Classic Hollywood

Author(s):  
Veronica Pravadelli

Studies of “Classic Hollywood” typically treat Hollywood films released from 1930 to 1960 as a single interpretive mass. This book complicates this idea. Focusing on dominant tendencies in box office hits and Oscar-recognized classics, the book breaks down the so-called classic period into six distinct phases. The book's analysis follows Hollywood's amazingly diverse offerings from the emancipated females of the “Transition Era” and the traditional men and women of the conservative 1930s that replaced it to the fantastical Fifties movie musicals that arose after anti-classic genres like film noir and women's films. The book's analysis is set apart by paying particular attention to the gendered desires and identities exemplified in the films. The book views Hollywood through strategies as varied as close textural analysis, feminism, psychoanalysis, film style and study of cinematic imagery, revealing the inconsistencies and antithetical traits lurking beneath Classic Hollywood's supposed transparency. The result is a synthesis of theoretical approaches to a legendary cinematic era.

2015 ◽  
Vol 41 (3) ◽  
pp. 429-449 ◽  
Author(s):  
JAMES BRASSETT ◽  
LENA RETHEL

AbstractThe article develops a critical analysis of gendered narratives of global finance. The post-subprime crisis equation of unfettered global finance with the excessive masculinity of individual bankers is read in line with a wider gender narrative. We discuss how hetero-normative relations between men and women underpin financial representations through three historical examples: war bond advertising, Hollywood films about bankers, and contemporary aesthetic representations of female politicians who advocate for austerity. A politics emerges whereby gender is used to encompass a/the spectrum between embedded and disembedded finance, approximate to the divide between oikonomia and chrematistics. The apparently desirable ‘marriage’ between the state and finance that ensues carries several ambiguities – precisely along gender lines – that point to a pervasive limit: the myth of embedded liberalism in the imagination of global finance.


2020 ◽  
Vol 4 ◽  
pp. 187-206
Author(s):  
Светлана Витун ◽  
◽  
Дмитрий Денищик ◽  

Goal – the purpose of this article is to generalize theoretical approaches to determining the specifics of women’s entrepreneurship, to form a portrait of a modern woman in business, to identify barriers to the development of women’s entrepreneurship and ways of its development. Research methodology – in the main part, the analysis of economic sectors, which modern women prefer when choosing a field of activity, is carried out. A comparative analysis was carried out and the distinctive features of enterprises run by men and women were identified. Score/results – the positive experience of conducting women’s business in Poland, which can be successfully used to improve and develop women’s entrepreneurship in Belarus, is revealed. Options for improving the current situation, aimed at the development of women’s entrepreneurship, are proposed. Originality/value – the article deals with the formation and development of women’s business as a basis for the activation of small and medium‑sized businesses in the Republic of Belarus. The features of the activities of enterprises run by women are revealed, and the strengths and weaknesses in their work are highlighted.


Author(s):  
Alan K. Rode

Curtiz’s career is summarized during the pre-Code era of Hollywood films. The evolution of the Production Code from the 1922 appointment of Will Hays as the czar of the MPPDA to the lack of enforcement of the Code is contextually chronicled as a key driver of the nature of Warner Bros. pictures during the early years of the Depression. Zanuck pioneered the “ripped from the headlines” gangster dramas that struck a chord with audiences. After he directed The Mad Genius, with John Barrymore, Curtiz’s pay was cut as Warners lost $8 million in 1931.Following The Woman from Monte Carlo and the visually creative Alias the Doctor, Curtiz was assigned the contemporary Strange Love of Molly Louvain, starring Ann Dvorak.He hit box-office gold with Doctor X (1932), a gruesome pre-Code horror film starring Fay Wray, who recounted Curtiz’s cold, sometimes cruel behavior on the set. Curtiz’s production of The Cabin in the Cotton included his racial faux pas and his alienation of Bette Davis during their first film together.His masterly direction of 20,000 Years in Sing Sing concluded a year of worsening economic conditions for the country.


2020 ◽  
Vol 66 (2) ◽  
pp. 14-19
Author(s):  
A.K. Iigibaeva ◽  
◽  
A.D. Toleukhanova ◽  

The high level of activity in the social life of both men and women in modern conditions requires new methodological approaches to the study of gender issues. Of particular importance is the issue of studying the experience of implementing a gender approach in the educational system. The article analyzes the main theoretical approaches in research on gender pedagogy in the context of cultural and national values. An excursion into the history of the problem is made.Based on the analysis of scientific research by Russian and domestic scientists, an attempt is made to determine the main methodological approaches in gender pedagogy. In considering this issue, special attention should be paid to the historical, cultural and spiritual values of the ethnic group, together with modern socio-cultural realities.The need for interdisciplinary research on gender issues is being updated. The high level of activity in the social life of both men and women requires new methodological approaches in the study of gender issues. Of particular importance is the issue of studying the experience of implementing a gender approach in the educational system. The article analyzes the main theoretical approaches in gender pedagogy of Russian and Kazakh researchers in the context of cultural and nationalvalues.


