Juvenile actors and humanitarian sentiment in the 1940s

different countries – appeared and functioned in four Hollywood studio pictures: Twentieth Century Fox’s suspense thriller The Pied Piper (Irving Pichel, 1942), Universal’s romantic musical The Amazing Mrs Holliday (Jean Renoir/Bruce Danning, 1943), RKO’s comedian comedy Heavenly Days (Howard Estabrook, 1944) and RKO’s family fantasy The Boy with Green Hair (Joseph Losey, 1948). I explore how these

in Global humanitarianism and media culture
Art, authorship and activism

This book charts and analyses the work of Oliver Stone – arguably one of the foremost political filmmakers in Hollywood during the last thirty years. Drawing on previously unseen production files from Oliver Stone’s personal archives and hours of interviews both with Stone and a range of present and former associates within the industry, the book employs a thematic structure to explore Stone’s life and work in terms of war, politics, money, love and corporations. This allows the authors both to provide a synthesis of earlier and later film work as well as locate that work within Stone’s developing critique of government. The book explores the development of aesthetic changes in Stone’s filmmaking and locates those changes within ongoing academic debates about the relationship between film and history as well as wider debates about Hollywood and the film industry. All of this is explored with detailed reference to the films themselves and related to a set of wider concerns that Stone has sought to grapple with -the American Century, exceptionalism and the American Dream, global empire, government surveillance and corporate accountability. The book concludes with a perspective on Stone’s ‘brand’ as not just an auteur and commercially viable independent filmmaker but as an activist arguing for a very distinct kind of American exceptionalism that seeks a positive role for the US globally whilst eschewing military adventurism.

Open Access (free)
Editor: Paul Grainge

As a technology able to picture and embody the temporality of the past, cinema has become central to the mediation of memory in modern cultural life. The memory of film scenes and movies screens, cinema and cinema-going, has become integral to the placement and location of film within the cultural imagination of this century and the last. This book is a sustained, interdisciplinary perspective on memory and film from early cinema to the present. The first section examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The second section examines the politics of memory in a series of chapters that take as their focus three pivotal sites of national conflict in postwar America. This includes the war in Vietnam, American race relations and the Civil Rights Movement, and the history of marginality in the geographic and cultural borderlands of the US. The book explores the articulation of Vietnam. The final section concentrates on the issue of mediation; it explores how technological and semiotic shifts in the cultural terrain have influenced the coding and experience of memory in contemporary cinema. It considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory. The book also examines the stakes of cultural remembering in the United States and the means by which memory has been figured through Hollywood cinema.

From Vietnam to the war in the Persian Gulf

In this chapter I want to explore, within a context of culture and power, the complex relations between memory and desire. 1 More specifically, I want to connect 1980s Hollywood representations of America’s war in Vietnam (what I will call ‘Hollywood’s Vietnam’) with George Bush’s campaign, in late 1990 and early 1991, to win support for US involvement

in Memory and popular film
Open Access (free)
Film festivals and the revival of Classic Hollywood

narratives of institutionalised culture. One topic of particular significance for Film Studies is the revival at international film festivals of movies made during the heyday of the Hollywood studio system – that is to say, the recirculation of those films most commonly held to represent the popular memory of commercial cinema itself. In this chapter, I want to explore this subject by considering briefly the

in Memory and popular film
Open Access (free)
New retro movies in 1990s Hollywood cinema

, memorialised past is increasingly dependent upon, and recycled within, audiovisual representations such as those found in popular film. My aim is to consider how 1990s Hollywood cinema has activated a selective, revised sense of the past, and how memory approaches to film history are able to analyse this. In particular, I will stress how popular cultural memory is drawn upon as an aesthetic and commercial strategy of Hollywood

in Memory and popular film
Open Access (free)
Memory and popular film

echo and pressure of the past as it is configured in present-based struggles over the meaning of lived experience. While the study of memory and film extends itself to a number of national cinemas, with potentially different stakes in the form and nature of cinematic remembrance, this volume takes Hollywood, and the cultural history of the United States, as its principal focus of concern. Notwithstanding the dominance of

in Memory and popular film
Open Access (free)
Civil rites of passage

Fred Hobson’s analysis of the memoirs of white southerners who grow up racist but ‘see the light’. Novelist Reynolds Price, for example, allows ‘Now when I see films of the flocking brave faces, black and white, of the early civil rights movement . . . I’m more than sorry that my face is missing’. 13 In the 1980s and 1990s Hollywood inserted the missing faces into the civil

in Memory and popular film
Open Access (free)

critics who normally would lambast their adversary for a pretender’s ignorance in such matters. With Stone, his military record cannot even begin to entertain such criticism.6 Neither boastful nor contrite about this past, he has used it to construct a critique of foreign policy that no one else in Hollywood could come close to emulating. Indeed, war is the central mantra of almost all that Stone does, in his films and life. The battle to craft images and meaning is no easier, or less challenging, than it was when he started making films, and his dogged application to

in The cinema of Oliver Stone

This collection interrogates the representation of humanitarian crisis and catastrophe, and the refraction of humanitarian intervention and action, from the mid-twentieth century to the present, across a diverse range of media forms: traditional and contemporary screen media (film, television and online video) as well as newspapers, memoirs, music festivals and social media platforms (such as Facebook, YouTube and Flickr). The book thus explores the historical, cultural and political contexts that have shaped the mediation of humanitarian relationships since the middle of the twentieth century. Together, the chapters illustrate the continuities and connections, as well as the differences, which have characterised the mediatisation of both states of emergency and acts of amelioration. The authors reveal and explore the significant synergies between the humanitarian enterprise, the endeavour to alleviate the suffering of particular groups, and media representations, and their modes of addressing and appealing to specific publics. The chapters consider the ways in which media texts, technologies and practices reflect and shape the shifting moral, political, ethical, rhetorical, ideological and material dimensions of international humanitarian emergency and intervention, and have become integral to the changing relationships between organisations, institutions, governments, individual actors and entire sectors.