東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

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

Nystrom, Derek Richard.

FindBook

Google Book

Amazon

博客來

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

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Hard hats, rednecks, and macho men: Class identity in 1970s American cinema./
作者:	Nystrom, Derek Richard.
面頁冊數:	277 p.
附註:	Adviser: Rita Felski.
Contained By:	Dissertation Abstracts International63-08A.
標題:	American Studies. -
電子資源:	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.
LDR:03435nam 2200289 a 45 001 931423
005 20110429
008 110429s2002 eng d
020 $a 0493781048
035 $a (UnM)AAI3062115
035 $a AAI3062115
040 $a UnM $c UnM
100 1 $a Nystrom, Derek Richard. $3 1254965
245 1 0 $a Hard hats, rednecks, and macho men: Class identity in 1970s American cinema.
300 $a 277 p.
500 $a Adviser: Rita Felski.
500 $a Source: Dissertation Abstracts International, Volume: 63-08, Section: A, page: 2729.
502 $a Thesis (Ph.D.)--University of Virginia, 2002.
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.
590 $a School code: 0246.
650 4 $a American Studies. $3 1017604
650 4 $a Cinema. $3 854529
650 4 $a Sociology, Theory and Methods. $3 626625
690 $a 0323
690 $a 0344
690 $a 0900
710 2 0 $a University of Virginia. $3 645578
773 0 $t Dissertation Abstracts International $g 63-08A.
790 $a 0246
790 1 0 $a Felski, Rita, $e advisor
791 $a Ph.D.
792 $a 2002
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3062115