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The Best Years of Our Lives
William Wyler's The Best Years of Our Lives (1946) tells the story of three veterans returning from World War II and adjusting to civilian life in a manner unusual for classical Hollywood cinema, with melodrama leavened by authentic detail, personal memories and a fierce desire to capture its historical moment. Sarah Kozloff's illuminating study of the film traces the contribution of Wyler (himself injured while serving in the US Air Force), Robert Sherwood's screenplay, Gregg Toland's deep-focus cinematography, Hugo Friedhofer's award-winning score, and the ensemble cast of Myrna Loy, Fredric March, Dana Andrews, Teresa Wright and Harold Russell. The film's poignant message spoke to America...
The Best Years of Our Lives
William Wyler's The Best Years of Our Lives (1946) tells the story of three veterans returning from World War II and adjusting to civilian life in a manner unusual for classical Hollywood cinema, with melodrama leavened by authentic detail, personal memories and a fierce desire to capture its historical moment. Sarah Kozloff's illuminating study of the film traces the contribution of Wyler (himself injured while serving in the US Air Force), Robert Sherwood's screenplay, Gregg Toland's deep-focus cinematography, Hugo Friedhofer's award-winning score, and the ensemble cast of Myrna Loy, Fredric March, Dana Andrews, Teresa Wright and Harold Russell. The film's poignant message spoke to America...
The Best Years, 1945-1950
In the 1970s, a prominent journalist examined the immediate postwar period to find rampant political and social tensions. His survey offers a unique perspective on a critical era in American history. Includes a new Preface by the author.
Best. Movie. Year. Ever.
From a veteran culture writer and modern movie expert, a celebration and analysis of the movies of 1999—“a terrifically fun snapshot of American film culture on the brink of the Millennium….An absolute must for any movie-lover or pop-culture nut” (Gillian Flynn). In 1999, Hollywood as we know it exploded: Fight Club. The Matrix. Office Space. Election. The Blair Witch Project. The Sixth Sense. Being John Malkovich. Star Wars: The Phantom Menace. American Beauty. The Virgin Suicides. Boys Don’t Cry. The Best Man. Three Kings. Magnolia. Those are just some of the landmark titles released in a dizzying movie year, one in which a group of daring filmmakers and performers pushed cinema ...
Best Years
Americans flocked to the movies in 1945 and 1946ùthe 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 cinemaùthe end of World War II (1945) and a year of unprecedented success in Hollywood's "Golden Age" (1946). This unique time, the last year of war and the first full year of peace, provides a rich blend of cinema genres and typesùfrom 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.
The Negro Motorist Green Book
The Negro Motorist Green Book was a groundbreaking guide that provided African American travelers with crucial information on safe places to stay, eat, and visit during the era of segregation in the United States. This essential resource, originally published from 1936 to 1966, offered a lifeline to black motorists navigating a deeply divided nation, helping them avoid the dangers and indignities of racism on the road. More than just a travel guide, The Negro Motorist Green Book stands as a powerful symbol of resilience and resistance in the face of oppression, offering a poignant glimpse into the challenges and triumphs of the African American experience in the 20th century.
Chainsaws, Slackers, and Spy Kids
During the 1990s, Austin achieved "overnight" success and celebrity as a vital place for independent filmmaking. Directors Richard Linklater and Robert Rodriguez proved that locally made films with regional themes such as Slacker and El Mariachi could capture a national audience. Their success helped transform Austin's homegrown film community into a professional film industry staffed with talented, experienced filmmakers and equipped with state-of-the art-production facilities. Today, Austin struggles to balance the growth and expansion of its film community with an ongoing commitment to nurture the next generation of independent filmmakers. Chainsaws, Slackers, and Spy Kids chronicles the ...
Producing
Of all the job titles listed in the opening and closing screen credits, producer is certainly the most amorphous. There are businessmen (and women)-producers, writer-director- and movie-star-producers; producers who work for the studio; executive producers whose reputation and industry clout alone gets a project financed (though their day-to-day participation in the project may be negligible). The job title, regardless of the actual work involved, warrants a great deal of prestige in the film business; it is the credited producers, after all, who collect the Oscar for Best Picture. But what producers do and what they don’t or won’t do varies from project to project. Producing is the firs...
Atomic Bomb Cinema
Unfathomably merciless and powerful, the atomic bomb has left its indelible mark on film. In Atomic Bomb Cinema, Jerome F. Shapiro unearths the unspoken legacy of the bombing of Nagasaki and Hiroshima and its complex aftermath in American and Japanese cinema. According to Shapiro, a "Bomb film" is never simply an exercise in ideology or paranoia. He examines hundreds of films like Godzilla, Dr. Strangelove, and The Terminator as a body of work held together by ancient narrative and symbolic traditions that extol survival under devastating conditions. Drawing extensively on both English-language and Japanese-language sources, Shapiro argues that such films not only grapple with our nuclear anxieties, but also offer signs of hope that humanity is capable of repairing a damaged and divided world. www.atomicbombcinema.com
