Screening America in Hollywood Film - Essay Example

Screening America in Hollywood Film The consequences of WWII were far-reaching and the same can be seen in different genres of art like post-war Hollywood cinema. To be specific, WWII transformed gender roles within the mainstream society and it is evident in the portrayal of main characters within Hollywood cinema. For instance, higher education, scope of professional jobs, role in the public domain etc transformed the female gender role in the society. On the other side, the return of war veterans to their families created problems within their public domains and they were not ready to accept this change. Besides, post-war cultural changes affected the society as a whole and this is evident in the portrayal of male and female protagonists in general. Similarly, anxieties around gender identity resulted in the change in traditional gender roles, and it ended up in the formation of realistic role model for the working woman. Within this scenario, it is evident that post-war cultural changes and anxieties around gender identity forced the directors to portray the images of gender in post-war Hollywood cinema with difference. Thesis statement: The close examination of the images of gender in post-war Hollywood cinema, considering the ways in which films of this period illustrate both post-war cultural changes and anxieties around gender identity proves that post –war cultural changes resulted in the ideal image of professional male and suburban housewife, change in traditional gender roles, the image of working-class masculinity, the desire for sexual passivity, portrayal of weak male sexuality, female dissatisfaction, anxiety over changing nature of masculinity, unacceptability towards war-time masculinity, and the portrayal of gender roles as social constructions, and anxieties around gender identity resulted in the change in traditional gender identity, portrayal of tensions between male and female members, changing female role (sexual freedom), conflict with disrupted gender roles, change in gender roles related to free education and loans for loans for homes and businesses, portrayal of the influence of consumerism over female gender role, the general urge to link femininity to domesticity, disrupting home life, and emergence of realistic role model for the working woman (special references to the post-WWII films related to post-war cultural changes and anxieties around gender identity). This section is broadly classified as: Post-war cultural changes and Anxieties around gender identity. Post-war cultural changes Ideal image of professional male and suburban housewife One can see that the WWII resulted in the mass migration from urban areas to suburban areas within the different states in US. To be specific, this can be considered as the primary effect of WWII on the American society. Besides, home ownership within suburban context became important and it resulted in the comparison between suburban and urban lifestyle in general. Similarly, suburban family structure and urban lifestyle are entirely different. Gradually, the suburban lifestyle became symbolic of professional male and suburban housewife. This difference is evident in the portrayal of the ideal image of professional male and suburban housewife in Post-war Hollywood films. In addition, the members of the middle class dominant race (say, White) became ideal image within post-war Hollywood films. On the other side, racism became more complex because racial identity and ethnicity became grass-root level reasons behind marginalization. One can see that racism is a serious problem in a multiracial society. But the post-war Hollywood films, released immediately after the WWII, did not try to deal with the problem of racism and related segregation faced by the minorities. In short, the end result of one among the factors of post-war cultural changes was the idealization of professional male and suburban housewife and related marginalization faced by the migrants/minorities, and the total avoidance of the same by the post-war Hollywood films. Change in traditional gender roles From a different angle of view, one can see that the pre-WWII films mainly dealt with the theme of cultural tensions originating from the problems related to the after-effects of global wars. This can be considered as a serious warning on the after-effects of wars in general. Within this context, gothic thrillers dealt with the problem of criminal instinct inherent in human minds and how crime is interconnected with circumstances. After the WWII, renowned directors began to focus upon the visible changes within traditional gender roles in the mainstream society. This is an important and revolutionary change because the change in traditional gender roles can result in psychological and emotional problems within private domains. On the other side, directors unknowingly promoted idealized images of traditional gender roles and this forced womenfolk to express their anxieties over the image of masculinity in Hollywood films. Whitfield (1996, p.135) states that, ‘Indeed, in Pickup on South Street (1953), the "Commies" are more dangerous and more brutal than ordinary criminals, who at least adhere to their own code of honor’. Still, the idealized image of traditional gender role (say, domination of male members over female folk and idealization of masculinity) was a fact and it totally discarded alternative realities in general. But idealization put the male image under pressure because male members were forced to act according to their idealized images, and this was too far from reality. On the other side, this sort of idealization of male image resulted in sexual repression and the origin of transitional women. So, renowned directors began to make use of all these elements of cultural change and the rapid change in