By J. Hoberman
Publish 12 months note: First released December twenty eighth 2010
An military of Phantoms is a tremendous new paintings of background and picture feedback from the extremely popular critic J. Hoberman. right here he applies an identical dynamic synergy of yankee politics and American pop culture to the chilly War’s first decade that he delivered to the Nineteen Sixties within the significantly acclaimed The Dream Life.
The years among 1946 and 1956 introduced U.S. dominance over Europe and a brand new warfare in Asia, in addition to the delivery of the civil rights circulation and the stirrings of a brand new early life tradition. The interval observed the motion picture purged of its political left whereas the increase of ideological motion hero John Wayne got here to dominate theaters. reading videos and media occasions, Hoberman has geared up a competition of cavalry Westerns, apocalyptic sci-fi flicks, and biblical spectaculars in which Cecil B. DeMille rubs shoulders with Douglas MacArthur, atomic exams are proven on reside television, God talks at the radio, and Joe McCarthy is bracketed with Marilyn Monroe. here's a historical past of movie that also is, to paraphrase Jean-Luc Godard, in regards to the movie of history.
Essential analyzing for movie and background buffs, An military of Phantoms recasts a very important period within the gentle of the silver reveal.
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Additional resources for An Army of Phantoms: American Movies and the Making of the Cold War
Becoming a ‘fairy’ was the first step many men took in the process of making sense of their apparent sexual and gender difference and reconstructing their image of themselves. As the ‘screaming queen’ was the most visible manifestation of homosexuality, dressing in this way was, for many young men, a means of identification, of becoming part of a recognisable group: 34 Fairies and Queens: The Role of Effeminate Stereotypes When I really found out about this life, I was about fourteen . . I met somebody about my own age and they just took me into town and then I went really effeminate.
It made you “doubly different” . . ’32 This was also the case in New York, where the most famous such bar was the one in the Astor Hotel, at the corner of Seventh Avenue and Forty-fifth Street. Gay men gathered on one side of the oval bar, where the management allowed them to congregate as long as they did not become too ‘obvious’. 33 For the majority of working- and middle-class homosexuals the first three decades of the twentieth century were ones in which they were the objects of scorn or pity, or else had to disguise their sexual inclinations.
Or] . . white boots with cut-off shorts, but those were satin cut-off shorts and just an Adidas singlet, because I didn’t like Haines, they were very cloney, and I don’t want to look like a clone, even though I didn’t have a moustache. 41 The resistance to and resentment of effeminately dressed gay men or ‘queens’ that had been evident throughout the twentieth century became more evident in the late 1980s, when masculine images dominated the commercial gay scene. Indeed, there was even a classification of roles within the broad band of effeminacy from full drag through to minor enhancements, such as tweezed eyebrows.