Cinematic Evil

Evil ◽  
2019 ◽  
pp. 414-422
Author(s):  
Christy Mag Uidhir

Prior to the enforcement of the Motion Picture Production Code in 1934, Hollywood films were infamous for featuring violence, sexuality, profanity, drug use, and all manner of moral turpitude. Despite this, it wasn’t until the middle of the century that what might be called “pure” or “intrinsic” evil became a prominent theme in American film. In this chapter, I investigate the varieties of evil on display in American cinema and conclude that perhaps the relatively late appearance of “pure” evil depicted cinematically may have had to do with the very sorts of very real evils occurring in the very actual world in the middle of the twentieth century.

Author(s):  
Gillian Kelly

One of the most popular actors of the Classical Hollywood period, Tyrone Power’s appeal was initially based around his outstanding beauty, his looks remaining key to his star persona throughout his 25-year career and almost 50 films, most of which were made at Twentieth Century-Fox, before his untimely death in 1958 at the age of 44. Although Power was one of Classical Hollywood’s major stars of the pre- and post-war years, he remains academically neglected. This book presents the first substantial academic study of Power and employs a range of approaches, including stardom and genre theory, to reappraise his career from various angles including gender, genre and image. Textual analysis coincides with discussions of Power’s multi-layered performances in a variety of genres while engaging with industry systems, specifically Twentieth Century-Fox, his home studio for almost two decades, and situates Power’s performances within the contexts of industry regulations, such as the Production Code, and industry technological advances, such as CinemaScope. A key historical figure of American cinema, Power’s significant career trajectory from pretty boy ‘pin-up’ in the 1930s to mature, virile action-adventure star at the close of his career demonstrates the natural progression of a ‘normal’ life and his ability to remain relevant across the decades. This book is part of a welcome new wave of scholarly studies on overlooked stars, such as Power, whose careers were initially based around their looks but who maintained a career as they aged.


Author(s):  
Stephen Joyce

Chapter Ten, a strikingly original piece by Stephen Joyce which questions the very nature of the influence of 9/11 and the 'War on Terror' on the American film industry. In "Foreshadows of the Fall: Questioning 9/11’s Impact on American Attitudes" he argues that it is possible to conclude that the changes many have seen in post-9/11 American cinema, and indeed America's real world reactions to the traumatic events which occurred on 11 September 2001, were actually comprehensively anticipated by American genre cinema throughout the second half of the twentieth century. Joyce's suggestion is not that American cinema was in any way prophetic, but that America's responses to 9/11 replicate patterns so encoded into American ideological belief systems that they have been filtered into Hollywood films for decades. Using three films made prior to 9/11: Pearl Harbour (2001), Independence Day (1996) and The Siege (1998) he traces these patterns contained within their narratives and even their mise en scene. Joyce's argument underlines the importance of avoiding the allure of simplistic connections between 9/11 and American film, the likes of which have permeated some otherwise very fine academic work on the subject. This is undoubtedly a manifestation of the apophenic desire to see 9/11 and the 'War on Terror' reflected everywhere (see Pollard). It is important for scholars of post-9/11 film to remember that explosions, dust clouds and debris existed, and were placed on the frames of American films before 11 September 2001. Just as important is the need to avoid hyperbole, as Kristian Verslys found it hard to do when he asserted that 9/11 represented a 'total breakdown of all meaning-making systems' (2).


2021 ◽  
pp. 186-213
Author(s):  
David Lugowski

This chapter explores a queer all-male dance lesson for partnered sailors in the Fred Astaire–Ginger Rogers musical Follow the Fleet (1936), using archival research (scripts, Production Code Administration records) and comparative textual and contextual analysis. It raises the queerness of Rogers and Astaire before exploring two intersecting axes. The association of sailors with queer behavior and effeminate “pansies” occurs in military scandals, paintings, and Depression-era Hollywood films, including Sailor’s Luck and Son of a Sailor (both 1933). The queerness of male same-sex dancing arises in ballet and in film, including Suicide Fleet (1931). Various institutions criticized or attempted to censor such representations, but they also found acceptance. The US Navy, for example, wanted the comical dance lesson removed from Fleet; instead, it was only rewritten, suggesting the inability to remove queerness from culture and its essential role in mass entertainment.


