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Open Access (free)
Jeffrey Pence

crucial role in efforts to distinguish between the nature and influence of these different media. To a great extent, recent North American cinema forwards a profound contrast between narrative cinema and the textual forms associated with new technologies as models and modellers of memory. From one point of view, this transformation may lead to panic, as in an entire genre of techno-dystopian films emerging

in Memory and popular film
Juvenile actors and humanitarian sentiment in the 1940s
Michael Lawrence

-war globalism’. 39 In De Sica’s cinema, for example, realist devices were ‘capable of triggering and nourishing a charitable gaze in line with the nascent institutional practices of global humanism’. 40 The influence of European neorealism on American cinema is usually discerned in films produced at the end of the 1940s, such as Fred Zinnemann’s The Search (1948) and George Seaton’s The Big Lift (1950), both

in Global humanitarianism and media culture
Open Access (free)
Ian Scott and Henry Thompson

(David Miller, 1973), The Parallax View (Alan J. Pakula, 1974), Three Days of the Condor (Sydney Pollack, 1975) and All the President’s Men (Alan J. Pakula, 1976). These films reflected profound changes in politics during the decade of their making, but they also mirrored alterations going on in the film industry, including the abolition of the Production Code in 1968, and the move towards –​for a while at least –​an increasing focus on auteurist directorial power in American cinema. Ultimately the films provided evidence of an increasing cinematic engagement with

in The cinema of Oliver Stone