traditional gender roles within their films. Image of working-class masculinity Gradually, the image of working-class masculinity began to gain momentum in the society because it was interconnected with the shift to middle-class suburban normality. To be specific, post-war films began to portray the middle-class male members as ideal images of masculinity. One can see that the new working class began to claim acceptance and importance in the urban setting. But the emergence of working-class masculinity did not help the female folk to enjoy the freedom within their public domains. Instead, this sort of ethnic/racial definition escalated the masculinity from normality to high esteem. At the same time, the film directors during this time period began to portray working-class masculinity as crime and immorality. For instance, the films related to the genre of Film Noir began to connect working-class masculinity with immorality and criminal instinct. Munich (2011, p.74) states that, ‘In many respects, these films betray a sensibility that I term “noir for noirs sake,” which is also evident in more recent films that tanked at the box office, such as Hollywoodland (2006) and The Black Dahlia (2006)’. Still, it is evident that the image created by the renowned directors during this period did not try to unmask the real identity of working-class masculinity. Instead, they began to make use of the same for screen representation based upon entertainment value. To be specific, this sort of exaggeration can be seen in the films like Pickup on South Street (1953). So, one can see that the post-WWII film directors redefined the image of working-class masculinity, but it did not help to portray reality because fact was different from fiction. Desire for sexual passivity The post-war cultural changes resulted in the idealization of masculinity and it ended up in the desire for sexual passivity. As pointed out earlier, the post WWII films provided unwanted importance to the male imperviousness in the mainstream society. This sort of false image creation helped the male members of the society to sustain their supremacy within their public domains. On the other side, the new male identity created emotional damage within their private domains because they began to consider that the new identity is their real identity. For instance, the thriller films like Suddenly (1954) created enough psychological damage among the mass because it created false impression on masculinity as a medium to indulge in criminals acts. Similarly, sexual passivity became an important problem within families because the same was considered as a desirable behaviour among womenfolk. In short, all these factors resulted in emotional and psychological damage among the mass and the same is evident in the films produced during this period. Within this scenario, male identity underwent restructuring and it deeply influenced different genres within film the industry in general. Portrayal of weak male sexuality The emergence of new male stars during 1950s resulted in the portrayal of male sexuality as weak, but emotionally expressive. To be specific, emotionality is generally considered a feminine characteristic. But when this feminine characteristic is superimposed into the scenario of male sexuality, the same resulted in emotional expressiveness. For instance, the films starred by Marlon Brando and James Dean during this period are symbolic of the portrayal of male sexuality as weak. On the other side, the rapid change in the portrayal of male sexuality created ambiguousness on male identity in general. Earlier, male identity was based upon the theme of domination and sexual superiority. But the difference in portrayal of male sexuality resulted in the observation that identity formation among male members is interconnected with female control and guidance. This can be considered as the proclamation of open war on male domination and control over women in general. In fact, this change in the portrayal of male identity in films helped the womenfolk to realize that sexual freedom is not limited within masculinity, but it also extends towards femininity in general. So, the portrayal of male sexuality as weak in post WWII films resulted in the problem of ambiguous sexuality among men, but it helped women to realize that sexual enjoyment is universal, disregarding sexual identity. Female dissatisfaction In general, post-war cultural changes resulted in female dissatisfaction in the mainstream society. To be specific, the female members of the American households were forced to face the socio-economic problems related to the post-war era. The films like The Man in the Gray Flannel Suit (1956) portray female dissatisfaction during this time period. Early (2003, p.87) states that, ‘Adapted from a popular novel by Sloan Wilson, the movie depicts the clash of values when the veteran is required to choose between family and career, while haunted by his wartime past’. In this film, the protagonist is portrayed as a weak and helpless person who is the victim of female dissatisfaction originating from the post-WWII related socio-economic problems in general. Besides, the changing character of the male members resulted in female dissatisfaction because they were not yet ready to face the real world, beyond their private circles. On the other side, men were ready to accept the fact that egotism cannot change their lives, but conformity can. So, the male decision to return to the real world (say, private domains) created much confusion among the womenfolk because they did not know how to deal with these problems. The films produced during this time (say, in 1950s) are symbolic of the realistic portrayal of family anxieties originating from socio-economic problems. Anxiety over changing nature of masculinity The anxiety over changing nature of masculinity during