The Alienated Male: Silence and the Soundtrack in New Hollywood

2016 ◽  
Author(s):  
Heidi Wilkins
Keyword(s):  
New Hollywood ◽  
Male Characters ◽  
Hollywood Films ◽  
Sound Effects ◽  
Counter Culture ◽  
1960S And 1970S ◽  
The 1960S ◽  
Gender Boundaries ◽  
Selection Of

In this chapter, I explore the audible link between masculinity, silence and soundtrack by focusing on a selection of silent, alienated male characters from renowned New Hollywood films. In this discussion, the ‘type’ of silence I often refer to is that described by Paul Théberge as ‘a kind of silence that is produced when, for example, music is allowed to dominate the soundtrack while dialogue and sound effects – the primary sonic modes of the diegetic world – are muted’. I explore the specific use of silence in these texts as well as the ways in which non diegetic music and diegetic sound are used to express meanings not divulged by the male characters, due to their limited dialogue. I argue that this acoustic construction contributes to a projected sense of alienation of male characters and that it can also be linked to the blurring of gender boundaries often accounted for by the counter-culture movements taking place in America throughout the 1960s and 1970s.

Coming Home: Portraying Japanese Baseball on the Silver Screen

2018 ◽  
Author(s):  
Christopher T. Keaveney
Keyword(s):  
Middle Class ◽  
Early History ◽  
Japanese Cinema ◽  
Avant Garde ◽  
Hollywood Films ◽  
History Of ◽  
Baseball Films ◽  
1960S And 1970S ◽  
The 1960S ◽  
Important Marker

Chapter 3 examines the long history of baseball films in Japan, a tradition nearly as old as the history of Japanese cinema itself. After a brief survey of the early history of cinema in Japan, a tradition whose history parallels that of the game of baseball chronologically, the study focuses on early shomingeki films and explores how baseball became an important marker of domesticity and middle class respectability in this genre of film in the 1930s. The chapter then examines several pivotal films in the postwar era, examining how baseball was used alternately to perpetuate a national hero in Suzuki Hideo’s Immortal Pitcher (1955) or to chart the corruption and greed surrounding professional baseball as in Kobayashi Masaki’s I Will Buy You (1956). In the 1960s and 1970s, as young filmmakers arose to challenge the dominance of the great postwar filmmakers and to produce often avant-garde and politically charged films that reflected an international challenge to the hegemony of Hollywood films, the baseball film was again adopted as a means to offer that challenge. Ōshima Nagisa’s Ceremonies, in a film that contests the very concept of the baseball film, uses baseball as a metaphor for the Japan’s abandonment of its citizens during the war. The recent splatter comedy baseball films of Yamaguchi Yūdai likewise play with the familiar tropes of Japanese baseball and of the baseball hero as antihero in problematizing the very concept of the baseball film.

scholarly journals A Road Less Travelled: The American Biker Film of the 1960s and 1970s

2021 ◽  
Author(s):  
◽  
William Liell Carter
Keyword(s):  
Media Coverage ◽  
The United States ◽  
Ongoing Research ◽  
Hollywood Cinema ◽  
The Road ◽  
New Hollywood ◽  
The Media ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S

<p>In the period 1966-1974 there were at least forty independent, low-budget feature films made in the United States about motorcycle gangs. These films were inspired by media coverage of the notorious exploits of actual gangs in the post-War period. They depict bikers as violent libertines who live non-conformist lives and engage frequently in anti-social behaviour. The films are marked by motorcycle 'runs,' wild parties, brawls, and sexual violence. While the biker film has received some critical attention, it has not been analysed to the same extent as that more reputable and better known genre of the same period, the road movie. This thesis will expand on existing research by initially examining the factors that shaped the biker film, such as the media panic about real gangs, the influence of the counterculture, exploitation filmmaking, and New Hollywood cinema. The project will also investigate the narrative features of the genre, and link this analysis to debates around post-classical narration. Finally, the thesis will interpret the representation of gender in the biker film. This thesis will argue that the biker film should be situated within a continuum of male-oriented genres that involve violent spectacle. It will also make a contribution to the ongoing research on New Hollywood cinema.</p>

scholarly journals Gender Semantics of the Forest in the Prose of Traditionalist Writers of the 1960s–1970s

