Adjustments of Hollywood

1. Uncontroversial/Spectacular Fare:

Studios were trying to recapture pre-war glory, and avoid more claims of Communist infiltration, and focusing on the tried and true romantic, sentimental, and escapist themes in larger scale films suited to new screen formats…cutting back on the liberal and critical social consciousness films.

Hollywood had to offer something television could not, and so began to experiment first

formally with widescreen and 3-D, then with

content by targeting on specialized groups–the largest of which was the youth audience (initiating the genres of the beach party and biker films).

It also began to relax the taboos against sex and violence.

2. FORMAL EXPERIMENTATION

-BUT BIGGEST FACTOR intro in 1953 of Widescreen:

WATCH – Widescreen vs. Fullscreen: (4:40 minutes)

With closed caption

First, CINERAMA–a modified version of Gance’s polyvision — required three separate cameras, then three projectors in theaters linked in arc (3x longer; 2x wider) so simulation of peripheral vision.  Bringing audiences INTO the picture vs. bring pic to them like 3d.

This is Cinerama trailer:

With closed captions

— Enhanced illusion of depth but also DIRECTIONAL sound due to 7 track stereo sound recorded magnetically on separate strip of film. SO also produced nearly total conversion from optical to magnetic sound (though still played optically in exhibition).

However, extremely cumbersome, and expensive: the technical costs of production and exhibition, plus those involved in mounting a massive product to exploit its potential resulted in filmmakers resorting to shooting only travelogues in this format.

This Is Cinerama (1952) travelogue hit.

Then How the West Was Won (1962).  Only 100 theatres max–but catalyst that began widescreen rev

Lower budget alternatives such as CINEMASCOPE (The Robe –3rd most lucrative production in history of film after Birth of a Nation (1915) and Gone with the Wind (1939) –anamorphic widescreen process of 20th/Fox originating with tank periscope tech during WW I. Screen image a broadly oblong shape; peripheral vision; 4 track stereo recorded on magnetic strip.  Especially effective in capturing panoramic vistas and huge-scale events, like the Roman chariot race sequence in MGM’s Ben-Hur (1959).

No special cameras, film stock or projectors, ONLY special lenses, a metallized wide screen and 4 track mag stereo sound system. Wide field image ‘squeezed’ laterally by cylindrical lens w. compression ratio of 2:1 onto conventional 35 mm stock then redeemed in projection by compensating lens. (Like dollar bill 5:1 ratio)

Color

• 1952-55 – Competition w. B&W TV resulted in rapid conversion to COLOR between (50% by 1954)
• 1958- DECLINE to 25% by due to 2nd market of sales to B/W TV.
• 1965-70 – COLOR TV conversion, led to complete COLOR studio conversion

Gimmicks

3-D: popular from 1953-54 with release of some 38 features.

Cheap & easy due to simple conversion to twin lens camera and projection system. (under $2k to convert)

1952, Independent producer Arch Obler intro polarized 3-D NATURAL VISION in Bwana Devil–two interlocked cams whose lenses positioned to approx. distance between eyes recorded scene on two separate negs–spectators w. polarized lenses.

Hit House of Wax (1953)

WATCH – clip from House of Wax

House of Wax clip with closed captions

WATCH – Creature from the Black Lagoon trailer

With closed captions
Decline due to problems with making serious narrative films in gimmicky process (though Hitchcock’s Dial M for Murder exception) without constantly thrusting weapons at the camera/spectators.

Illusion of depth not authentic for appeared on stratified planes vs. deep-focus widescreen photography which produced greater illusion.

•  People disliked strain of glasses

1959/60–war with TV thru AROMORAMA (scents thru air conditioning systems) or SMELLOVISION (atomizers between rows of seats) later Polyester of John Waters in 1981 thru SCRATCH/SNIFF cards.

WATCH – Polyester trailer

With closed captions

ALSO  Exploitation Gimmicks of William Castle often more engaging than films)

WATCH –montage of William Castle gimmickry

With closed captions

3.  THEMATIC EXPERIMENTATION AND GENRE:

Results of RED SCARE:

• Domestic trauma of dealing w. issues which result from Pursuit of the American Dream 
• Conflict between the desire for personal autonomy and the pressure for collective conformity.

Individual acts of heroism suspect (REBEL).  Success measured by how much individuals submerged themselves into some larger mass (society/bureaucracy) over which they had little controls Rewards of status, popularity and acceptance came with CONFORMITY to this group.  In the films of the period, people who did NOT sacrifice individual desires for general social needs were fated to die, commit suicide, be outcast or simply go mad.

“Out of the victory for democracy and freedom came a society more standardized, less free, more conformist, and less personal” 

In the mid-50s films portrayed people desperately trying to ward off failure in the face of overwhelming destructive forces of nature (horror), technology (sci fi), and human imperfection (films noir).  World seemed menacing, chaotic, impersonal, uncontrollable.  Fear centered on the unknown, unseen terrors that lurk beneath the surface normality.”

Must constantly be reminded of our humble origins—under—not next to—God; religion to remind us of our cosmic place as we struggle to advance ourselves secure in the knowledge that we will never commit the deadly folly of assuming the place of God.

Robotic: BODY SNATCHERS – fear of becoming too efficient/rational (Miles, as official doctor, loses wife) no need for love.

 Dan Kauffman rationalizing every bizarre phenomenon. No problems, but no joys.  Miles: from my practice I’ve seen humanity dwindle away and people become hard and callous…only when we have to fight to stay human do we know how precious humanity is…

Animal: (horror films re: upsurge of animal) Connection to ‘man-eating’ femme fatales and murderous noir heroes)

REBEL – gangs, knife fights, father slaps daughter (violence in family)

Vs. HUMANITY

Positive: Dreams of love, faith success which drives you to progress.  INSTINCTS save you from pods—allows you to DETECT pods (Uncle Ira!)

Negative: Dreams are rarely achieved, lead to drinking, adultery, divorce.  Humanity also requires that you sleep—weakness which allows them to GET you. Sleep allows you to escape traumas and work out problems through dreams. Becky’s shock at dog/man.  Neuroses that lead you to psychologists (results of parenting like Judy and Jim get). Don’t QUITE trust your instincts to detect pods so must go to TRUSTED medical doctor.

“ADULT” WESTERNS:   In the 50s, the heroic, idealized epic of Ford remained pop but was gradually replaced by what was called the ADULT WESTERN (ex. High Noon).

Essentially involving the same subjects, landscapes, and plots–it is the WAY in which these elements are viewed by the filmmakers and their audiences which has changed–more to do w. way America perceives self than evolution of genre.

This new western tradition countered that of Ford—as it was ANTIHEROIC and REALISTIC.

WATCH –church scene from High Noon

High Noon clip with closed captions

thematically like the WW II Combat films, which concentrated on the psych and moral conflicts of the individual protagonist in relationship to his society.

Important index of change in complete reversal of the genre’s attitude towards Indians–hostile savages of the 30s onward were suddenly presented as race of gentle intelligent people upon whom the U.S. military ESTABLISHMENT had committed genocide (ex. Little Big Man had graphically depicted the massacre of defenseless Indians by U.S. cavalry troops aka Mei Lei Massacre)

Also films about the harshness of the outlaw life on those who lead it

Foremost director Anthony Mann and writer Budd Boettiger (with actors Randolph Scott and James Stewart) reacted AGAINST idea of defending honor through violence, exploring the meaning of values and honor in an isolated society.  They were also among first filmmakers to discover that the topography of the genre was uniquely suited to the widescreen format (Sarris says austere visual format resembling Antonioni)