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A New Kind of Public : community, solidarity, and political economy in New Deal cinema,1935-1948 /
In 1936, director John Ford claimed to be making movies for "a new kind of public" that wanted more honest pictures. Graham Cassano's book argues that this new kind of public was forged in the fires of class struggle and economic calamity. Those struggles appeared in Hollywood product...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Leiden ; Boston :
Brill,
©2014.
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| Colección: | Studies in critical social sciences ;
v. 69. |
| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- A New Kind of Public: Community, Solidarity, and Political Economyin New Deal Cinema, 1935-1948; Copyright; Dedication; Contents; Acknowledgements; Introduction: A Sociological Approach to New Deal Cinema; The Problem; Symbols, Experience, and Overdetermination; Interpellative Intention; Context; The Force of Imagined Things; A New Kind of Public; Working Class Community; The Hollywood Cultural Apparatus; Plan of the Work; 1 Black Fury (1935) and RiffRaff (1936); Radical Paternalism and Labor's Solidarity; Black Fury and the Construction of Whiteness; Black Fury's Paternalism; RiffRaff.
- Women's Exploitation in the HouseholdWomen's Exploitation in the Cannery; Anti-Marx; Race, Wealth, and Desire; Responsible Unionism; Cinematic Contradictions; 2 My Man Godfrey (1936); Cinematic Corporatism; Forgotten Men; Two Communities; Responsibility and Recognition; Mastery and Servitude; Captain of Finance; Mask as Mark; 3 Swing Time (1936); Recognition and "Schemes of Life"; The Power of Fashion; The Political Economy of Desire; Swing Time's Realism; Immigrants and The Shadows of Blackness; Culture and Barbarism; 4 The Hurricane (1937); Popular Front and Labor Affiliations.
- Colonial Order and Pacific Passions"I'm Just the same as a White Man"; Two Communities; "Look at them Dance. There's the Island's Answer to your Law"; De-Colonized Independence and Enslaved Servility; "You're all Guilty"; Contradictions and Paradoxes; 5 Ginger Rogers and the (Hollywood) Proletarian Imaginary, 1939-1941; 5th Avenue Girl (1939); Bachelor Mother (1939); Kitty Foyle (1940); Tom, Dick, and Harry (1941); 6 John Ford, From Radical Critique to the White Garrison State, 1940-1948; Radical Traditionalism in The Grapes of Wrath; Symbolic Domination as Traditional Compensation.
- The Language of PatriarchyAllegories of Race; Narrating Trauma as Radical Critique; Capital, Class and the Charmed Circle of the State; Workers' Control; The Paradoxes of Radical Representation; Two Voices; From Class Conflict (Back) to Corporate Community; All I can See is the Flags; We'll have no more Grapes of Wrath; Epilogue: Psycho (1960) and the New Domestic Gaze; The Gaze; Interpellating Community; The Loss of the Collective Spectacle; References; Films Cited; Index.