This book examines the reverberations of key components of Ronald Reagan’s ideology in selected Hollywood blockbuster movies. The aim of this analysis is to provide a clearer understanding of the intertwinement of cinematic spectacles with neoliberalism and neoconservatism. The analysis comprises a dissection of Reagan’s presidential rhetoric and the examination of four seminal Hollywood blockbuster movies. The time range for analysis stretches from the 1980s until the 2010s. Among the key foci are filmic content as well as production and distribution contexts. It is concluded that Reagan’s political metaphors and the corporatization of film studios in the 1970s and 1980s continue to shape much of Hollywood blockbuster filmmaking.
List of Figures
Figure 1: The positioning of metatexts, texts, and subtexts in the scope of this analysis. Of importance is the question of how far the “Cinematic Reagan era” extends given the continuation of its constituent meta- and subtexts.
Figure 6: Harvey Gilbert chases David Levinson, who is on his bicycle. The competitive drive of Levinson’s private cable company leads to the decoding of the alien signal. In this movie, it proves lucky for humanity that Bill Clinton signed the Telecommunications Act of 1996.
Figure 12: “Communism is neither an economic or a political system—it is a form of insanity—a temporary aberration which will one day disappear from the earth because it is ←341 | 342→contrary to human nature.” Reagan wrote this in his diary in 1975 (Kaufman, Robert G. 112–113). The irrationality of the so-called “free market” was again exposed in 2008 when large amounts of capital evaporated in virtually the same manner as in The Dark Knight.