post-WWII period was interconnected with middle-class traditionalism or the negative attitude towards cultural change. For instance, the new middle-class lost self-reliance or the inner urge to go beyond the limits of cultural norms. Instead, the middle-class began to look towards the mainstream society for guidance on behaviour. This dependency on social norms and the urge to follow the general opinion can be considered as a failure from the side of the male members of the society in general. Besides, people began to provide importance to social recognition and neglected their individuality. This sort of change among masculine identity reduced the scope of hero worship. For instance, the failure in other wars after the WWII, especially in Korea/Vietnam Wars, limited the scope of idolization of masculinity in Hollywood films in general. Ragone (2008, no pagination) states that, ‘Adapted by Twilight Zone creator Rod Serling, Seven Days in May depicts an attempted presidential coup by the chairman of the Joint Chiefs of Staff, played brilliantly by Burt Lancaster’. To be specific, this can be considered as the visual expression of the general anxiety over changing nature of masculinity. Besides, the Cold War after the WWII did not stimulate the directors because the same was not suitable to portray the general anxiety over the changing nature of masculinity in the mainstream society. Unacceptability towards war-time masculinity From a different angle of view, war-time masculinity was interconnected with heroism and pride. One can see that this is usual because it is usual to connect nationalistic attitude with heroism. But this sort of classification/idolization is limited with the sphere wars, not after the same. To be specific, the war-time films provided ample importance to heroism related to male identity. But after the war, there is no need to continue this sort of idolization in films. For instance, the film named as Pride of the Marines (1945) portrays the problems faced by the protagonist (say, Schmid) in his public and private domains after the WWII. Dick (2015, p.213) states that, ‘Pride of the Marines (1945), The Best Years of Our Lives (1946), and Till the End of Time (1946) all deal with the problems of returning veterans; all are critical of American right-wingers and bigots, but in varying degrees’. Similarly, the film named as The Best Years of Our Lives (1946) tries to prove that dislocated war-veterans are living in a virtual world and they need to return to the real world. Langford (2010, p.41) states that, ‘The Best Years of Our Lives is both one of classic Hollywood’s exemplary achievements and pregnant with possibilities of a new direction of postwar American cinema-notwithstanding the film’s enormous success, a path ultimately not taken’. The general notion on wartime masculinity was that the same is unacceptable after the war because there is no need to boost up the same during peacetime. On the other side, the return of war-veterans to their motherland created tension related to their status as dislocated community. In short, the Hollywood films produced immediately after the WWII proves that war-time masculinity became unacceptable in the mainstream society. Portrayal of gender roles as social constructions One can see that social constructions play pivotal role in the construction of gender roles in the mainstream society. To be specific, the cultural change after the war resulted in the gradual decline of male domination and change in gender roles. In the film Pillow Talk (1959) the director Michael Gordon portrays how cultural change resulted in the change in the portrayal of gender roles in the society. To be specific, the protagonist (Jan Morrow) realizes in the end that he cannot maintain his dominance because the society is undergoing rapid cultural change. On the other side, the films like Kiss Me, Stupid (1964) try to make use of humour to criticize the after-effects of cultural change and the role of gender identity in social constructions in general. Cardullo (2010, p.70), states that, ‘And in the comedies The Major and the Minor (1942) and Kiss Me, Stupid (1964), as in Some Like It Hot, it is only in disguise that characters discover suppressed aspects of themselves or perceive their society from a point of view denied to someone who always looks at it through the same, similarly attired eyes’. Similarly, directors began to make use of fantasy to portray the cultural changes after the WWII. For instance, the film The Seven Year Itch (1955) by the renowned director (Billy Wilder) represents the urban fantasy on extra-marital affairs originating from cultural change. So, it is evident that cultural changes resulted in the difference in the portrayal of gender roles as social constructions. Anxieties around gender identity Change in traditional gender identity The images of gender in post-war Hollywood cinema are interconnected with the anxieties around gender identity because the same divided men and women into watertight compartments. Within this scenario, traditional attitude on masculinity as strength and domination and femininity as weakness and submission resulted in discrimination based upon gender identity. Schleier (2009, p.193) states that, ‘An imbalanced “ideal” masculinity is staged in such diverse melodramas as Executive Suite (1954), Womans World (1954), The Man in the Gray Flannel Suit (1956), and Patterns (1956), accompanied by a temporarily destabilized corporation in search of creative expression, leadership, and ethnics in the face of an increasingly demanding work life’. The films produced during post-war period prove that this change in traditional gender identity deeply influenced the directors. For instance, family life became more problematic because continuous involvement in wars affected the economic backbone of the nation as a whole. But