Cultural Studies

An Army of Phantoms: American Movies and the Making of the by J. Hoberman

By J. Hoberman

Publish 12 months note: First released December twenty eighth 2010

An military of Phantoms is an incredible new paintings of background and movie feedback from the very hot critic J. Hoberman. the following he applies an analogous dynamic synergy of yankee politics and American pop culture to the chilly War’s first decade that he dropped at the Nineteen Sixties within the significantly acclaimed The Dream Life.

The years among 1946 and 1956 introduced U.S. dominance over Europe and a brand new battle in Asia, in addition to the beginning of the civil rights stream and the stirrings of a brand new early life tradition. The interval observed the motion picture purged of its political left whereas the increase of ideological motion hero John Wayne got here to dominate theaters. studying videos and media occasions, Hoberman has prepared a competition of cavalry Westerns, apocalyptic sci-fi flicks, and biblical spectaculars in which Cecil B. DeMille rubs shoulders with Douglas MacArthur, atomic exams are proven on stay television, God talks at the radio, and Joe McCarthy is bracketed with Marilyn Monroe. here's a background of movie that also is, to paraphrase Jean-Luc Godard, concerning the movie of history.

Essential examining for movie and background buffs, An military of Phantoms recasts a very important period within the gentle of the silver monitor.

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Extra info for An Army of Phantoms: American Movies and the Making of the Cold War

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Hastened to register an atomic bomb title on behalf of MGM. Forty-eight hours later, the day after Nagasaki was destroyed, Barron telephoned the War Department’s press office. Twentieth Century-Fox had already managed to slip a topical, if anachronistic, reference to something called Process 97 (“the secret ingredient of the atomic bomb”) into their spy fi lm The House on 92nd Street before it wrapped in late August. 1 “The atomic bomb proved to be the war’s biggest surprise,” wrote science reporter Daniel Lang in the New Yorker.

S. State Department! September 27, two days after President Truman’s executive order eliminated a Hoover rival by disbanding the OSS, Fox announced Diplomatic Courier, eventually released as 13 Rue Madeleine. Paramount and Warner Bros. (which, grossly misjudging the postwar mood, had rereleased their madly philo-Soviet Mission to Moscow) trailed in publicizing their respective plans for OSS and Cloak and Dagger. The latter, based on a forthcoming book by two OSS officers, would be the first independent production for Harry Warner’s son-in-law Captain Milton Sperling, newly returned from the marines, for whom he had supervised two documentaries.

Dewey, at the Los Angeles Coliseum, complete with elephants and brass bands, sweater girls and cowboys (and Indians). David Platt compares the event to Triumph of the Will. The industry is almost wholly united behind the Hollywood for Roosevelt Committee, headed by Jack Warner, Samuel Goldwyn, and Katharine Hepburn. As the United States and Japan enjoin the war’s largest naval engagement in Leyte Gulf, RKO prepares to celebrate an earlier phase of the Philippine theater. Two Communists are put together with an MPA-friendly star: the studio has commissioned Ben Barzman to write Back to Bataan, which Edward Dmytryk will direct with the war’s hottest new star, John Wayne, on loan from Republic.

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