By Peter Lev, David Cook, Frances Gateward, Paula J. Massood, Lester D. Friedman, Michael DeAngelis, Mimi White, Mia Mask, Glenn Man, Frank Tomasulo, Charles Maland
A arrogant look on the seventies-the so-called Me Decade-unveils a kaleidoscope of huge hair, blaring song, and damaged politics-all effortless objectives for satire, cynicism, and finally even nostalgia. American Cinema of the Nineteen Seventies, in spite of the fact that, appears to be like past the strobe lighting to bare how profoundly the seventies have inspired American lifestyles and the way the flicks of that decade symbolize a top second in cinema historical past. faraway from a placid period, the seventies used to be a decade of social upheavals. occasions similar to the killing of scholars at Kent country and Jackson country universities, the Watergate investigations, the legalization of abortion, and the top of the yankee involvement in Vietnam are just a number of among the landmark occurrences that challenged the rules of yankee tradition. The director-driven videos of this period replicate this turmoil, experimenting with narrative buildings, supplying a gallery of scruffy antiheroes, and revising conventional style conventions. Bringing jointly ten unique essays, American Cinema of the Seventies examines the diversity of movies that marked the last decade, together with Jaws, Rocky, Love tale, Shaft, soiled Harry, The Godfather, Deliverance, The Exorcist, Shampoo, Taxi driving force, big name Wars, Saturday evening Fever, Kramer vs. Kramer, and Apocalypse Now. Lester D. Friedman is the Senior Scholar-in-Residence within the Media and Society application at Hobart and William Smith faculties and the writer of diverse books on movie.
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Extra info for American Cinema of the 1970s: Themes and Variations (Screen Decades: American Culture / American Cinema)
Most of the ﬁlms that depict campus rebellions are frankly muddle-headed and ham-handed. Yet within almost every ﬁlm of this type, there are at least a few scenes that evoke some sense of the disillusionment, frustration, anger, passion, and commitment that drove the movement. Student protestors are often depicted as naive, superﬁcial, or self-serving sloganeers, yet scenes where occupied buildings are stormed by armed police who batter the students with nightsticks or ﬁre tear gas and bullets nonetheless suggest a physically violent establishment response completely disproportionate to even the most egregious offenses of the students.
FRIEDMAN on how it foregrounded issues previously deemed taboo by nervous television executives, such as breast cancer and menopause, homosexuality and impotence, rape and feminism. Most shockingly, “All in the Family” dealt with racial issues in an overt manner never seen on mainstream American television. ’ It seeks to throw a humorous spotlight on our frailties, prejudices, and concerns. ” Spewing forth derogatory caricatures and racist slang terms when referring to minorities, Archie articulated the growing resentment of the “silent majority” toward the cultural changes that had rocked the social foundation of the nation.
The crowds have moved back off the stage of history. We are left with the solitary human . . ” Instead of penning hymns to resistance like “Blowing in the Wind” or expressing outrage at “The Lonesome Death of Hattie Carroll,” Dylan seems battered and helpless in the blast of idiot winds, the simple twists of fate, and the loss of his love who now may live in Tangiers. As illustrated in Dylan’s lyrics, popular music exempliﬁed how, during much of the seventies, the political gave way to the personal and the confession replaced the call to arms.