◽  
Vietnam War ◽  
The United States ◽  
The Philippines ◽  
Military Bases ◽  
Protest Movements ◽  
Film Genre ◽  
History Of ◽  
The Vietnam War ◽  
War Film

As a war that was not supposed to be a war—the United States never formally declared it as such—and yet was already the second in a series of wars—the first being the anticolonial war against the French that won Vietnam its independence—the Vietnam War is just as hard to pin down cinematically as it is historically. Although it is now recognized as a major film genre in US cinema, the category of the Vietnam War film can also include representations of Southeast Asia during French colonialism, the brief decades of independence before the entrance of US troops, and the long legacy of the war in terms of refugee crisis, political unrest, genocide, PTSD (posttraumatic stress disorder), and protest. Not only Vietnamese but all of the peoples formerly grouped under the banner of French Indochina—including Cambodians and Laotians—were dragged into the war as willing or unwitting participants, and their experiences of combat and its aftermath are as integral to the Vietnam War film as those of the American soldiers that typically dominate the genre. The region of Southeast Asia beyond French Indochina—Thailand, Malaysia, the Philippines, Hong Kong—is also significant, both to the history of the war (as political allies, or hosts of military bases or refugee camps) and to the history of the film genre (as locations for filming, or sources for extras or actors or technical support). Outside of Southeast Asia, other nations such as the former USSR, Canada, Australia, France, and South Korea also played a part in the war, sending soldiers to the war or taking in Vietnamese, Cambodian, or Laotian refugees after the war, and these links also yielded further contributions to the Vietnam War film genre from these national cinema industries. The Vietnam War fueled many protest movements and forms of activism, becoming part of a larger, global post-1968 debate about imperialism, racism, capitalism, and militarism in many countries, and so the vigorous protests against the war also became a visible part of the film genre, especially in documentary filmmaking. As the direct survivors of the Vietnam War era begin to be supplanted by a second and even third generation for whom the war is a historical footnote, the legacy of the Vietnam War genre becomes dispersed into the larger genealogies of national cinemas and cultural memory industries, as the children of war veterans and refugees and protestors return to Southeast Asia armed with cameras and capital. Their attention is directed not only backward in time—excavating family or national histories—but also forward, forging new Vietnamese, Cambodian, Laotian, French, Australian, and American cinemas that are indelibly marked by the Vietnam War but no longer obsessed with representing it as such.

Science Fiction Film

2014 ◽  
Author(s):  
Alfredo Luiz Suppia
Keyword(s):  
Science Fiction ◽  
Latin American ◽  
Film Industry ◽  
The United States ◽  
Special Focus ◽  
Latin American Film ◽  
Special Effects ◽  
Film Genre ◽  
American Science ◽  
American Film Industry

Latin American science fiction (SF) cinema does exist, although it is seldom noted by most film critics, scholars, and historians—and perhaps even by major audiences. Unlike other countries across the globe, Latin American countries generally lack more visible and consistent SF film production. This circumstance can be ascribed to limited film budgets and the lack of a consistent film industry in Latin America, which, in turn leads to a type of production and aesthetics that relies on the audiences’ imagination more than special effects per se. The alleged “invisibility” of Latin American SF film can be partially (if not totally) explained by the historical instability affecting the Latin American film industry. Thus, cultural biases align with economic circumstances in the preclusion of Latin American SF cinema. Exceptions, however, may be found in the scenarios of Argentina and Mexico, countries where speculative fiction (including both the fantastic and SF) appear to have developed differently, in comparison with other Latin American nations, such as Brazil. In any case, a systematic and consistent body of film criticism and academic work dedicated to Latin American SF film has yet to be constructed. Unlike the literature on the United States, Europe, and Japan, the available bibliography on Latin American manifestations of this film genre is generally sporadic and scattered. Yet, this situation appears to be gradually changing. Internet and digital technologies have scaffolded a (still) fragile web for film scholars interested in SF cinema. And, interest in Latin American SF—literary and audiovisual—seems to be growing, on the part of international scholars. This article will provide a basic bibliography for further investigation into the field of Latin American SF cinema, with a special focus on three countries: Argentina, Brazil, and Mexico.

Voting Together

2017 ◽  
Author(s):  
Carolyn Wong
Keyword(s):  
Collective Action ◽  
Political Participation ◽  
Educational Attainment ◽  
Vietnam War ◽  
Saint Paul ◽  
The United States ◽  
Political Skills ◽  
Identity Narratives ◽  
Hmong Americans ◽  
Hmong American

This book examines the political experience of the Hmong Americans immigrants, who first came to the United States as refugees of Vietnam War. In growing numbers, candidates of Hmong American ethnicity have competed successfully in elections to win seats in local and state legislative bodies in California, Minnesota, and Wisconsin. At the same time, average levels of Hmong American educational attainment still lag far behind levels in the U.S. population and high rates of poverty persist. Their relatively high levels of political engagement defy the logic of resource-based theories of voting, which explain a greater propensity of some individuals to vote resources available to them, such as higher levels of educational attainment or income compared to others Intergenerational mechanisms of social voting underlie political participation of Hmong Americans. Individuals are mobilized to vote through intergenerational social connections already established in associational, neighborhood, ethnic community, family, and clan networks. Identity narratives adapted to modern-day circumstances and popular notions from ancient oral texts serve to motivate collective action to redress of disparities of economic opportunity and cultural misrecognition. Only when local institutions effectively teach civic and political skills to immigrants and their descendants can political participation be sustained and deepened to combine voting with effective policy advocacy, the building of alliances across racial-ethnic divides, and collective action. The research included interviews of community leaders and grassroots residents from diverse backgrounds, primarily in three cities: Fresno, California; Saint Paul, Minnesota; and Hickory, North Carolina.