2021 ◽  
Vol 23 (1) ◽  
pp. 265-279
Author(s):  
Tatyana A. Rechkina ◽  
Keyword(s):  
Sacred Space ◽  
The Unconscious ◽  
Male Characters ◽  
Specific Behaviour ◽  
Individual Perception ◽  
In The Wild ◽  
Rural World ◽  
1960S And 1970S ◽  
The 1960S ◽  
Gender Aspect

This article studies the specific behaviour of characters in the forest space within the framework of the gender aspect. The study demonstrates that in the works of traditionalist writers of the 1960s and 1970s, as one of the iconic loci of the rural world, traditionally preserving the semantics of the unknown, “sacred” space, the forest reveals a characteristic influence on the behavior of the characters. The article provides examples that suggest that the gender of characters plays a significant role in this regard. It is proved that the objects of the most active influence of the forest are mainly male characters, whose inner space undergoes significant changes as a result, exposing the unconscious, “natural” drive of the characters. Being in the forest space, representatives of the stronger sex somehow strive for a maximum fusion with the environment, which is realised either in harmonious coexistence with nature and preservation of their own identity or in a kind of “wildness” of the characters. In this case, both options are due to the distancing of the characters from society, which is manifested to a greater or lesser extent. It is also noted that the specific behaviour of men in the forest space acquires a symbolic meaning as a result of comparison with the peculiarities of perception of the forest by female characters. Once in the forest, the heroines of the studied works do not succumb to the influence of space, preserving their inner space. Also, without crossing the line of the unconscious, women simultaneously become carriers of the cultural principle in the wild natural locus. Thus, the analysis of traditionalist prose makes it possible to find several striking examples of individual perception of the forest space by representatives of each gender.

Romanticism with the Machine (1): From Frankenstein’s Monster to Hippie Computing

2017 ◽  
Author(s):  
Mark Coeckelbergh
Keyword(s):  
Science Fiction ◽  
Life Sciences ◽  
New Science ◽  
The Arts ◽  
Counter Culture ◽  
Historical Times ◽  
1960S And 1970S ◽  
The 1960S ◽  
Romantic Science ◽  
A Current

In chapter 4 it is argued that already in historical times the romantic relation to technology cannot be reduced to mere opposition. It is shown how in the early nineteenth century romantics were not only fearful of, but also fascinated by the new science and technology. Drawing on Tresch (2012) and Holmes (2008) it is argued that there was a current in Romanticism which viewed science and the arts as entwined, and which tried to fuse the organic and the mechanic, life and science. These material romanticisms are neglected by philosophers of technology who reduce romanticism to escapism, nostalgia, or anti-machine thinking. This brings us to our age, with its life sciences and its robotics that share these deeply material-romantic aims. First it is shown how in the 20th century there was a romantic science (Freud) and how technology and romanticism became very much entangled: not only in science fiction but also in reality: born as hippie computing in the context of the 1960s and 1970s counter-culture, there is a development of what we may call romantic devices.

