LEADER 03564nam 22005535 450 001 9910828686903321 005 20201109145025.0 010 $a0-8135-7695-4 010 $a0-8135-7696-2 024 7 $a10.36019/9780813576961 035 $a(CKB)3710000001291828 035 $a(OCoLC)986140627 035 $a(MdBmJHUP)muse53401 035 $a(MiAaPQ)EBC4854439 035 $a(DE-B1597)526102 035 $a(OCoLC)986403353 035 $a(DE-B1597)9780813576961 035 $a(EXLCZ)993710000001291828 100 $a20190904d2016 fg 101 0 $aeng 135 $aur|||||||nn|n 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aSociology on Film $ePostwar Hollywood's Prestige Commodity /$fChris Cagle 210 1$aNew Brunswick, NJ :$cRutgers University Press,$d[2016] 210 4$dİ2016 215 $a1 online resource (pages cm) 225 0 $aSociology on film 300 $aIncludes index. 311 $a0-8135-7694-6 311 $a0-8135-7693-8 320 $aIncludes bibliographical references and index. 327 $tFrontmatter --$tContents --$tAcknowledgments --$tIntroduction --$t1. Two Modes of Prestige Film --$t2. Hollywood as Popular Sociology --$t3. Hollywood and the Public Sphere --$t4. A Genre Out of Cycles --$t5. Realist Melodrama --$tEpilogue --$tNotes --$tIndex --$tAbout the Author 330 $aAfter World War II, Hollywood's "social problem films"-tackling topical issues that included racism, crime, mental illness, and drug abuse-were hits with critics and general moviegoers alike. In an era of film famed for its reliance on pop psychology, these movies were a form of popular sociology, bringing the academic discipline's concerns to a much broader audience. Sociology on Film examines how the postwar "problem film" translated contemporary policy debates and intellectual discussions into cinematic form in order to become one of the preeminent genres of prestige drama. Chris Cagle chronicles how these movies were often politically fractious, the work of progressive directors and screenwriters who drew scrutiny from the House Un-American Activities Committee. Yet he also proposes that the genre helped to construct an abstract discourse of "society" that served to unify a middlebrow American audience. As he considers the many forms of print media that served to inspire social problem films, including journalism, realist novels, and sociological texts, Cagle also explores their distinctive cinematic aesthetics. Through a close analysis of films like Gentleman's Agreement, The Lost Weekend, and Intruder in the Dust, he presents a compelling case that the visual style of these films was intimately connected to their more expressly political and sociological aspirations. Sociology on Film demonstrates how the social problem picture both shaped and reflected the middle-class viewer's national self-image, making a lasting impact on Hollywood's aesthetic direction. 606 $aSocial problems in motion pictures 606 $aMotion pictures$xSocial aspects$zUnited States 606 $aMotion pictures$zUnited States$xHistory$y20th century 615 0$aSocial problems in motion pictures. 615 0$aMotion pictures$xSocial aspects 615 0$aMotion pictures$xHistory 676 $a791.436556 700 $aCagle$b Chris$f1974-$01635470 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910828686903321 996 $aSociology on Film$93976273 997 $aUNINA