Author(s):  
Sylvia Townsend

In meticulous detail, the book describes the filming, release, and influence of the 1971 film Two-Lane Blacktop. In 1970 the urbane producer Michael Laughlin asked the hippy filmmaker Monte Hellman to direct a script called Two-Lane Blacktop. The cult author Rudy Wurlitzer rewrote the script, the story of two scruffy hot rodders who pick up a girl hitchhiker and race their classic ’55 Chevy against a rich guy’s “factory –made hot rod,” a ’70 GTO Judge. In three of the four lead roles Hellman cast nonactors – the rock stars James Taylor and Dennis Wilson, and the director’s girlfriend, Laurie Bird. Hellman made an existentialist car-racing movie; nobody wins or even finishes the race, the protagonists are doomed to drive around endlessly. The film was slow-paced, the rock stars didn’t sing (and barely spoke), the movie had little music, and Hellman ignored other traditional crowd-pleasing conventions. When he resisted studio pressure to make the movie more conventional and commercial, it flopped at the box office. Universal failed to release the film on video, making it scarce and sought-after, and three of the four lead actors – Wilson Bird and Warren Oates, had untimely deaths, conferring mystique on the film. Many years after its release, the film gained wide acclaim, was released by the prestigious Criterion Collection and was preserved in the National Film Registry. In the book, the directors Wes Anderson, Richard Linklater and others tell how the movie influenced their work. Although Two-Lane Blacktop was a harbinger of the demise of New Hollywood films, brought about by the financial costs to Hollywood studios that allowed auteur directors to make non-commercial movies, had Hellman caved in to pressure to make the movie commercial, it would not have become a classic.


2021 ◽  
Vol 12 (3) ◽  
Author(s):  
Natalya Fontalova ◽  
Yulia Ryumkina

The article examines the relationship between the need for power and the system of life meanings among modern youth. The needs for power and the systems of life meanings of young men and women are compared. The theoretical basis of the research consists of scientific and theoretical approaches of psychologists to understanding the need for power, as well as approaches to the study of life meanings. Theoretical research methods and techniques are analysis and systematization of psychological literature on the research problem. Empirical methods are survey and testing: methodology "Research of the system of life meanings" by V.Yu. Kotlyakov. The technique allows to determine the content of value system and the sequence of its representation in the system of life meanings. Methodology test questionnaire "Motive of power" by E.P. Ilyina is aimed to determine a person's ability to exercise their will despite the resistance of other people. Statistical methods are methods of quantitative and qualitative analysis of empirical data. As a result of the empirical study the authors formulated and proposed recommendations for psychological support of young people. The results of the study made it possible to clarify the relationship between the need for power and the system of life meanings in modern youth.


2017 ◽  
Vol 82 (1) ◽  
pp. 179-210 ◽  
Author(s):  
Katrin Auspurg ◽  
Thomas Hinz ◽  
Carsten Sauer

Gender pay gaps likely persist in Western societies because both men and women consider somewhat lower earnings for female employees than for otherwise similar male employees to be fair. Two different theoretical approaches explain “legitimate” wage gaps: same-gender referent theory and reward expectations theory. The first approach states that women compare their lower earnings primarily with that of other underpaid women; the second approach argues that both men and women value gender as a status variable that yields lower expectations about how much each gender should be paid for otherwise equal work. This article is the first to analyze hypotheses contrasting the two theories using an experimental factorial survey design. In 2009, approximately 1,600 German residents rated more than 26,000 descriptions of fictitious employees. The labor market characteristics of each employee and the amount of information given about them were experimentally varied across all descriptions. The results primarily support reward expectations theory. Both men and women produced gender pay gaps in their fairness ratings (with the mean ratio of just female-to-male wages being .92). Respondents framed the just pay ratios by the gender inequalities they experienced in their own occupations, and some evidence of gender-specific evaluation standards emerged.


Author(s):  
William Luhr

Film noir is a term coined by French critics in 1946 to describe what they considered an emerging and exciting trend in Hollywood films—one that signaled a new maturity in American cinema. The term translates into English as “black film,” and the darkness to which it refers applies both to the grim themes and events in many of these movies, as well as to their dark look. Many of them deal with doomed characters entangled in immoral and/or criminal activities that go horribly wrong. Such characters lose their psychological mooring and become increasingly desperate, and the depiction of that desperation can at times destabilize the traditional securities and aesthetic distance of the viewer from the events of the film. The cinematography of many of these movies often features images crisscrossed with ominous shadows and filled with dark, mysterious spaces. This article explores the origins of the genre in the 1940s, major influences upon it, its development and many transformations, its intersections with other genres, its place in Hollywood history as well as postwar American culture, its frequent bouts with industry censorship, reasons for the difficulties that critics encounter with defining it, its ongoing popularity, and its extensive influence upon multiple media.


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