By Ina R. Hark

ISBN-10: 0813540828

ISBN-13: 9780813540825

Most likely no decade observed as many alterations within the Hollywood movie and its product because the Nineteen Thirties did. first and foremost of the last decade, the used to be nonetheless suffering from the transition to conversing photographs. Gangster motion pictures and naughty comedies starring Mae West have been well known in city components, yet aroused threats of censorship within the heartland. no matter if the movie enterprise may live on the industrial results of the Crash was once up within the air. through 1939, popularly referred to as "Hollywood's maximum Year," motion pictures like long gone With the Wind and The Wizard of ounces used either colour and sound to surprising impact, and stay American icons this day. The "mature oligopoly" that used to be the studio process had not just weathered the melancholy and develop into a part of mainstream tradition in the course of the institution and enforcement of the creation Code, it was once a well-oiled, vertically built-in commercial powerhouse. the 10 unique essays in American Cinema of the Nineteen Thirties concentrate on sixty various movies of the last decade, together with Dracula, the general public Enemy, hassle in Paradise, forty second highway, King Kong, Imitation of lifestyles, The Adventures of Robin Hood, Swing Time, Angels with soiled Faces, not anything Sacred, Jezebel, Mr. Smith is going to Washington, and Stagecoach.

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Extra info for American Cinema of the 1930s: Themes and Variations (Screen Decades: American Culture American Cinema)

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But that’s not to say that Ford’s film doesn’t at times comment on issues tied to its Depression-era context. In the same year he made Up the River, Ford started a working relationship with screenwriter Dudley Nichols, a former New York newspaper reporter who first gained notoriety for his coverage of the Sacco and Vanzetti trial. McBride claims that Nichols was “an outspoken liberal,” the kind of “intellectual person that Ford disdained,” but nonetheless his “strongly held beliefs deeply influenced Ford during the depression era,” perhaps because “he was also a navy veteran of World War I and had some Irish ancestry”; just as important, the director’s “growing need to be taken seriously and to be granted more stature by both Hollywood and the critics was enhanced by his association with Nichols” (Ford 174–75).

Of the two other giants of cinema history who came into their own in the thirties, John Ford really only found the register in which he would establish his distinctive voice in the last year of the decade, when he worked with John Wayne as the archetypal western hero in Stagecoach and Henry Fonda as the diffident man of the people in Young Mr. Lincoln. The eclectic Howard Hawks, on the other hand, had perfected his dual focus on men as comrades in crisis and on the battle of the sexes as madcap farce before mid-decade.

Conversely, a few minutes later in the scene, she speaks to her father in language that is less stylized and rapid fire, but more effectively describes the nature of their conflict: Didn’t I write you? You just didn’t want to be bothered with me . . But one thing I never wrote you . . fellas looking for a chance to marry me . . they weren’t looking for marrying . . and who’s to blame for it? Me or you? 1930 — MOVIES AND SOCIAL DIFFERENCE 39 Greta Garbo’s dialogue delivery style did not quite match the character of the lowerclass, hard-drinking, fast-talking protagonist of Anna Christie (Clarence Brown, MGM).

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American Cinema of the 1930s: Themes and Variations (Screen Decades: American Culture American Cinema) by Ina R. Hark

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