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Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930-1934 (Inglese) Copertina flessibile – ago 1999

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Amazon.com: 4.0 su 5 stelle 18 recensioni
5.0 su 5 stelle A brief history of American cinema from 1930-1934 3 luglio 2013
Di Rama Rao - Pubblicato su Amazon.com
Formato: Copertina flessibile Acquisto verificato
This is a product of fine piece of work done by Brandies University professor Tom Doherty investigating into the history of Hollywood at the height of Great Depression when much of the nation was reeling under economic turmoil. Hollywood was stressed out not only by the depression and lack of demand for their products and services, but also by the production code requirement of American motion pictures. The studios had no choice but to fight codes in order to make the movies attractive to as many viewers as possible so that folks of the depression have something they can see, enjoy and forget about their financial and domestic problems. During this time, the censorship was weak and Hollywood made movies about anything that looked controversial; sexual liaison, adultery, corruption of mind by wealth, sexism, racism, social inequality, poverty and reckless behavior. This was essentially a reflection of Hollywood, which was the epicenter of all forms of excesses that were of daily occurrences in the bars, salons, restaurants, hotels and other celebrity hangouts in tinsel town.

The author presents most movies of this time systematically and discusses them to illustrate his point. For example, in the movie "Tarzan and his mate" (1934), the underwater swimming scene featuring Johnny Weismueller and the Olympic swimmer Josephine McKim (doubling for the lead actress Maureen O'Sullivan) is a fine piece of artistry. In this synchronized swimming, you can see fantastic underwater aerobics; McKim is also totally nude which may be found on YouTube in fully restored version. This is not only erotic but also a spectacular show, and a bold move on the part of the studio. MGM faced minimal objections from the censor board. The pre-code era is known to be from 1930 to 1934; the code was officially adopted in 1930, but never enforced until the beginning of July 1934. The production code administration was widely referred to as "Hays office" that regulated the Hollywood productions and its perimeters with the full involvement of the clergy and the politicians. In MGM's "Faithless," starring Tallulah Bankhead and Robert Montgomery, the pressure of the depression drives a married woman to the "oldest profession" when her husband is incapable of working. Ironically this role was given to Bankhead who was highly controversial with her notorious, well publicized, out-of-control behavior. In "Blonde Venus" (1932), Marlene Dietrich begins her decent by trading her virtue for feeding her child and herself. Released weeks after FDR's inauguration, Roy Del Ruth's "Employee's Entrance" (1933), shows Warren William at his worst. The film tracks the machinations of a ruthless business executive of a department store. A workaholic with no home-life roams the store after hours, and finds an unemployed young woman (Loretta Young) whom he invites for dinner and in the next scene we see them together in his apartment. Next thing you know she is hired for the store. In Walter Wagner's production of "Gabriel over the White House," directed by Gregory Lava, supported by media mogul William Randolph Hearst shows how acute the malady was in president Hoover's last year. The movie makes you believe that you can have a tyrant president than a passive one. Hays office required many changes but still the final version was allowed to have the president (played by Walter Huston) to have mistress who would roam in the White House. This is certainly the wrong movie for the troubled time. He declares martial law, assumes dictatorial power in order to bring order in America during the Great Depression.

Numerous examples are given in the book that includes; James Cagney's gunplay, wordplay of temptress Mae West, and many more. This book is a well researched by a respected academic.

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4. Hollywood's Censor: Joseph I. Breen and the Production Code Administration
5.0 su 5 stelle This text provides an excellent historical perspective regarding The Great Depression 26 settembre 2015
Di Ashley Boswell - Pubblicato su Amazon.com
Formato: Copertina flessibile Acquisto verificato
I am reading (and going to be including this) as a required text for an online class that I am currently creating. This text provides an excellent historical perspective regarding The Great Depression, political tensions of the time (such as FDR and Hitler), and gender issues. I would recommend this book to anyone who is interested in learning more regarding the Pre-Code Era and how the dawn of early sound in film created moral and social tensions regarding what was deemed "appropriate" on screen (and what was able to be allowed before the implementation of the Production Code from 1930-1934.
3.0 su 5 stelle Grab your thesaurus -- you'll learn more English 10 giugno 2013
Di ZENmud - Pubblicato su Amazon.com
Formato: Copertina flessibile Acquisto verificato
I appreciate great writing, that adjusts to the flow of presented material, gliding through the eye en route to capture...
Doherty's reliance on synonymic glory tends to obfuscate, so often, that one forgets how he wanted you to enjoy the anecdotal history that is well-researched.
I am (June 2013) moving; this isn't the book remaining in my pack for easy access.
Yet, one will learn of the Era, and as a resource it is vital, so I'm glad to own it.
5.0 su 5 stelle Five Stars 6 dicembre 2016
Di Electric Genie - Pubblicato su Amazon.com
Formato: Copertina flessibile Acquisto verificato
This terrifically entertaining book taught me more about motion pictures than any other I've ever read.
41 di 44 persone hanno trovato utile la seguente recensione
3.0 su 5 stelle Exciting subject matter, dull reading 9 giugno 2001
Di wrbtu - Pubblicato su Amazon.com
Formato: Copertina flessibile Acquisto verificato
This is a good book, but it doesn't capture the excitement of its subject matter. All kinds of wild & crazy things were happening in pre-code (1930-1934) Hollywood movies (extramarital affairs, prostitution, robbery, violence, etc.), & they happened for the most part without moral judgment on the parts of the movie makers. But this book presents this exciting period in a rather dry, humorless way. It contains lots of useful information about the era & its surrounding politics, but also leaves out a lot of things that should be mentioned. On the plus side, it contains a complete version of the Motion Picture Production Code of 1930 (which is referred to in so many books, but hard to find a copy of). The photos are great, but small in size & printed on the same porous paper used for the text (which results in less sharpness than if printed on glossy paper). The biggest negative, in my opinion, is that a number of important pre-code movies are not even mentioned in this book (for example, Norma Shearer's "The Divorcee"). And why the author spends 4+ pages analyzing "Congorilla" (a 1932 African documentary that was made during the pre-code era but has little to do with Production Code censorship) is beyond me; it's a good analysis but perhaps belongs in a different book!