the post-war period created the atmosphere of peaceful co-existence among the world nations. This sort of change from a global war (say, WWII) to domestic peace helped the people to enjoy peacefulness and they began to provide importance to socio-cultural changes. Within this scenario, one can see that world renowned directors provide importance to the problems related gender identity. On the other side, the society was ready to inculcate innovation into its core, but gender identity in the society hindered the womenfolk from entering the realm of public domain. So, it is evident that renowned directors within Hollywood undertook the responsibility to portray the change in traditional gender identity and related issues. Portrayal of tensions between male and female members The tension between male and female members, originating from the roles played by them in the society, is a popular theme among the post-war Hollywood directors. To be specific, post-war cultural changes affected male/female relationships. Besides, this change in relationships from domination to freedom attracted the film directors because they were in search of novelty. Morrison (2007, p.3) states that, ‘Hayne’s most recent film, the remarkable Far From Heaven (2002), tells the story of Cathy, an upper-class housewife (again played by Julianne Moore) in a posh Connecticut suburb in the 1950s who, early in the film, discovers her husband in the arms of another man’. To be specific, women were no more ready to be under the yoke of domination because they knew that it affected their individual liberty. Besides, they began to realize that their service must be valued by the mainstream society. This was an innovative move, but it resulted in the culmination and eventual outburst in the form of feminism. To be specific, the end result of the tensions between male and female members was feminism, the ultimate weapon handled by womenfolk to proclaim individual freedom. Changing female role (sexual freedom) One can see that male domination limits sexual freedom within private domains by not allowing womenfolk entering their public domains. But the cultural upheaval in America, after the WWII, was helpful to change female role in the society to an extent. On the other side, men were totally confused because they did not know how to deal with this sort of immediate socio-cultural change. Bronfen (2004, p.157) states, ‘Sobchack argues that film noir can be seen as "playing out negative dramas of post-war masculine trauma and gender anxiety brought on by wartime destabilization of the cultures  domestic economy and a consequent ‘deregulation’ of the institutionalized and patriarchally informed relationship between men and women”’. Besides, the films produced during this time period are symbolic of the urge to test traditional masculinity. For instance, traditional masculinity based upon heroism and power became unimportant because women gained prominence within the society. Similarly, traditional masculinity was based upon domination, not peaceful coexistence. Before and during the WWII, directors provided ample importance to themes related to crime and war heroism. But the disillusionment created by the war transformed human minds and anti-war sentiment began to influence human minds. Within this context, post-WWII directors were aware that they need to make use of the changing female role as the main theme. In addition, the theme of sexual freedom related to the change in female role in the society became a popular theme among the directors in general. Conflict with disrupted gender roles From a different angle of view, the conflict with disrupted gender roles forced the mainstream society to realize that it is important to face reality. To be specific, male domination cannot bring forth social change because it marginalizes and confines womenfolk within their families. If they try to protest, they will be evaluated as anti-social because suppression is the base of domination in general. As pointed out, the clash between war veterans and the female members in their families resulted in disruption of gender role. While the men were in warfronts, women realized that they need to undertake the responsibility of their families. This change in attitude and worldview helped them to realize that they were the slaves of gender roles. So the problems related to disruption of gender roles became the focal point because the general opinion was that it is important to face the reality by regaining normality. On the other side, the beginning of Civil Rights Movement motivated women because they faced several problems related to their gender identity. Besides, liberal politics and anxieties related to the post-war society became popular themes within Hollywood. So, it is evident that the conflict related to the disruption of gender roles resulted in social change and Hollywood accepted the same as an important theme. Change in gender roles related to free education and loans for homes and businesses One can see that the change in gender roles revolutionized the mainstream society because people came to know that one’s identity/gender role is less important in a modern society. For instance, in the film named as Suburbia (1984), the director (say, Penelope Spheeris) tries to create awareness among the mass on the relationship between criminality and lack of education. Besides, this film tries to prove that family problems force teen-agers to choose their own way of life. But one can see that free education and loans for homes and businesses can easily reduce the problems faced by teenagers in general. Walsh (1986, p.77) states that, ‘Even for those women who failed to embrace domesticity eagerly, the postwar transition was marked by increased anxiety and attention to personal life’. Within this scenario, the director tries to prove that change in