Seeing Is Believing
How Hollywood Taught Us to Stop Worrying and Love the Fifties
Nonfiction, Entertainment, Film, History & Criticism, Performing Arts
| Author: | Peter Biskind | ISBN: | 9781466829640 |
| Publisher: | Henry Holt and Co. | Publication: | September 11, 2000 |
| Imprint: | Holt Paperbacks | Language: | English |
| Author: | Peter Biskind |
| ISBN: | 9781466829640 |
| Publisher: | Henry Holt and Co. |
| Publication: | September 11, 2000 |
| Imprint: | Holt Paperbacks |
| Language: | English |
Seeing is Believing is a provocative, shrewd, witty look at the Hollywood fifties movies we all love-or love to hate-and the thousand subtle ways they reflect the political tensions of the decade. Peter Biskind, former executive editor of Premiere, is one of our most astute cultural critics. Here he concentrates on the films everybody saw but nobody really looked at--classics like Giant, On the Waterfront, Rebel Without a Cause, and Invasion of the Body Snatchers--and shows us how movies that appear to be politically innocent in fact carry an ideological burden. As we see organization men and rugged individualists, housewives and career women, cops and doctors, teen angels and teenage werewolves fight it out across the screen from suburbia to the farthest reaches of the cosmos, we understand that we have been watching one long dispute about how to be a man, a woman, an American--the conflicts of the period in action.
A work of brilliant analysis and meticulous conception, Seeing Is Believing offers fascinating insights into how to read films of any era.
Seeing is Believing is a provocative, shrewd, witty look at the Hollywood fifties movies we all love-or love to hate-and the thousand subtle ways they reflect the political tensions of the decade. Peter Biskind, former executive editor of Premiere, is one of our most astute cultural critics. Here he concentrates on the films everybody saw but nobody really looked at--classics like Giant, On the Waterfront, Rebel Without a Cause, and Invasion of the Body Snatchers--and shows us how movies that appear to be politically innocent in fact carry an ideological burden. As we see organization men and rugged individualists, housewives and career women, cops and doctors, teen angels and teenage werewolves fight it out across the screen from suburbia to the farthest reaches of the cosmos, we understand that we have been watching one long dispute about how to be a man, a woman, an American--the conflicts of the period in action.
A work of brilliant analysis and meticulous conception, Seeing Is Believing offers fascinating insights into how to read films of any era.
