Edinburgh University Press
Cold War Film Genres
About this book
From the mid-1940s to the late 1980s American film studios enjoyed commercial success in a range of often overlooked genres, employing a new realism to depict social class structures, capitalist desires and the expansion of the marketplace, and to turn American cultural values comically and subversively against themselves. With case studies of the Cold War comedy, the ‘rogue cop’ film, the brainwashing thriller and the urban romances that defined the ‘new woman’, Cold War Film Genres explores these myriad productions, redefining American cinematic history with a more inclusive view of the types of films that post-war audiences actually enjoyed, and that the studios provided for them.
Topics
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Frontmatter
i -
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CONTENTS
v -
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List of Illustrations
vii -
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Acknowledgments
ix -
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Notes on the Contributors
x -
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1. Introduction: Cold War Genres and the Rock-and-Roll Film
1 -
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2. Social Factors in Brainwashing Films of the 1950s and 1960s
21 -
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3. The Berlin Crisis? Piffl!: Billy Wilder’s Cold War Comedy, One, Two, Three
42 -
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4. The Small Adult Film: A Prestige Form of Cold War Cinema
62 -
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5. “I’m Lucky – I Had Rich Parents”: Disability and Class in the Postwar Biopic Genre
79 -
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6. Rogue Nation, 1954: History, Class Consciousness, and the “Rogue Cop” Film
99 -
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7. Internal Enmity: Hollywood’s Fragile Home Stories in the 1950s and 1960s
123 -
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8. Suburban Sublime
144 -
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9. Domestic Containment for Whom? Gendered and Racial Variations on Cold War Modernity in the Apartment Plot
163 -
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10. Success and the Single Girl: Urban Romances of Working Women
181 -
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11. Paris Loves Lovers and Americans Loved Paris: Gender, Class, and Modernity in the Postwar Hollywood Musical
204 -
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12. Straight to Baby: Scoring Female Jazz Agency and New Masculinity in Henry Mancini’s Peter Gunn
228 -
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Index
259