gender roles creates confusion among parents and this affects their children. To be specific, free education can help children and women to go beyond the limits of their gender roles in the society. Similarly, loans (home/business) can reduce the after effects originating from the change in gender roles in the society. For instance, one’s gender identity/gender role is not a determinant factor in gaining free education and loans. If one is efficient and confident, one can easily overcome one’s gender identity/gender role and related bias. So, post-war Hollywood made use of this theme to portray the socio-cultural changes related to gender identity/role. Portrayal of the influence of consumerism over female gender role The influence of consumerism, especially among the womenfolk, resulted in utter confusion and unwanted pressure because it affected the female gender role. To be specific, women craved for new products due to the influence of consumerism. The film named as Crisis in Levittown (1957) portrays the problems related to the influence of consumerism among the mass and the problems faced by the members of African American community, based upon their skin colour and racial identity. Knight (2010, p.166) states that, ‘The Civil Rights Era in America had begun, but issues of race were still daring subject matter for films when Kings Go Forth came out in 1958’. Within this context, women were forced to face more problems because they used to play more than one role in their families. Similarly, the film named as In the Suburbs (1957) portrays the influence of consumerism over female gender role. For instance, the director tries to prove that consumerism deeply influenced the views of the people and it is evident in their interest in consumer goods and interaction with others. Besides, the suburban effort to gain upward mobility within the mainstream society affected the female gender role because womenfolk were forced to face the after-effects of this effort. To be specific, consumerism became attractive and influential because more and more consumer items were produced. General urge to link femininity with domesticity The general urge to link femininity with domesticity can be considered as the unexpected move from those who support male superiority and related suppression. The post-war films like North by Northwest (1957) try to prove that urbane modernism is limited to the public domain and women must not try to enter this sphere because femininity is related to domesticity. For instance, the general urge to link femininity with domesticity can be seen in this film to an extent. Besides, the general opinion during this time was that women must feel satisfaction within their private circles because the same is their duty. Casty (2009, p.264) states that, ‘Family conflicts and sexual desires and contradictions are enacted within the tight system of a college campus in Tea and Sympathy (1956) and in another Hollywood story, Two Weeks in Another Town (1962), are displaced (as is the central character, this time a male) to the production system of a film being made in Europe’. Similarly, domestic role was portrayed and professional to create a false impression that household works are similar to professional work. One can see that the society provided unwanted importance to the assumption that gender difference is related to natural roles and women must feel satisfaction by involving in household work. But this false impression did not limit women from entering the workforce because they knew that general opinions and false impression cannot help them to gain upward mobility. Instead, they ignored this false impression by proving that their value within their private and public domains are based upon their productivity. Disrupting home life The disruption of home life during the post WWII era is interconnected with the unexpected demand gained by female workers within the economy. To be specific, post WWII era witnessed gradual economic development and it was evident in the increase in the number of female workers. The film named as The Best of Everything (1959) tries to expose the problems faced by women who are interested in leading professional lives. Joyce (2014, no pagination) states that, ‘The film relays the non-amateur professions and undisclosed lives of 3 female whoever share a not so large flat in New York City and work altogether in a softcover issuing firm’. Similarly, married women decided not to be within their private circles, but to enter the workforce. In the film named as Sex and the Single Girl (1964), the director (say, Richard Quine) tries to point out that how education changes the worldview of womenfolk and how they deal with the problems within their workplaces. In this film, the protagonist is portrayed as a puppet, under the control of the female protagonist. To be specific, this film represents the transitional position of women in the post-war society. Similarly, the film named as The Best of Everything (1959) portrays the importance of professional life and how women deal with the problems within their families. Still, the female protagonists in this film fail to find proper balance between their families and professional life. So, it is evident that the post-war Hollywood films provided ample importance to the problems faced by the womenfolk, including the disruption of home life. Emergence of realistic role model for the working woman The emergence of realistic role model for the working woman can be identified as the end result of tensions between male and female members in the mainstream society. The conventional image on women underwent re-evaluation because it cannot uphold individual liberty. Within this context, Hollywood directors began to create female characters with unconventional characteristics. For instance, the female protagonist from the film named