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sociology, describes four such shared values that inhibit a proactive cinema from developing in Hollywood today. 16 One is the avoidance and even loathing of political movies, because the citizenry distrusts politicians and is wary about the exercise of power and authority. Consider President Obama’s reform of the healthcare system. Merely the suggestion that a policy is “coming from Washington” is enough to raise cries of “socialism” among members on the right and their conservative media allies. Hollywood films support this popular distrust of government and are

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conservative who committed himself to the ← 2 | 3 → Republican Party because he believed it would help his studio and the young film industry. Later, Mayer would become an important campaigner and fund-raiser for Herbert Hoover’s 1928 presidential bid. With Hoover’s election Mayer became the first studio head to have direct access to a president and his cabinet. Meanwhile, liberalism was unpopular in Hollywood during and after the Red Scare of the 1950s, and was replaced by a right-of-center movement in the 1960s led by actors George Murphy and Ronald Reagan, two former

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Screen Lessons | 47 → CHAPTER SEVEN The Best Bad Teacher Dana Marschz in Hamlet 2 ROB PHILLIPS In the spring of 2013, Jay Korreck and I set out to explore the extent to which the lived experiences of classroom teachers are influenced by how Hollywood portrays educators, which we accomplished by documenting the complex teaching life of veteran teacher Angie Scioli during the tumultuous 2013–14 school year in North Carolina. After our subject founded a protest movement in response to sweeping educational reforms passed in our state later that summer, we

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marketing strategies, successes and compromises opens up provocative questions on the relationship of evangelical Christians to the media they consume. Wondering whether Walden can mediate between the two traditionally suspicious worlds of Hollywood and Godlywood, Dupont guides her readers through a careful and keenly observant tour. We see through fresh foreign eyes and the vision is remarkable and instructive. She has significantly added to the international exploration of faith-based film and raised new regions of research and reflection. It is as if she has taken us

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Here’s Looking at You | 291 → Chapter 13 Hollywood and Women Cracks in the Celluloid Ceiling “Women have made up half of the human race but you could never tell that by the books historians write.” —Arthur Schlesinger Jr., historian “I spent my life searching for a man to look up to without lying down.” —Frances Marion, screenwriter and director “Women are the only oppressed group in our society that lives in intimate association with their oppressors.” —Evelyn Cunningham, journalist “It was we, the people; not we, the white male citizens

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, owns CBS Network, UPN Network, Showtime, King World Productions, CBS Radio (180 stations), the CBS Outdoor advertising business, and Simon & Schuster book publishers.52 Considering the aforementioned corporate profile, it becomes clear that Hollywood is not in the business of consciousness raising, building role models, or improving social conditions—unless there’s a connection to profits. Consequently, a minimal effort should be expected in regards to a Hollywood studio deconstructing the worship of “bling” and “floss” for the sake of younger

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firm. 51 The other half, named the CBS Corporation, owns CBS Network, UPN Network, Showtime, King World Productions, CBS Radio (180 stations), the CBS Outdoor advertising business, and Simon & Schuster book publishers. 52 Considering the aforementioned corporate profile, it becomes clear that Hollywood is not in the business of consciousness raising, building role models, or improving social conditions—unless there’s a connection to profits. Consequently, a minimal effort should be expected in regards to a Hollywood studio deconstructing the worship of “bling” and

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representations of the president over ‘historical accuracy and complexity’. 20 It acknowledges that the vast majority of presidents have been ignored by Hollywood cinema, and only ← 17 | 18 → a few are consistently revisited. 21 Scott raises a notion, fundamental to the concerns of this book, that ‘we might contemplate … the degree to which the presidency has finally become an amalgam of historical construction and Hollywood superimposition.’ 22 The suggestion that authenticity and accuracy should not be the only criteria of judgement applied to representations of the

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Conclusion Conclusion As far back as Griffith’s Intolerance (1916) […], films have reflected society’s attempts to come to grips with contemporary problems. 1 Hollywood films reflect the society they are born into. Top Gun , which reflects the Reagan era perfectly, had a screenplay written in the mid-1970s and that spent long years in the script purgatory as it was passed on from studio to studio, 2 at a time of rather downbeat and militant progressive films like Coming Home (Hal Ashby, 1978) and The Deer Hunter (Michael Cimino, 1978). But the success of

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The American President in Film and Television CONCLUSION Old Constructs in a New Era: The White House Invasion Narrative and the Return of Abraham Lincoln This book has offered a broad account of the forms and functions of the American presidency in mainstream cinema and television in the last two decades, demonstrating the myriad ways in which Hollywood’s presidency is as much about Hollywood history as it is about American history. I began with the suggestion that, to understand fully the constitution of the presidency in cinema and television, one needed to