By Murray Pomerance
From chilly warfare hysteria and rampant anticommunist witch hunts to the trap of suburbia, tv, and the hot consumerism, the Nineteen Fifties used to be a decade of sensational advertisement chance coupled with darkish nuclear fears and conformist politics. within the face of those social, political, and cultural stipulations, Hollywood was once less than siege: from the Justice division, which pressed for large movie businesses to divest themselves in their theater holdings; from the center type, whose retreat to family members leisure contained in the domestic greatly diminished the filmgoing viewers; and from the home Un-American actions Committee, which used to be trying to purge the rustic of dissenting political beliefs. during this tricky context, besides the fact that, essentially the most proficient filmmakers of all time, together with John Ford, Alfred Hitchcock, Vincente Minnelli, Nicholas Ray, and Billy Wilder produced a few of their so much awesome paintings. Bringing jointly unique essays by way of ten revered students within the box, American Cinema of the Nineteen Fifties explores the influence of the cultural atmosphere of this decade on movie, and the effect of movie at the American cultural milieu. individuals learn signature motion pictures of the last decade, together with From right here to Eternity, sundown Blvd., Singin’ within the Rain, Shane, Rear Window, and insurgent and not using a reason, in addition to lesser-known yet both compelling movies, akin to Dial 1119, secret road, by surprise, summer time inventory, The final Hunt, sour Victory, and so forth. Provocative, attractive, and available to basic readers in addition to students, this quantity offers a different lens in which to view the hyperlinks among movie and the present social and historic occasions of the Nineteen Fifties.
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Additional resources for Johnny Depp Starts Here
Apprehension? Hunger? And then what, precisely, can we take to be the meaning of “I’m not ﬁnished”? Surely it suggests with exquisite compactness and directness a diegetic reality and ﬁeld of possibility: that this character is the result of someone’s tinkering; that the tinkering was interrupted; that therefore the character’s life, not unlike that of Pinocchio, is shaped and dictated by his circumstance. The boy has scissors for hands because his maker didn’t get around to putting the “real” hands on yet, and all of the ﬁlm is a discursion into what is left to him as a life when he must go through the day with this ability/debility.
But aside from a tidy haircut and a pair of expensive prescription eyeglasses—eyeglasses chosen speciﬁcally to ﬁt with the clothing and presentation of the character and not in any way to make themselves obvious—the character of Watson is a version of Depp onscreen that seems non-racial, non-ethnic, and unothered. It is thus a kind of double of all the other Depps, which are in some sense one and the same in their manifestation as transformed Depps. Gene Watson is little other than a bourgeois, contemporary, suburban young adult—close, in fact, to what Johnny can be presumed to be by those who have no access to him, and at a distance from the other screen characterizations Johnny has made.
Nor is ethnicity alien to Depp offscreen. On his mother’s side, one of his biographers writes, he is the grandson of a Cherokee, a young man who inherited “the sharp cheekbones and sculptured visage that was to grace a thousand magazine covers the world over as he grew to maturity in the public gaze” (Robb 1996, 16). As well, writes another, there is “a fair amount of Irish and German in [Johnny’s] background” (Heard 2001, 2). Onscreen, to be sure, his “Hungarian” and other ethnic moments are fashioned, and also dispensed with, so casually and with so little apparent effort (Depp has a keen ear for linguistic nuance) that ethnicity seems to become ﬂuid and ﬂeeting, entirely of the moment.