LEADER 03729nam 2200517 450 001 9910794775403321 005 20230126223040.0 010 $a1-4968-0631-X 010 $a1-4968-0629-8 035 $a(CKB)4330000000001549 035 $a(MiAaPQ)EBC4446060 035 $a(Au-PeEL)EBL4446060 035 $a(CaPaEBR)ebr11172474 035 $a(CaONFJC)MIL903754 035 $a(OCoLC)931861486 035 $a(EXLCZ)994330000000001549 100 $a20151130h20162016 uy| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aProjections of passing $epostwar anxieties and Hollywood films, 1947-1960 /$fN. Megan Kelley 210 1$aJackson :$cUniversity Press of Mississippi,$d[2016] 210 4$dİ2016 215 $a1 online resource (289 pages) $cillustrations 311 $a1-4968-0627-1 320 $aIncludes bibliographical references and index. 330 $a"A key concern in postwar America was "who's passing for whom?" Analyzing representations of passing in Hollywood films reveals changing cultural ideas about authenticity and identity in a country reeling from a hot war and moving towards a cold one. After World War II, passing became an important theme in Hollywood movies, one that lasted throughout the long 1950s, as it became a metaphor to express postwar anxiety.The potent, imagined fear of passing linked the language and anxieties of identity to other postwar concerns, including cultural obsessions about threats from within. Passing created an epistemological conundrum that threatened to destabilize all forms of identity, not just the longstanding American color line separating white and black. In the imaginative fears of postwar America, identity was under siege on all fronts. Not only were there blacks passing as whites, but women were passing as men, gays passing as straight, communists passing as good Americans, Jews passing as gentiles, and even aliens passing as humans (and vice versa). Fears about communist infiltration, invasion by aliens, collapsing gender and sexual categories, racial ambiguity, and miscegenation made their way into films that featured narratives about passing. N. Megan Kelley shows that these films transcend genre, discussing Gentleman's Agreement, Home of the Brave, Pinky, Island in the Sun, My Son John, Invasion of the Body-Snatchers, I Married a Monster from Outer Space, Rebel without a Cause, Vertigo, All about Eve, and Johnny Guitar, among others.Representations of passing enabled Americans to express anxieties about who they were and who they imagined their neighbors to be. By showing how pervasive the anxiety about passing was, and how it extended to virtually every facet of identity, Projections of Passing broadens the literature on passing in a fundamental way. It also opens up important counter-narratives about postwar America and how the language of identity developed in this critical period of American history"--$cProvided by publisher. 606 $aIdentity (Psychology) in motion pictures 606 $aPassing (Identity) in motion pictures 606 $aMotion pictures$zUnited States$xHistory$y20th century 606 $aMotion pictures$xSocial aspects$zUnited States 615 0$aIdentity (Psychology) in motion pictures. 615 0$aPassing (Identity) in motion pictures. 615 0$aMotion pictures$xHistory 615 0$aMotion pictures$xSocial aspects 676 $a791.43/653 700 $aKelley$b N. Megan$01516961 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910794775403321 996 $aProjections of passing$93753716 997 $aUNINA