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The Lyric of Addiction as Desire In ...

Deryan, Tony.

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The Lyric of Addiction as Desire In Postwar Hollywood Cinema.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Lyric of Addiction as Desire In Postwar Hollywood Cinema./
Author:	Deryan, Tony.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
Description:	203 p.
Notes:	Source: Dissertation Abstracts International, Volume: 78-07(E), Section: A.
Contained By:	Dissertation Abstracts International78-07A(E).
Subject:	American literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10247304
ISBN:	9781369472189

The Lyric of Addiction as Desire In Postwar Hollywood Cinema.
Deryan, Tony.

The Lyric of Addiction as Desire In Postwar Hollywood Cinema. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 203 p.

Source: Dissertation Abstracts International, Volume: 78-07(E), Section: A.

Thesis (Ph.D.)--The Claremont Graduate University, 2016.

After World War II the production of Hollywood films slowly began to reflect a realistic portrayal of society, including the darker elements of human life such as alcohol addiction, racial prejudice, class divisiveness, and mental illness. These depictions of reality during America's postwar period were significantly influenced by European neorealist films. Although this period contained a proliferation of "social realism" films, Hollywood movies were not able to completely abandon their reliance on stock narrative tropes or structures (for example, the role of redemption, the need for a happy ending, and good overcoming evil). Given these concessions, postwar films were still able to give a greater sympathetic portrayal of characters who struggled with alcohol addiction as the moralistic demands of the Hays code began to lose their social credibility and hold on filmmaking.

ISBN: 9781369472189Subjects--Topical Terms:

523234
American literature.

The Lyric of Addiction as Desire In Postwar Hollywood Cinema.
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245 1 4 $a The Lyric of Addiction as Desire In Postwar Hollywood Cinema.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2016
300 $a 203 p.
500 $a Source: Dissertation Abstracts International, Volume: 78-07(E), Section: A.
500 $a Adviser: James Morrison.
502 $a Thesis (Ph.D.)--The Claremont Graduate University, 2016.
520 $a After World War II the production of Hollywood films slowly began to reflect a realistic portrayal of society, including the darker elements of human life such as alcohol addiction, racial prejudice, class divisiveness, and mental illness. These depictions of reality during America's postwar period were significantly influenced by European neorealist films. Although this period contained a proliferation of "social realism" films, Hollywood movies were not able to completely abandon their reliance on stock narrative tropes or structures (for example, the role of redemption, the need for a happy ending, and good overcoming evil). Given these concessions, postwar films were still able to give a greater sympathetic portrayal of characters who struggled with alcohol addiction as the moralistic demands of the Hays code began to lose their social credibility and hold on filmmaking.
520 $a Hollywood "social problem" films often relied on moralizing or sociological frameworks that focused more on the problem than on the person dealing with the problem. An increased, widespread familiarity with and influence of Alcoholics Anonymous (A.A.) offered a narrative bridge between the traditional sociological treatment of addiction in a film and a focus on an individual character's experiences and struggle. The influence of A.A. on Hollywood movies will be thoroughly examined in this study.
520 $a Despite the more "externalized" depictions of addiction to alcohol, many of these films contain "lyric moments" that work as interludes in the narrative structure and flow of alcoholism films to provide brief yet profound glimpses into the experience of addiction and the alcoholic. These junctures deploy cinematic techniques such as camera angles, close-ups, framing, focus and lighting that create artistic messages manifested in the lyric moment. The lyrical impulse then adds to the portrayal of addiction not simply as a social or narrative problem, but as an extreme form and illustration of desire, which is often linked to other forms of desire in the film (desire to find expression as an artist, a woman, in a relationship, and desire for the unattainable).
520 $a Throughout this work, I have included an awareness of addiction as a social and cultural notion rather than its affiliation with medical and scientific discourse. Thus, I have utilized the important contributions of Norman Denzin for his cultural explanations of Hollywood alcoholism films. Based on this approach, my application and analysis centers on behavioral observations rather than understanding addiction as a disorder of the brain's reward system.
520 $a In addition, the aesthetics of filmic language plays an important role in this dissertation as a device to better appreciate the filmmaker's comprehension and interpretation of reality. I have employed the works of French film critic and theorist, Andre Bazin to provide a theoretical perspective on how the construction of certain kinds of scenes produces specific cinematic effects. All the above methods of film interpretation culminate in my explication of the lyric's influence on film, in which I embellish upon Scott Brewster's contribution to lyric theory with his emphasis of defining lyric by its Greek roots as a performance.
520 $a Previous scholarly work concerning addiction in Hollywood films has generally been conducted in areas of psychology, social ideology or cultural studies. Scholars such as behavioral scientist Denise Herd and sociologist Robin Room, who have researched and written extensively in the field of alcoholism in films, have admitted to a high use of plot summary rather than close textual analysis by a screening for nuances of meaning. Very few, if any, lyric and film theories concerning the portrayal of addiction in cinema appear in scholarly cinema books, journals or magazines. Excluding a literary and film, theoretical perspective neglects the importance of understanding the cultural text and aesthetic language of film making---and certainly renders the "lyric" mode of these films, with its rich implications, essentially invisible. Furthermore, sociology scholars have neglected to mention the fertile texture of visual imagery or the auditory cues that not only enrich each film studied, but are important to its filmic reading of addiction.
520 $a In this dissertation, I will broaden the examination of addiction in postwar Hollywood cinema (i.e., 1946-1966) by dissecting pertinent cinematic scenes to demonstrate the effects of the lyrical impulse in a narrative medium. I will add to this analysis by exhibiting the tenants of A.A. as the alcoholism film's preferred choice of treatment. Specific scenes from these films will be examined as an aesthetic text to discover essential messages of art and beauty. These methods for analysis will be combined with a deeper investigation into the concept of America's mythology of optimism as examined by the scholarly research of Robert Ray.
590 $a School code: 0047.
650 4 $a American literature. $3 523234
650 4 $a Film studies. $3 2122736
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710 2 $a The Claremont Graduate University. $b Arts and Humanities. $3 3288205
773 0 $t Dissertation Abstracts International $g 78-07A(E).
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