LEADER 02487nam 2200577 450 001 9910788143903321 005 20230126211118.0 035 $a(CKB)2670000000609761 035 $a(EBL)2030502 035 $a(SSID)ssj0001504514 035 $a(PQKBManifestationID)11859972 035 $a(PQKBTitleCode)TC0001504514 035 $a(PQKBWorkID)11480251 035 $a(PQKB)10648128 035 $a(MiAaPQ)EBC2030502 035 $a(Au-PeEL)EBL2030502 035 $a(CaPaEBR)ebr11045329 035 $a(CaONFJC)MIL769350 035 $a(OCoLC)909900088 035 $a(EXLCZ)992670000000609761 100 $a20150501h20152015 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aEvading the issue $eHollywood and the social problem film /$fAmanda J. Field 210 1$aGosport, [England] :$cChaplin Books,$d2015. 210 4$dİ2015 215 $a1 online resource (30 p.) 225 0 $aShort Takes Film Studies Series 300 $aDescription based upon print version of record. 311 $a1-909183-78-4 320 $aIncludes bibliographical references. 327 $aCover; Contents; Front Matter; Title Page; Publisher Information; Evading the Issue; Hollywood and the Social Problem Film; Additional Media; Illustrations; Back Matter; Bibliography; Filmography; Also Available 330 $aTino Balio, in his book The American Film Industry, said that the Production Code meant that American films could not deal with political or social issues 'in an honest and truthful fashion'. This incisive essay tests out the legitimacy of Balio's claims, using The Lost Weekend (directed by Billy Wilder, 1945) as an example of the Hollywood 'problem film'. Rather than treating the film as being an entity with a single, unchanging meaning, it is put into its historical and social context, in ... 410 0$aShort Takes Film Studies 606 $aMotion picture plays, American$xHistory and criticism 606 $aMotion pictures$xSocial aspects$zUnited States 607 $aHollywood (Los Angeles, Calif.)$xHistory 615 0$aMotion picture plays, American$xHistory and criticism. 615 0$aMotion pictures$xSocial aspects 676 $a791.4301 700 $aField$b Amanda J. $01566526 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910788143903321 996 $aEvading the issue$93837128 997 $aUNINA