The Films of the Eighties: A Social History
Southern Illinois University Press, 1993 - 335 pages
In this remarkable sequel to his Films of the Seventies: A Social History, William J. Palmer examines more than three hundred films as texts that represent, revise, parody, comment upon, and generate discussion about major events, issues, and social trends of the eighties.
Palmer defines the dialectic between film art and social history, taking as his theoretical model the "holograph of history" that originated from the New Historicist theories of Hayden White and Dominick LaCapra. Combining the interests and methodologies of social history and film criticism, Palmer contends that film is a socially conscious interpreter and commentator upon the issues of contemporary social history. In the eighties, such issues included the war in Vietnam, the preservation of the American farm, terrorism, nuclear holocaust, changes in Soviet-American relations, neoconservative feminism, and yuppies.
Among the films Palmer examines are Platoon, The Killing Fields, The River, Out of Africa, Little Drummer Girl, Kiss of the Spiderwoman, Silkwood, The Day After, Red Dawn, Moscow on the Hudson, Troop Beverly Hills, and Fatal Attraction. Utilizing the principles of New Historicism, Palmer demonstrates that film can analyze and critique history as well as present it.
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In this speech , Cameron has the movie and the war all mixmastered together into a frantic metaphor that finally arrives at the one overpowering truth : No matter what , whether in the real war or in the illusory war back in society ...
This obligatory culminating speech is the clear measure of the intertextuality of all of these “ strangers at home ” films . Each returned veteran has been brutalized by the war , rejected by society , and left to wander identitiless in ...
At this point , Drago's wife , Ludmilla , delivers the central speech of cold war rhetoric on American “ belief ” : that America is better , morally superior , fairer than Russia . She claims that she and her husband are not politics ...
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The Vietnam War as Film Text
The Coming Home Films
The Terrorism Film Texts
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