The Hippie Trail

2017 ◽  
Author(s):  
Sharif Gemie ◽  
Brian Ireland
Keyword(s):  
Young People ◽  
Personal Interest ◽  
The Road ◽  
Counter Culture ◽  
Critical Edge ◽  
History Of ◽  
Autobiographical Accounts ◽  
1960S And 1970S ◽  
On The Road ◽  
The 1960S

This is the first history of the hippy trail. Based on interviews and self-published works, it records the joys and pains of budget travel out to Kathmandu, India, Afghanistan and other ‘points east’ during the 1960s and 1970s. It’s written in a clear, simple style, and it provides a detailed analysis of the motivations and the experiences of the hundreds of thousands of young people who travelled eastwards. The happiness and calm that many found is noted, but the work also has a critical edge: it notes the limitations of the travellers’ journeys and the mistakes they made. We discuss the rapidly changing meanings and connotations of the term ‘hippy’, and set these themes in the context of the 1960s counter-culture. The work is structured around four key debates: were the travellers simply motivated by a search for drugs? Did they encounter love or sexual freedom on the road? Were they just tourists? Did they resemble pilgrims? Finally a fifth chapter considers how the travellers have been represented in films, novels and autobiographical accounts. We’ve written this book with two main audiences in mind: firstly, people with some personal interest in the trail, such as the travellers themselves (or their children); secondly, students taking courses concerned with the 1960s and its counter-cultures.

scholarly journals Antigenic Divergence between Bordetella pertussis Clinical Isolates from Moscow, Russia, and Vaccine Strains

2007 ◽  
Vol 14 (3) ◽  
pp. 234-238 ◽  
Author(s):  
Olga Borisova ◽  
Svetlana Yu Kombarova ◽  
Nelli S. Zakharova ◽  
Marjolein van Gent ◽  
Vladimir A. Aleshkin ◽  
...  
Keyword(s):  
Bordetella Pertussis ◽  
Vaccine Coverage ◽  
Clinical Isolates ◽  
Cell Vaccine ◽  
Vaccine Type ◽  
Whole Cell Vaccine ◽  
Waning Immunity ◽  
1960S And 1970S ◽  
The 1960S ◽  
Selection Of

ABSTRACT We analyzed temporal changes in the frequencies of the ptxA, prn, fim2, and fim3 alleles in Bordetella pertussis strains isolated from pertussis patients in Moscow, Russia, from 1948 to 2004. The three strains used for the whole-cell vaccine harbored the alleles ptxA2, ptxA4, prn1, fim2-1, and fim3A. Vaccine-type alleles of ptxA (ptxA2 and ptxA4) were characteristic for all prevaccination strains and for 96% of the strains isolated in the 1960s and 1970s. At the beginning of the 1970s, ptxA2 and ptxA4 were replaced by the ptxA1 allele. In the 1980s and to the present, strains with ptxA1 were predominant in the B. pertussis population. All prevaccination strains harbored the prn1 allele, which corresponds to the vaccine-type allele. In subsequent years, the proportion of strains with the prn1 allele decreased and the proportion of prn3 and prn2 strains increased. From 2002 to 2004 strains with prn2 or prn3 were predominant in the B. pertussis population. The vaccine-type alleles fim2-1 and fim3A were found in all prevaccination strains and in 92% of the strains isolated from 1960 to 1989. The fim2-2 and fim3B alleles were first observed at the beginning of the 1980s. In subsequent years, these strains became predominant. Together with waning immunity, the antigenic divergence between vaccine strains and clinical isolates observed in the Moscow area may explain the persistence of pertussis, despite the high rates of vaccine coverage. The results demonstrate that the selection of B. pertussis strains for vaccine manufacturing must be based on a thorough study of the B. pertussis population.

Phil Spector and the New Movie Soundtrack

2013 ◽  
Vol 148 (1) ◽  
pp. 127-134 ◽  
Author(s):  
Anthony May
Keyword(s):  
Pop Music ◽  
New Hollywood ◽  
Hollywood Films ◽  
The 1960S

This article looks at the changes that occurred in pop music during the 1960s, which established the foundation for the reconfiguration of its relationship with film. The focus is on the work of producer Phil Spector and the radical changes that he brought to the medium of pop music in the early part of that decade. While the article stops short of suggesting that Spector was directly responsible for the transformation in cinema soundtracks heard in New Hollywood films from 1968 onwards, it does contend that his influence rendered pop music more accessible for movie soundtracks. Spector's innovative studio manipulations, which were designed to remove the sonic dominance of the vocal, were at the centre of these transformations.

