Synopses & Reviews
Explosive! Amazing! Terrifying! You wonandrsquo;t believe your eyes!and#160;and#160;Such movie taglines were common in the 1950s, as Hollywood churned out a variety of low-budget pictures that were sold on the basis of their sensational content and topicality. While a few of these movies have since become canonized by film fans and critics, a number of the eraandrsquo;s biggest fads have now faded into obscurity.
The Cool and the Crazy examines seven of these film cycles, including short-lived trends like boxing movies, war pictures, and social problem films detailing the sordid and violent life of teenagers, as well as uniquely 1950s takes on established genres like the gangster picture. and#160;
and#160;Peter Stanfield reveals how Hollywood sought to capitalize upon current events, moral panics, and popular fads, making movies that were andldquo;ripped from the headlinesandrdquo; on everything from the Korean War to rock and roll. As he offers careful readings of several key films, he also considers the broader historical and commercial contexts in which these films were produced, marketed, and exhibited. In the process, Stanfield uncovers surprising synergies between Hollywood and other arenas of popular culture, like the ways that the fashion trend for blue jeans influenced the 1950s Western.and#160;
and#160;Delivering sharp critical insights in jazzy, accessible prose, The Cool and the Crazy offers an appreciation of cinema as a andldquo;popandrdquo; medium, unabashedly derivative, faddish, and ephemeral. By studying these long-burst bubbles of 1950s andldquo;pop,andrdquo; Stanfield reveals something new about what films do and the pleasures they provide.and#160;
and#160;and#160;and#160;
Review
andquot;This outstanding book's overview of the role movies played at a key moment in the nation's history provides an invaluable and wonderfully readable resource for scholars, students, and everyone who loves the movies.andquot;
Review
andquot;Best Years is a lucid and thought-provoking work that probes at some of Hollywood's most iconic films. The Affrons' work provides a comprehensive account of cinema's Golden Age that easily rivals any graduate-level film seminar.andquot;
Review
andquot;Just what was the movies' greatest year? Charles and Mirella Affron make a strong case for one moment, as World War II drew to a close, when Hollywood not only controlled the lion's share of the entertainment dollar, but spoke to a national audience from a position of financial stability and moral certainty. A fascinating guide to a season of movies, and movie culture, that today's fragmented audience can hardly imagine.andquot;
Review
andquot;This remarkable book documents a turning point in US cinemaandmdash;a period when WW II was ending, soldiers were returning, recreational time was increasing as the war machine shut down, and moviegoing in the US was at its height. Meticulously researched and richly detailed, the book ties films to the fabric of American existenceandmdash;to places, persons, and thingsandmdash;persuasively arguing that for many reasons, 1945-46 was one of the key periods in the history of cinema. Packed to the brim with rare illustrations, this book succeeds admirably on every level. For anyone interested in the films of this era, this is the book to read. Essential.andquot;
Review
andquot;Fresh ideas, fresh arguments, and a good feel for the 1950sandmdash;Stanfield has it all. This book is one of a kind.andquot;
Review
andquot;This dazzling archaeology of cycles and genres in postwar cinema goes deep into cultural history, then pulls back to reveal patterns and movements unseen until Stanfield saw them. Highly recommended.andquot;
Synopsis
Americans flocked to the movies in 1945 and 1946andugrave;the center point of the three-decade heyday of the studio system's sound era.
Why?Best Years is a panoramic study, shining light on this critical juncture in American historyand the history of American cinemaandugrave;the end of World War II (1945) and a year of unprecedented success in Hollywood's andquot;Golden Ageandquot; (1946). This unique time, the last year of war and the first full year of peace, provides a rich blend of cinema genres and typesandugrave;from the battlefront to the home front, the peace film to the woman's film, psychological drama, and the period's provocative new style, film noir.
Best Years focuses on films that were famous, infamous, forgotten, and unforgettable. Big budget A-films, road shows, and familiar series share the spotlight. From Bergman and Grant in Notorious to Abbott and Costello in Lost in a Harem, Charles Affron and Mirella Jona Affron examine why the bond between screen and viewer was perhaps never tighter. Paying special attention to the movie-going public in key cities--Atlanta, New York, Boston, Honolulu, and Chicago--this ambitious work takes us on a cinematic journey to recapture a magical time.
Synopsis
Best Years shines light on a critical juncture in American history and the history of American cinemaandugrave;the end of World War II (1945) and a year of unprecedented success in Hollywood's andquot;Golden Ageandquot; (1946). This unique time provides a rich blend of cinema genres and typesandugrave;from the battlefront to the home front, the peace film to the woman's film, psychological drama, and the period's provocative new style, film noir. This book focuses on films that were famous, infamous, forgotten, and unforgettable, with big budget A-films, road shows, and familiar series share the spotlight.
Synopsis
In the 1950s, Hollywood made a variety of sensational movies meant to capitalize upon current events, moral panics, and popular fads. The Cool and the Crazy examines seven of the decadeandrsquo;s key film cycles, including short-lived trends like boxing and juvenile delinquency movies, as well as uniquely andlsquo;50s takes on established genres like the Western. and#160;Delivering sharp critical insights in jazzy, accessible prose, Peter Stanfield offers an appreciation of cinema as a andldquo;popandrdquo; medium, unabashedly derivative, faddish, and ephemeral.and#160;and#160;
About the Author
Charles Affron is professor emeritus of French at New York University. He is the author of
Lillian Gish: Her Legend and Life, coauthor of Sets in Motion: Art Direction and Film Narrative, and editor of 8+: Federico Fellini, Director (Rutgers University Press). Along with Mirella Jona Affron and Robert Lyons, he is a general editor of Films in Print and Depth of Field, both Rutgers University Press series.
and#160;Mirella Jona Affron is a professor of cinema studies at the College of Staten Island/CUNY, where she was provost from 1995 to 2002, and at the Graduate Center/CUNY. She is the coauthor of Sets in Motion: Art Direction and Film Narrative and editor of The Last Metro: Frantois Truffaut, Director (both Rutgers University Press). Along with Charles Affron and Robert Lyons, she is a general editor of Films in Print and Depth of Field, both Rutgers University Press series.
Table of Contents
Contents
List of Illustrations
Acknowledgments
1 Standing Room Only
2 Over Here
3 Nation
4 Over There
5 Stars
6 Big Picture
7 Imports
8 Homecoming
9 Continuous Showings
Appendix A Box-Office Rankings
Appendix B Star Rankings
Notes
Index