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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

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. Arthur DeVany and W. David Wells, “Does Hollywood Make Too Many R-rated Movies? Risk, Stochastic Dominance, and the Illusion of Expectation,” Journal of Business , 75, no. 3 (July 2002): 425–52. 50. Data from Box Office Mojo at http://www.boxofficemojo.com/movies/?id=battleship.htm and http://www.boxofficemojo.com/movies/?id=johncarterofmars.htm (accessed July 24, 2013). 51. The author raised this issue with a filmmaker while in New York. He explained that the industry today, especially the big major studios, count heavily on one big hit to carry them

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right of entry to the West. Masculinity in Westerns is identified as the only source of stabil- ity in a frontier world where the clash of savagery and civilization threatens cultural and social order. What defines masculinity is not physique, good looks, strength, or aggressiveness, but the ability to be tough.34 McCourt’s favouring of Hollywood’s authoritative figures to real Irish ‘pompous priests’ and ‘bullying schoolmasters’ anticipates issues raised by the Ferns Inquiry (2005) and the Commission to Inquire into Child Abuse, 32 Personal email from McCourt

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was worn as a badge, his right of entry to the West. Masculinity in Westerns is identified as the only source of stability in a frontier world where the clash of savagery and civilization threatens cultural and social order. What defines masculinity is not physique, good looks, strength, or aggressiveness, but the ability to be tough. 34 McCourt’s favouring of Hollywood’s authoritative figures to real Irish ‘pompous priests’ and ‘bullying schoolmasters’ anticipates issues raised by the Ferns Inquiry (2005) and the Commission to Inquire into Child Abuse, ← 91 | 92

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to sell it.” I think that’s the way to do it. Not the other way around. That’s my opinion (quoted in Guerrasio, 2012, no pagination). As these comments suggest, the consequences of these trends in media ownership raise questions about the viability of filmmakers like Lee who offer diverse perspectives and alternative viewpoints in this narrowly controlled environment. deWaard sums up Hollywood beginning in the 1980s and continuing into the first decades of the twenty-first century: With every major studio subsumed by a huge transnational corporation and mercilessly

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adoptive nation— Britain—in the fight against Nazism, it is probably safe to conjecture that Veidt would have donated blood during the Blood for Britain drive organized by the American Red Cross in – (Chinn, : ). It seems to me less safe to speculate about whether Lorre donated blood at this time, although he did partici- pate in war bond drives, and frequently appeared on radio programmes designed to raise money or otherwise contribute to the war effort (Youngkin, : ; ). Lorre also appeared on Hollywood Canteen, later on during the war (ibid

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Here’s Looking at You | 177 → Chapter 8 Hollywood Goes to War From the Great War to the Good War to the Forgotten War “In peace, sons bury their fathers. In war, fathers bury their sons.” —Herodotus “The only glory in war is surviving.” —Samuel Fuller, director and WWII infantryman “The object of war is not to die for your country but to make the other bastard die for his.” —General George S. Patton “The real heroes of Iwo Jima are the guys who didn’t come back.” —John “Doc” Bradley, who helped raise the flag on Iwo Jima. “War does not

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Chapter 1 CHAPTER 1 Hollywood and Conservative Christians: An Uneasy Relationship Art and religion have often had a very close relationship. Religious patrons long counted among artists’ benefactors and employers – including the Vatican in Rome, as was the case of Michelangelo. But, at the same time, the same religious authorities have always closely monitored art, entertainment and their potential subversive threat. Films have been no exception in America, and this led some US conservative Christians – Protestants and Catholics – to have mixed feelings toward

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Here’s Looking at You | 89 → Chapter 5 HUAC and the Blacklist The Red Scare Comes to Hollywood “I could answer the question…but if I did I would hate myself in the morning.” —Ring Lardner Jr. before HUAC “I cannot and will not cut my conscience to fit this year’s fashions.” —Lillian Hellman on “naming names” to HUAC “Joe couldn’t find a Communist in Red Square—he didn’t know Karl Marx from Groucho.” —George Reedy on McCarthy “There was bad faith and good, honesty and dishonesty, courage and cowardice, selflessness and opportunism, wisdom and

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The American President in Film and Television CHAPTER 2 The Symbolic Presidency: Washington and Hollywood, 1932–1989 Having addressed the methodological approach of this book, and its position in relation to the existing literature in the field, I now turn to the presidency specifically. Although my central focus is the cinematic and televisual presidency, the institution has a symbolic significance that extends beyond Hollywood, and possesses a rich history that has had a manifest impact on its recent, fictional incarnations. I think a simultaneous discussion of