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    Seeing is Believing: How Hollywood Taught Us to Stop Worrying and Love (Paperback) By (author) Peter Biskind

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    DescriptionSeeing is Believing is a provocative, shrewd and witty look at the Hollywood fifties movies we all love - or love to hate - and the thousand subtle ways they reflect the political tensions of the decade. Peter Biskind concentrates on the films everybody saw but nobody really looked at, classics such as Giant, Rebel Without a Cause, and Invasion of the Body Snatchers, and shows us how movies that appear politically innocent in fact bear an ideological burden. As we see organization men and rugged individualists, housewives, and career women, cops and docs, teen angels and teenage werewolves fight it out across the screen, from suburbia to the farthest reaches of the cosmos, we understand that we have been watching one long dispute about how to be a man, a woman, an American - the conflicts of the time in action.

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    Seeing is Believing
    How Hollywood Taught Us to Stop Worrying and Love
    Authors and contributors
    By (author) Peter Biskind
    Physical properties
    Format: Paperback
    Number of pages: 384
    Width: 129 mm
    Height: 198 mm
    Thickness: 23 mm
    Weight: 310 g
    ISBN 13: 9780747556909
    ISBN 10: 0747556903

    BIC geographical qualifier V2: 1KBB
    Nielsen BookScan Product Class 3: T1.6
    BIC E4L: PER
    LC subject heading: ,
    BIC time period qualifier V2: 3JJPG
    LC subject heading:
    DC21: 791.4375
    Warengruppen-Systematik des deutschen Buchhandels: 15800
    BISAC V2.8: SOC022000
    LC subject heading:
    BISAC V2.8: PER004030
    BIC subject category V2: APFA, 1KBB, 3JJPG
    BISAC V2.8: HIS036060
    Thema V1.0: ATFA
    New edition
    Edition statement
    New edition
    Illustrations note
    Bloomsbury Publishing PLC
    Imprint name
    Bloomsbury Publishing PLC
    Publication date
    03 September 2001
    Publication City/Country
    Author Information
    Peter Biskind, former executive editor of Premiere, is the author of The Godfather Companion and Easy Riders, Raging Bulls. A contributing editor at Vanity Fair, he has written for amongst others The New York Times, The Washington Post and Rolling Stone.
    Review quote
    "Nothing escapes Peter Biskind and he is very funny. His book is indispensable reading for anyone interested in American cinema or recent American history."--Michael Wood, author of "America in the Movies" "A brilliant and imaginative analysis of the political and sexual crosscurrents of the fifties in the movies."--Barbara Ehrenreich, author of "Blood Rites"
    Review text
    The good news here is that Biskind (chief editor, American Film) sees the films of the 1950s as reflecting "an era of conflict and contradiction" - in contrast to the more monolithic view ("an era of political and cultural uniformity. . . a nightmare of repression") on display in such studies as Nora Sayre's Running Time (1982). The not-so-good news is that Biskind's film-analyses, emphasizing "the decade's warring ideologies," are often unconvincing and only occasionally illuminating - since they rely on arbitrary, jargon-y pigeonholing, lean toward exaggeration, and take such a narrowly political approach. In each of several areas (war movies, westerns, sci-fi, gangster/delinquency films, battles-of-the-sexes), Biskind finds that 1950s films are right-wing, left-wing, or "centrist"/"pluralist" - which can take both "corporate liberal" and "conservative" forms. Thus, the corporate-liberal 12 Angry Men "is more interested in consensus than in justice," while the left-wing High Noon denounces consensus. And, in some of the genres, this comparative-ideology approach - touching on attitudes toward conformity, individualism, elitism, populism, etc., with reference to 1950s sociologists - works well enough on its own terms. Frequently, however, the elaborate labeling - which also includes such buzz-phrases as "therapeutic imperialism" - becomes strained and murky: in sci-fi, for instance, "conservative films fell in line behind their corporate-liberal allies for the final fade-out. In The Thing, this means that although the blood-sucking carrot from another world was a head-over-heart veggie robot Red monster from the superego one minute, it is an extremist heart-over-mind monster from the id the next." Throughout, with a few inevitable exceptions, there's virtually no reference to esthetic, commercial, or personal elements in the filmmaking. (Like Sayre, Biskind sees On the Waterfront as "a weapon of the witch hunt" - with allusions to Elia Kazan's HUAC past.) And Biskind merely posits, never explores, the influential impact of all these films ("They told us what was right and what was wrong"), sometimes giving the impression of a purely academic exercise. Still, if pedantic and itself implicitly ideological, this selective survey offers a welcome antidote to simplistic generalizations - especially in Biskind's complex view of sex-roles (Giant, All That Heaven Allows) and in the groundwork he provides for the polarization to come in the Sixties. And, though the text tosses cliches and cutesy sarcasm in with the dialectical jargon, it's lively enough to reward browsing by film buffs as well as students of cultural politics. (Kirkus Reviews)