Progressive Catholicism in the United States

2018 ◽  
Author(s):  
Matthew A. Shadle
Keyword(s):  
Common Good ◽  
The United States ◽  
Economic Life ◽  
Ethical Framework ◽  
Social Teaching ◽  
American Catholicism ◽  
The Common Good ◽  
The Us ◽  
The Common ◽  
American Society

American Catholicism has long adapted to US liberal institutions. Progressive Catholicism has taken the liberal values of democratic participation and human rights and made them central to its interpretation of Catholic social teaching. This chapter explores in detail the thought of David Hollenbach, S.J., a leading representative of progressive Catholicism. Hollenbach has proposed an ethical framework for an economy aimed at the common good, ensuring that the basic needs of all are met and that all are able to participate in economic life. The chapter also looks at the US Catholic bishops’ 1986 pastoral letter Economic Justice for All, which emphasizes similar themes while also promoting collaboration between the different sectors of American society for the sake of the common good.

scholarly journals Application of big data in healthcare: examination of the military experience

2021 ◽  
Author(s):  
David Berry
Keyword(s):  
Big Data ◽  
Vietnam War ◽  
Business Models ◽  
Model Development ◽  
The United States ◽  
Practical Implementation ◽  
Systems Research ◽  
System Versus ◽  
Military Systems ◽  
The Military

AbstractHealthcare is fully embracing the promise of Big Data for improving performance and efficiency. Such a paradigm shift, however, brings many unforeseen impacts both positive and negative. Healthcare has largely looked at business models for inspiration to guide model development and practical implementation of Big Data. Business models, however, are limited in their application to healthcare as the two represent a complicated system versus a complex system respectively. Healthcare must, therefore, look toward other examples of complex systems to better gauge the potential impacts of Big Data. Military systems have many similarities with healthcare with a wealth of systems research, as well as practical field experience, from which healthcare can draw. The experience of the United States Military with Big Data during the Vietnam War is a case study with striking parallels to issues described in modern healthcare literature. Core principles can be extracted from this analysis that will need to be considered as healthcare seeks to integrate Big Data into its active operations.

Kampungs and Conflict in Colonial Semarang

1988 ◽  
Vol 19 (2) ◽  
pp. 266-291 ◽  
Author(s):  
James L. Cobban
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
The United States ◽  
City Council ◽  
Economic Life ◽  
North Coast ◽  
The North ◽  
Central Java ◽  
The Government ◽  
The City

By the beginning of the twentieth century, Semarang was a major port city and administrative centre on Java. Attainment of this position was due partly to the expansion of its hinterland during the nineteenth century. This expansion was closely related to developments in the means of transportation and the consequent ability of plantation owners to bring the products of their plantations to the port for shipment to foreign markets. By the end of the century virtually the whole economic life of central Java focused upon Semarang. The city also exercised administrative functions in the Dutch colonial administration and generally had been responsible for Dutch interests in the middle and eastern parts of the island. The importance of Semarang as an administrative centre increased after 1906. In that year the government incorporated the city as an urban municipality (stadsgemeente). In 1914 it had consular representation from the United States, Belgium, Denmark, France, Great Britain, Italy, Norway, Germany, and Thailand. Subsequently, in 1926 it became the capital of the Province of Central Java under the terms of an administrative reform fostered by the colonial government at Batavia. Status as an urban municipality meant that local officials sitting on a city council would govern the domestic affairs of the city. The members of the city council at first were appointed from Batavia, subsequently some of them were elected by residents of the city. By the beginning of the twentieth century Semarang had enhanced its position as a major port on the north coast of the island of Java. It was one of the foremost cities of the Dutch East Indies, along with Batavia and Surabaya, a leading port and a centre of administration and trade. This article outlines the growth of the port of Semarang during the nineteenth century and discusses some of the conflict related to this growth over living conditions in parts of the city during the twentieth century, a conflict which smouldered for several decades among the government, members of the city council, and the non-European residents of the city, one which remained unresolved at the end of the colonial era.

scholarly journals Dirty tricks on the underground press

1981 ◽  
Vol 10 (2) ◽  
pp. 47-50
Author(s):  
Geoffrey Rips
Keyword(s):  
Vietnam War ◽  
The United States ◽  
Freedom Of Information ◽  
Underground Press ◽  
General Terms ◽  
The Us ◽  
Psychedelic Drugs ◽  
Us Constitution ◽  
The Vietnam War ◽  
The 1960S