Author(s):  
Will Glass

The Motion Picture Production Code of 1930 banned homosexuality from the screen. This paper uses two films as a case study of the Code's impact on Hollywood's depiction of homosexuality. Both These Three (1936) and The Children's Hour (1961) were adaptations of Lillian Hellman's play in which two single female teachers have their lives ruined by a lie that the women were lesbians. With the first the Code's impact was pervasive. The PCA dictated that the accusations of lesbianism be omitted. By the 1960s, the PCA was relaxing its ban so a film could be made that retained the play's lesbian content. This paper argues that the Production Code was Hollywood's means of enforcing heterosexuality and that, even in the era when the Code's influence was waning, the necessity of maintaining heterosexuality as society's norm still governed how movies (mis)represented the lives of queer people.


2022 ◽  
Author(s):  
Julie K. Allen

This book challenges the historical myopia that treats Hollywood films as always having dominated global film culture through a detailed study of the circulation of European silent film in Australasia in the early twentieth century. Before World War I, European silent feature films were ubiquitous in Australia and New Zealand, teaching Antipodean audiences about Continental cultures and familiarizing them with glamorous European stars, from Asta Nielsen to Emil Jannings. After the rise of Hollywood and then the shift to sound film, this history—and its implications for cross-cultural exchange—was lost. Julie K. Allen recovers that history, with its flamboyant participants, transnational currents, innovative genres, and geopolitical complications, and brings it vividly to life. She reveals the complexity and competitiveness of the early cinema market, in a region with high consumer demand and low domestic production, and frames the dramatic shift to almost exclusively American cinema programming during World War I, contextualizing the rise of the art film in the 1920s in competition with mainstream Hollywood productions.


2020 ◽  
pp. 133-152
Author(s):  
Russell Crandall

This chapter recounts how drug use became commonplace among the American middle-class once again over the course of the second half of the twentieth century. It discusses the federal crackdown in the Progressive era and Harry Anslinger's ensuing anti-drug crusade that made it easy to forget that Americans had ever before flirted with mind-altering substances. It also cites President Richard Nixon's announcement of his national attack on narcotics abuse on July 14, 1969 as a campaign promise he had to uphold after speaking in southern California's conservative Orange County in September 1968. The chapter elaborates how Nixon's announcement decried the explosion in drug use as a growing menace to the welfare of the United States, causing the surge juvenile arrests for drug possession between 1960 and 1967. It talks about how Nixon was convinced that illegal drug abuse in America had reached epidemic levels and blamed the surge on several sources, such as the sympathetic media coverage.


Author(s):  
James Naremore

During the period when American film noir was at its zenith, Hollywood’s self-appointed censorship agency, the Production Code Administration (PCA), exercised control over the movie studios. The PCA’s standard report form of the 1940s was manifestly puritanical and ideological. ‘Censorship and politics in Hollywood noir’ explains the strategies used to get past the strict censorship rules and considers the impact of political censorship, especially the concern with communism, and the general culture’s treatment of women and minorities on Hollywood noir through the 1940s and 1950s, a period of time that saw probably the most regulated, censored, and morally scrutinized pictures of the kind in American history.


Author(s):  
John Billheimer

This chapter traces the origins of film censorship in the US from 1910 onward. It documents the rise of public concern over movie sex and violence and traces the manner in which pressures from religious and social groups led to the formation of individual censorship entities in various states and municipalities. The motion picture industry tried to counter these pressures by forming the Motion Picture Production and Distribution Association under Will Hays and promising to police itself, an effort that proved ineffectual until 1934, when government pressure, the Legion of Decency, and Catholic boycotts led to the requirement that any motion picture produced in the US had to earn the Seal of Approval of the Production Code Administration under Joe Breen.


Author(s):  
Vito Adriaensens

Edwin Stanton Porter was an American film exhibitor, producer, and director. He started his career in cinema in 1896 as a traveling exhibitor and moved on to become the motion picture operator of the New York Eden Musee wax museum. He also built motion picture machinery, which he continued doing until well after his retirement in 1925. As an operator and programmer, Porter edited short films into programs with narrative structures, effectively acting as producer and director. When the Edison Company was reorganized in 1900 he was hired to improve their cameras and projectors, but quickly became a cameraman, producer, and director. He produced over a hundred short films for Edison by collaborating with theater-trained directors, and became an important driving force behind the creation of modern, elaborate multishot films, the most famous of which is undoubtedly The Great Train Robbery (1903). Musser and Everson see Porter as a technician at heart—an editor who did not fully grasp the possibilities and principles of editing or acting, but who had an instinctive understanding of "continuity," or the safeguarding of smooth, continuous action through the combination of fragmented shots. Though Porter had been instrumental in lifting cinema out of what Tom Gunning has dubbed the "cinema of attractions" era, he arguably never realized his full potential as he was unwilling to invest himself in narrative film. When his methods had become antiquated in 1909, Edison fired him.


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