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Film, Politics, and Ideology: Reflections on Hollywood Film in the Age of Reagan*

Second, the median amount of motion and movement is reported, as determined by Cutting et al (2011b).Motion is the optical change created bymoving objects, people, and shadows; movement is that change created by camera motion or gradual lens change (a zoom; see Gibson 1954).We calculated their combination by correlating next-adjacent frames along the length of each film—frames 1&3,2&4,3&5, . . . ,40377&40379, . . . , and so forth.We avoided adjacent frames (eg, 1&2, 2&3) because a number of the DVDs we obtained for these films were imperfectly digitized (the 24 frames/s rate in the analog filmwas not synchronized to the sampling rate of the DVD), creating. | Film Politics and Ideology Reflections on Hollywood Film in the Age of Reagan Dougl as Kellner http www.gseis.ucla.edu faculty kellner In our book Camera Politica Politics and Ideology in Contemporary Hollywood Film 1988 Michael Ryan and I argue that Hollywood film from the 1960s to the present was closely connected with the political movements and struggles of the epoch. Our narrative maps the rise and decline of 60s radicalism the failure of liberalism and rise of the New Right in the 1970s and the triumph and hegemony of the Right in the 1980s. In our interpretation many 1960s films transcoded the discourses of the anti-war New Left student movements as well as the feminist black power sexual liberationism and countercultural movements producing a new type of socially critical Hollywood film Films on this reading transcode that is to say translate representations discourses and myths of everyday life into specifically cinematic terms as when Easy Rider translates and organizes the images practices and discourses of the 1960s counterculture into a cinematic text. Popular films intervene in the political struggles of the day as when 1960s films advanced the agenda of the New Left and the counterculture. Films of the New Hollywood however such as Bonnie and Clyde Medium Cool Easy Rider etc. were contested by a resurgence of rightwing films during the same era e.g Dirty Harry The French Connection and any number of John Wayne films leading us to conclude that Hollywood film like U.S. society should be seen as a contested terrain and that films can be interpreted as a struggle of representation over how to construct a social world and eveiyday life. In our readings of 1970s films we detected intense battles between liberals and conservatives throughout the decade in mainstream Hollywood with more radical voices -- of the sort that occasionally were heard in the late 1960s and early 1970s -- becoming increasingly marginalized. As the decade progressed conservative .