By Douglas Kellner, Stephen Prince
In the course of the Eighties, American cinema underwent huge, immense adjustments. Blockbusters like Raiders of the misplaced Ark, E.T., and The Empire moves again grabbed large sales for the studios. while, the expansion of domestic video ended in new and artistic possibilities for self sustaining movie construction, leading to a number of the decade's top motion pictures. either huge- and small-scale filmmakers spoke back to the social, political, and cultural stipulations of the time. The two-term presidency of Ronald Reagan spawned a brand new chilly battle with the Soviet Union, which Hollywood movie either embraced and critiqued. additionally in this time, Hollywood introduced a long-awaited cycle of movies in regards to the Vietnam struggle, exploring its influence either at domestic and in a foreign country. yet technology fiction remained the era's most well liked style, starting from upbeat fantasies to darkish, dystopic visions. Bringing jointly unique essays through ten revered students within the box, American Cinema of the Eighties examines the flicks that marked the last decade, together with usual humans, physique warmth, Blade Runner, Zelig, Platoon, most sensible Gun, extraterrestrial beings, Blue Velvet, Robocop, deadly charm, Die demanding, Batman, and intercourse, lies & videotape .
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Extra resources for American Cinema of the 1980s: Themes and Variations (Screen Decades: American Culture/American Cinema)
1980 — MOVIES AND THE NEW WOMAN 25 Thematically and structurally central to Coal Miner’s Daughter are the concepts of moving too fast and needing to slow down. As the ﬁlm begins, Doo is driving a red jeep too fast into the coal mining community in which Loretta lives with her family. Loretta is wearing a red coat, and the two reds standing in contrast to the dreariness of the mines make it obvious that Doo and Loretta are destined to be together. ” Doo does both. The moment Loretta commits to singing is the turning point in the ﬁlm.
Most of these ﬁlms aspire to little beyond providing pleasant entertainment, but the Star Trek ﬁlms, and the dystopic cycle reviewed earlier, kept alive the intellectual, reﬂective components of the science ﬁction tradition as found in literature. So, too, did a few pictures that did not aspire to blockbuster status. These included Altered States (1980) and Iceman (1984). Perhaps of greatest signiﬁcance, the fantasy/science ﬁction genre in the eighties showcased the industry’s cutting edge visual and audio effects.
Her self-determined drive may be a fantasy, but unlike the revenge fantasies of Nine to Five, Sally’s dream, although connected with a drug deal, is not the result of 38 JOANNA E. RAPF smoking pot and is not farcical. We don’t laugh at Susan Sarandon’s character. We admire her tough determination to strike out on her own, alone in a stolen car. The only other ﬁlm discussed here that ends similarly is Private Benjamin. ■■■■■■■■■■ Private Benjamin: “Don’t Call Me ‘Stupid ’ ” Like Dolly Parton, Goldie Hawn is often a dumb blonde in her ﬁlms, but like Parton, Loretta Lynn, and Jane Fonda, she is a shrewd businesswoman behind the scenes.