as Calamity Jane (1953) is symbolic of unconventional femininity because she behaves like men. On the other side, women were not more ready to give up their dreams on the possibility of proper balancing between professionalism and privacy. So, they decided to increase their professional competence to achieve professional success. To be specific, this resulted in the origin of realistic role model for working women, who are able to work without ignoring their personal responsibilities towards their families. Earlier, women were not able enter the realm of business world. But the socio-cultural changes related to the post WWII changes helped women to claim their unique status in the mainstream society. This sort of innovation, added with spirit of feminism helped working women to mould their own role models, without seeking help from men. Summing up, one can see the WWII resulted in a number of changes among world nations. Before WWII, women did not realize that traditionalism and related gender role suppressed them to an extent. To be specific, women were forced to be within their private domains because it was the idealized image of women in general. During this period, Hollywood films provided ample importance to male heroism and crime stories (thrillers). But after the WWII, the society underwent rapid socio-cultural changes and this is evident in the changed status of womenfolk. Still, gender problem was a burning issue because traditionalism cannot accept gender equality. Gradually, the socio-cultural changes originating from the after-effects of the WWII resulted in the transformation of the images of gender from domination to individual freedom. To be specific, the films of this time period (say, after WWII) proves that post-war cultural changes and anxieties around gender identity helped the society to realize that bias based upon gender identity/ role cannot bring forth social change. Within this scenario, the renowned directors were ready to unleash their artistic creativity to bring forth social change. This initiative was innovative because it helped womenfolk to realize that their images as suburban housewives cannot help them to enjoy individual freedom. Similarly, post-war Hollywood cinema began to portray the change in traditional gender roles. Besides, directors made use of their characters to prove that the heroic image of working-class masculinity and the desire for sexual passivity are false. Gradually, the portrayal of weak male sexuality neutralized the domination of male sexuality over sexual matters. Besides, female dissatisfaction and the anxiety over changing nature of masculine identity became popular themes. On the other side, war-time masculinity and the escalated status of masculinity became unimportant. Similarly, the traditional gender identity was out focused due to the anxieties around gender identity. From a different angle of view, the change in female role resulted in the tensions between male and female members. Besides, the directors within the post-war Hollywood cinema began to focus upon the conflict with disrupted gender roles. Similarly, Hollywood cinema began to examine the influence of influence of consumerism over female gender role. Still, the mainstream society tried to confine femininity within domesticity, but for vain. In addition, Hollywood directors began to focus upon the problem of disruption of home life by gender discrimination. But the end result was amazing because womenfolk were able to redefine their identity by creating realistic role model for the working woman. In short, post-WWII films did not neglect the post-war cultural changes and anxieties around gender identity because the films by renowned directors during this time period prove so. References Bronfen E 2004 Home in Hollywood: The Imaginary Geography of Cinema Columbia University Press, West Sussex. Casty A 2009 Communism in Hollywood: The Moral Paradoxes of Testimony, Silence, and Betrayal Scarecrow Press, (s.n.). Cardullo B 2010 Screen Writings: Genres, Classics, and Aesthetics, Volume 2 Anthem Press, London. Dick, BF 2015 The Star-Spangled Screen: The American World War II Film University Press of Kentucky, Kentucky. Early, E 2003 The War Veteran in Film McFarland, North Carolina. Joyce, J 2014 Louis Jourdan 154 Success Facts - Everything you need to know about Louis Jourdan Success facts Emereo Publishing, (s.n.). Knight T 2010 Sinatra: Hollywood His Way Running Press, Philadelphia. Langford, B 2010 Post-classical Hollywood: Film Industry, Style and Ideology Since 1945 Edinburgh University Press Series, Edinburgh. Munich, A 2011 Fashion in Film Indiana University Press, Bloomington. Ragone, N 2008 Presidents Most Wanted: The Top 10 Book of Extraordinary Executives, Colorful Campaigns, and White House Oddities Potomac Books, (s.n.). Morrison J 2007 The Cinema of Todd Haynes: All that Heaven Allows Wallflower Press, London. Schleier M 2009 Skyscraper Cinema: Architecture and Gender in American Film U of Minnesota Press, (s.n.). Whitfield SJ 1996 The Culture of the Cold War JHU Press, Maryland. Walsh A 1986 Women’s Film and Female Experience, 1940-1950 ABC-CLIO, New York. References Cardullo B 2010 Screen Writings: Genres, Classics, and Aesthetics, Volume 2 Anthem Press, London. Dick, BF 2015 The Star-Spangled Screen: The American World War II Film University Press of Kentucky, Kentucky. Early, E 2003 The War Veteran in Film McFarland, North Carolina. Langford, B 2010 Post-classical Hollywood: Film Industry, Style and Ideology Since 1945 Edinburgh University Press Series, Edinburgh. Munich, A 2011 Fashion in Film Indiana University Press, Bloomington. Ragone, N 2008 Presidents Most Wanted: The Top 10 Book of Extraordinary Executives, Colorful Campaigns, and White House Oddities Potomac Books, (s.n.). Whitfield SJ 1996 The Culture of the Cold War JHU Press, Maryland. Read More