By Stephen Prince, Stephen Prince
In the course of the Nineteen Eighties, American cinema underwent huge, immense alterations. Blockbusters like Raiders of the misplaced Ark, E.T., and The Empire moves again grabbed large sales for the studios. on the related time, the expansion of domestic video ended in new and artistic possibilities for self reliant 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 concerning the Vietnam battle, exploring its impression either at domestic and out of the country. yet technology fiction remained the era's so much well known style, starting from upbeat fantasies to darkish, dystopic visions.
Bringing jointly unique essays through ten revered students within the box, American Cinema of the Nineteen Eighties examines the movies that marked the last decade, together with usual humans, physique warmth, Blade Runner, Zelig, Platoon, best Gun, extraterrestrial beings, Blue Velvet, Robocop, deadly allure, Die challenging, Batman, and intercourse, lies & videotape.
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Additional resources for American Cinema of the 1980s: Themes and Variations (Screendecades)
She rejects the solace and Doo walks out of the frame, leaving her alone. We hear the sound of his bulldozer starting up. ” “We gotta move right now,” he says. The rough movement of the camera mirrors the journey that will take them to the end of the ﬁlm, ﬁrst as Doo drives them from radio station to radio station, then as they tour with Patsy Cline, and ﬁnally in a luxurious bus belonging to Loretta herself. No journey to success is easy. ” “Little girl, you’ve got to run your own life,” Patsy Cline tells her, but with success, it’s been handlers, advisers, a bus for a home, not her “own life” at all.
Atlantic City (1980), Gloria (1980), and Thief (1981) were accomplished and interesting variations on the theme, but all were in a minor key mode. After his ﬁrst two Godfather pictures, Francis Ford Coppola’s much anticipated return to the genre in The Cotton Club (1984) was a disappointment. The trouble-plagued production failed to gel as either gangster ﬁlm or musical (revolving around the famous Harlem nightclub of the title). A. (1985). Only one true gangster classic emerged during the period, Brian De Palma’s Scarface (1983), an update of the 1932 Howard Hawks original, with greatly increased savagery and a memorably operatic performance by Al Pacino.
Those who grew up in that period remember these pictures with great affection and nostalgia. And that’s a ﬁne legacy for a decade of ﬁlm. N OT E S 1. Scheider’s remarks are on his audio commentary on the DVD edition of the ﬁlm. 1980 Movies and the New Woman JOANNA E. RAPF A time “to imagine,” to groove on rock ’n’ roll and dream of a more utopian and egalitarian world, faded as the Reagan era dawned. On 8 December, a month after the former actor and governor of California was elected president, John Lennon was fatally shot outside his home at The Dakota apartment building in New York City.