By Ben Dickenson
Blending political and picture research with specific interviews with Hollywood movers and shakers, Ben Dickenson dissects the social context of the final twenty-five years, from Reagan's Presidency to George W. Bush. He uncovers major political realignments within the motion picture undefined, in its aesthetic values and within the makeup of Hollywood expertise and strains how successive presidents and globalization have opened the best way for the anti-globalization stream in Hollywood, which in flip has resulted in adjustments in movie output. The publication brings the tale of Hollywood radicalism as much as and during the 2004 Presidential election.
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Extra resources for Hollywood's New Radicalism: War, Globalisation and the Movies from Reagan to George W. Bush (Cinema and Society)
The Trading The Inheritance 19 Places plot turns on Murphy’s decision to reject his new-found wealth and right the wrong done to Aykroyd. Wall Street concludes with Carl’s son, Bud, exposing Gordon Gekko’s corruption to the authorities, but in order for this to happen Carl has had to persuade Bud of the importance of values. In Colors the presence and action of Hopper’s cop prevents an explosion on the Los Angeles streets that his partner, left to his own violent devices, would have certainly provoked.
4. Bulworth: Warren Beatty’s hero bears all the hallmarks of fatalistic 1990s liberalism (copyright Twentieth Century Fox). This 60-year-old liberal tradition overflows with American iconography – flags, courthouses, the White House – and explores dilemmas in American society – economic deprivation, racism, and the strength of democratic systems. There is continuity between Twelve Angry Men’s victorious hero and the heroes of JFK and Bulworth who ultimately fail. In the Rose and Lumet model and its 1990s fatalistic counterpart the hero remains special, brilliant – a crusader for what is right and good.
Against a backdrop of immense social crisis his rhetoric draws together urban black America and the impoverished, sweeping aside bureaucrats on Capitol Hill. He speaks with warmth to the diverse nations of the world where grey-clad soldiers heed his call for a unified humanitarian effort. His leadership is essential to liberating the planet from disaster but he leads with a mischievous glint in his eye. This is the bomber-jacket wearing, ex-fighter pilot president played by Bill Pullman in Independence Day, the biggest grossing film of 1996.
Hollywood's New Radicalism: War, Globalisation and the Movies from Reagan to George W. Bush (Cinema and Society) by Ben Dickenson