Canada

2018 ◽  
Author(s):  
Cynthia Sugars
Keyword(s):  
World War Ii ◽  
Cultural Identity ◽  
English Language ◽  
World War ◽  
Sexual Freedom ◽  
Counter Culture ◽  
History Of ◽  
1960S And 1970S ◽  
The 1960S ◽  
Massey Commission

This chapter examines the history of the English-language novel in Canada since 1950. It first considers how the promotion of Canadian cultural identity and attempts to articulate a distinctly Canadian social ethos became increasingly mobilized in the decades following World War II. It then discusses the newfound optimism about the future of Canadian literature and culture that flourished following the Massey Commission initiatives, as well as Canadian novels published during the 1960s and 1970s — a period regarded as a time of social emancipation, sexual freedom, and counter-culture revolution. It also explores developments in the 1980s and 1990s and during the period 2000–2015, citing a number of important novels published in these years, including Ann-Marie MacDonald's Fall on Your Knees (1996), Austin Clarke's The Polished Hoe (2002), Dionne Brand’s What We All Long For (2005), and David Chariandy's Soucouyant (2007).

Harry Dean and the New Hollywood

2020 ◽  
pp. 77-95
Author(s):  
Joseph B. Atkins
Keyword(s):  
Good Friend ◽  
Francis Ford Coppola ◽  
New Hollywood ◽  
Art Form ◽  
Studio System ◽  
Sam Peckinpah ◽  
1960S And 1970S ◽  
The 1960S ◽  
Mulholland Drive

This chapter begins with an interview with Monte Hellman, one of the seminal directors of the "New Hollywood" era of the 1960s and 1970s that followed the decline of the old studio system and ushered in a new spirit of independence, rebellion, and commitment to film as an art form. Harry Dean was in three Hellman films -- Ride in the Whirlwind (1966), Two-Lane Blacktop (1971), and Cockfighter (1974). He would also appear in the films of several other leading New Hollywood directors such as Francis Ford Coppola, Sam Peckinpah, and John Milius. Harry Dean remained in the supporting cast while his good friend Jack Nicholson rose to stardom. However, a cult status began to grow around him, fueled by his work in films such as Peckinpah's Pat Garrett and Billy the Kid (1973) and Arthur Penn's The Missouri Breaks (1976), which starred his Mulholland Drive neighbors Nicholson and Marlon Brando.

scholarly journals A Road Less Travelled: The American Biker Film of the 1960s and 1970s

2021 ◽  
Author(s):  
◽  
William Liell Carter
Keyword(s):  
Media Coverage ◽  
The United States ◽  
Ongoing Research ◽  
Hollywood Cinema ◽  
The Road ◽  
New Hollywood ◽  
The Media ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S

<p>In the period 1966-1974 there were at least forty independent, low-budget feature films made in the United States about motorcycle gangs. These films were inspired by media coverage of the notorious exploits of actual gangs in the post-War period. They depict bikers as violent libertines who live non-conformist lives and engage frequently in anti-social behaviour. The films are marked by motorcycle 'runs,' wild parties, brawls, and sexual violence. While the biker film has received some critical attention, it has not been analysed to the same extent as that more reputable and better known genre of the same period, the road movie. This thesis will expand on existing research by initially examining the factors that shaped the biker film, such as the media panic about real gangs, the influence of the counterculture, exploitation filmmaking, and New Hollywood cinema. The project will also investigate the narrative features of the genre, and link this analysis to debates around post-classical narration. Finally, the thesis will interpret the representation of gender in the biker film. This thesis will argue that the biker film should be situated within a continuum of male-oriented genres that involve violent spectacle. It will also make a contribution to the ongoing research on New Hollywood cinema.</p>

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