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Hard hats, rednecks, and macho men: ...

Nystrom, Derek Richard.

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Hard hats, rednecks, and macho men: Class identity in 1970s American cinema.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Hard hats, rednecks, and macho men: Class identity in 1970s American cinema./
Author:	Nystrom, Derek Richard.
Description:	277 p.
Notes:	Adviser: Rita Felski.
Contained By:	Dissertation Abstracts International63-08A.
Subject:	American Studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3062115
ISBN:	0493781048

Hard hats, rednecks, and macho men: Class identity in 1970s American cinema.
Nystrom, Derek Richard.

Hard hats, rednecks, and macho men: Class identity in 1970s American cinema. - 277 p.

Adviser: Rita Felski.

Thesis (Ph.D.)--University of Virginia, 2002.

<italic>Hard Hats, Rednecks, and Macho Men</italic> argues that the “New Hollywood” of the 1970s offers a privileged window into the vexed class relations of the decade. By highlighting and examining a seemingly contradictory mix of cross-class identification and antagonism in these films, my dissertation traces the professional-managerial class's investment in white working-class masculinity during a period that saw the former group's social and political power rise against the working class's precipitous decline. I contend that the decade's filmic renderings of white, blue-collar men function as vehicles through which the professional-managerial class articulated and attempted to resolve its anxieties about its legitimacy, as well as the contradictions of its class position. At the same time, I demonstrate the ways that these articulations of white working-class masculinity needed to confront and negotiate the collective actions of the working class during the decade. These cinematic representations are placed in dialogue, therefore, with the social and labor history of the period—and with the political economy of the New Hollywood itself, for I maintain that labor struggles within the film industry played a significant role in the shaping of class identity within these films. My dissertation also attends to the contexts of reception created for these films by their journalistic reviewers. Since this branch of reception is almost necessarily class-specific—as film criticism is a professional-managerial class occupation—these reviews offer a guide to the ways these cinematic representations of class identity were made to function for middle class audiences. I focus on three thematically linked film cycles: the post-<italic>Easy Rider </italic> “youth cult” films (particularly <italic>Joe</italic> and <italic>Five Easy Pieces</italic>), the southern films of the period (from <italic> Deliverance</italic> to <italic>Smokey and the Bandit</italic>), and films that addressed rapidly shifting notions of gender and sexual identity (<italic> Saturday Night Fever, Looking for Mr. Goodbar</italic>, and <italic>Cruising </italic>). By tracing these films' articulations of class identity through the multiple sites of their production and reception, my project illuminates the class conflicts that played a crucial role in generating and shaping the films of this decade—films that, in turn, were central in influencing contemporary American understandings of class.

ISBN: 0493781048Subjects--Topical Terms:

1017604
American Studies.

Hard hats, rednecks, and macho men: Class identity in 1970s American cinema.
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520 $a <italic>Hard Hats, Rednecks, and Macho Men</italic> argues that the “New Hollywood” of the 1970s offers a privileged window into the vexed class relations of the decade. By highlighting and examining a seemingly contradictory mix of cross-class identification and antagonism in these films, my dissertation traces the professional-managerial class's investment in white working-class masculinity during a period that saw the former group's social and political power rise against the working class's precipitous decline. I contend that the decade's filmic renderings of white, blue-collar men function as vehicles through which the professional-managerial class articulated and attempted to resolve its anxieties about its legitimacy, as well as the contradictions of its class position. At the same time, I demonstrate the ways that these articulations of white working-class masculinity needed to confront and negotiate the collective actions of the working class during the decade. These cinematic representations are placed in dialogue, therefore, with the social and labor history of the period—and with the political economy of the New Hollywood itself, for I maintain that labor struggles within the film industry played a significant role in the shaping of class identity within these films. My dissertation also attends to the contexts of reception created for these films by their journalistic reviewers. Since this branch of reception is almost necessarily class-specific—as film criticism is a professional-managerial class occupation—these reviews offer a guide to the ways these cinematic representations of class identity were made to function for middle class audiences. I focus on three thematically linked film cycles: the post-<italic>Easy Rider </italic> “youth cult” films (particularly <italic>Joe</italic> and <italic>Five Easy Pieces</italic>), the southern films of the period (from <italic> Deliverance</italic> to <italic>Smokey and the Bandit</italic>), and films that addressed rapidly shifting notions of gender and sexual identity (<italic> Saturday Night Fever, Looking for Mr. Goodbar</italic>, and <italic>Cruising </italic>). By tracing these films' articulations of class identity through the multiple sites of their production and reception, my project illuminates the class conflicts that played a crucial role in generating and shaping the films of this decade—films that, in turn, were central in influencing contemporary American understandings of class.
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