What was known in the United States as the ‘underground press’ – self-published newspapers of the youth counterculture sold at street corners and around campuses in American cities during the 1960s and early 70 s – was once a significant network estimated at over 400 publications. Their hallmark was opposition to US involvement in the Vietnam War, criticism of the authorities, of uncontrolled technology and big business, advocacy of sexual freedom and artistic experimentation and, frequently, the advocacy of marijuana, LSD and other psychedelic drugs. Few of these publications have survived the past ten years, and their disappearance has been variously attributed to the cooling of radical interest after the American withdrawal from Vietnam, as well as to the vague and shifting nature of the ‘hippie’ scene. Complaints by their publishers during the early and mid-seventies that printers refused their business, that office rents suddenly doubled, that advertising was cancelled, that papers were lost – these were seen as local accidents and were rarely reported by the established media. Claims of official or officially-sanctioned harassment were dismissed – even by fellow radicals – as paranoid. Recent research by Geoffrey Rips of the PEN American Center has revealed the extent and variety of official pressure exerted against alternative publications during the Vietnam War period. Using evidence from government hearings like the Church Committee, which reported in 1976, actual FBI documents released to American PEN under the Freedom of Information Act, and other sources, Mr Rips argues that such harassment contributed materially to the closure of certain publications and in general terms constituted a gross infringement on the protection afforded to dissenting opinion and to a free press under the US constitution. We publish edited extracts here from Geoffrey Rips' report which will be published in full by the PEN American Center and the City Lights Press.

The Myth of the Troubled and Scorned Vietnam Veteran

1992 ◽  
Vol 26 (1) ◽  
pp. 59-74 ◽  
Author(s):  
Eric T. Dean
Keyword(s):  
United States ◽  
Vietnam War ◽  
The United States ◽  
Vietnam Veteran ◽  
War Zone ◽  
Women And Children ◽  
The Vietnam War ◽  
One Year

In the United States since the conclusion of the Vietnam War, the Vietnam veteran has become known as a neglected, troubled, and even scorned individual. According to this view, the Vietnam veteran's problems began in Vietnam where he was forced to participate in a brutal and disturbing war in which he was under fire twenty-four hours a day. The enemy, the wily and tenacious Vietcong and North Vietnamese regulars, were not always clearly defined nor were they above hiding behind or using civilians, leading to the unintentional – and sometimes intentional – killing by American forces of noncombatants, including women and children. Due to the military's policy of limiting the tour of duty in the war zone to one year, combat groups lacked cohesion and suffered from low morale, resulting in the excessive use of marijuana and heroin and an eventual breakdown of discipline, leading to the “fragging” of officers who attempted to reimpose order.

scholarly journals The voice and the void: the scream in 1950s American science fiction film

2021 ◽  
Author(s):  
Melissa Hergott
Keyword(s):  
Cold War ◽  
Science Fiction ◽  
The United States ◽  
Valuable Insight ◽  
Public And Private ◽  
Special Effects ◽  
Traditional Gender Roles ◽  
American Science ◽  
The 1950S ◽  
American Society

In the United States, science fiction film rose to prominence as a critically recognized genre in the 1950s, a decade fraught with cultural complications and contradictions and also inspired by optimism and upward trajectory. Warren Susman characterizes the period as one marked by a "dual consciousness," a time when "the fulfillment of our sweetest desires [led] inevitably to the brink of danger and damnation"; the fifties, he writes, was an age of anxiety as much as it was a time of abundance, freedom, and possibility (30). For historian David Halberstam, while a retrospective examination of the decade suggests to some a "slower, almost languid" pace, social ferment "was beginning just beneath this placid surface" (ix). Throughout the decade, notions of national security played out in conflicting ways that traversed both the public and private spheres. Science fiction, a genre that coincided with massive industry changes that saw the development of a sizable low-budget, teen-oriented independent sector, resonated deeply with such opposing and anxiety-laden articulations of both public and private security. While most previous discussions of the genre tend to focus on such concerns in their public dimension (particularly as related to political unease during the Cold War), what follows will address sci-fi' s depiction of anxieties in that other, more private realm of American society, particularly in relation to the expression of gender, sexuality, and desire. Cold War politics, the postwar consumer boom, re-entrenchment of family values and suburban home life, and industry upheavals in Hollywood are all important for understanding what is now thought of as the golden age of American science fiction film. These socio-political factors contextualize the genre's rise to prominence, its defining stylistic and thematic characteristics, and its treatment of gendered subjectivity. As we will see, while some science fiction films of the 1950s engaged or challenged cultural rhetoric related to expected norms of gendered behaviour, for the most part these films upheld the era's return to more traditional gender roles for men and women, an observation which has been taken up in the critical literature, particularly within feminist film scholarship. However, within this body of films exists a common and recurring convention that has been largely neglected by science fiction film scholars, one that warrants further study due to its implications for understanding the return to domesticity in the American postwar period. This filmic convention is the scream, a visual and aural articulation of fear expressed mostly by women (but also, and just as importantly, by men). Far from being a mere cheap gimmick employed by filmmakers alongside special effects and insatiable monsters, the scream provides valuable insight into the domestic ideologies that prevailed during the 1950s.

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