By Stephen Prince, Stephen Prince
In the course of the Nineteen Eighties, American cinema underwent huge, immense modifications. 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 resulted in new and inventive possibilities for self sufficient movie creation, leading to some of the decade's most sensible movies. 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 in regards to the Vietnam conflict, exploring its impression either at domestic and in another country. yet technology fiction remained the era's such a lot well known style, starting from upbeat fantasies to darkish, dystopic visions.
Bringing jointly unique essays via ten revered students within the box, American Cinema of the Eighties examines the flicks that marked the last decade, together with usual humans, physique warmth, Blade Runner, Zelig, Platoon, best Gun, extraterrestrial beings, Blue Velvet, Robocop, deadly appeal, Die not easy, Batman, and intercourse, lies & videotape.
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Extra resources for American Cinema of the 1980s: Themes and Variations (Screendecades)
The male voiceover is provocatively ambiguous: “Arch your back, hang on,” words that could be spoken to either one of them at this point, either by Bob (Barry Corbin), Bud’s uncle on the ground below, or by Wes (Scott Glenn), the man running the mechanical bull who will turn out to be Bud’s rival for Sissy’s affections. Physically and emotionally wounded, Bud is no longer the man he was. ” Another sequence of cross-cutting sets up the conclusion of the ﬁlm. Bud and Sissy have now become involved with others, she with the villain, Wes, a criminal out on parole, and he with a wealthy Houston socialite, Pam (Madolyn Smith).
Perhaps of greatest signiﬁcance, the fantasy/science ﬁction genre in the eighties showcased the industry’s cutting edge visual and audio effects. Digital animation debuted in several ﬁlms before becoming widespread in the 1990s. Computer-animated sequences appeared in Star Trek II, Tron, The Last Starﬁghter, Return of the Jedi, Young Sherlock Holmes, and The Abyss. , Poltergeist, and Star Trek II, and Lucasﬁlm used a proprietary digital sound workstation for mixing and editing on Indiana Jones and the Temple of Doom.
The ﬁlms even inspired President Reagan’s continuing tendency to see real life in terms of the movies (Rogin; Wills), as when he famously referred to the Soviet Union as the “Evil Empire” (the villains in the Star Wars movies belong to “the Empire”). ” The Star Wars ﬁlms projected a very black-and-white moral view, with good heroes and evil villains and little in between, pitted in an epic struggle for the future of civilization. These were the very terms by which Reagan and his cold warriors viewed their conﬂict with the Soviet Union, and thus many critics have suggested that the Star Wars ﬁlms furnish an ideological template consistent with Washington’s foreign policy.
American Cinema of the 1980s: Themes and Variations (Screendecades) by Stephen Prince, Stephen Prince