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.
Results 1-3 of 28
embarrassment over the loss or by chauvinism but rather by guilt for having survived the war , while so many of their buddies , whose ghosts speak to them in their dreams , are dead . This “ survivor guilt syndrome ” is a major burden ...
Psychological studies show that it is combat veterans as opposed to support personnel who experience “ survivor guilt ” problems . After establishing this family metaphor , Rhodes counters it with a corporate , economic metaphor to ...
in Action had shown the American government as guilty for abandoning its soldiers in Vietnam , The Killing Fields assigns guilt to America for entering Southeast Asian politics with a blithe imperialist arrogance and then , after ...
What people are saying - Write a review
The Vietnam War as Film Text
The Coming Home Films
The Terrorism Film Texts
6 other sections not shown
Other editions - View all
The Drunken Journalist: The Biography of a Film Stereotype
Snippet view - 2000