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Analyse the relationship between style and commentary in the Hollywood melodramas of Douglas Sirk.
“…there is only one way out, the irony of the ‘happy end’.” – Douglas Sirk.
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The 1950s are often understood by feminist critics as a period of retrenchment when women were recast as wives and mothers in the domestic sphere, or as sexualised pin ups such as Jayne Mansfield, Marilyn Monroe etc. Discuss the representation of women in The Girl Can’t Help It (1956) with reference to Nicholas Ray’s Bigger Than Life (1956).
"A woman should be pink and cuddly for a man" (Jayne Mansfield)
“As Hollywood cinema came to be internationally dominant, exporting its discourse of (sanitized) sexuality, the appeal of “America” then had to be relocated again within the economic and political context of relations between the United States and the rest of the movie going world.” (Laura Mulvey)
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Analyse the relationship between style and commentary in the melodramas of Nicholas Ray.
"There was theatre (Griffith), poetry (Murnau), painting (Rossellini), dance (Eisenstein), music (Renoir). Henceforth there is cinema. And the cinema is Nicholas Ray." (Jean-Luc Godard)
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Dennis Hopper did look like he didn’t have long to live the last picture I saw of him. He was a man with cancer.
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James Dean stars as a troubled teen in the 1955 movie classic Rebel Without a Cause. Natalie Wood and Sal Mineo also appear. Don’t miss the "chickie run!"
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Jim, Judy, and Plato from Rebel Without a Cause suffer from family issues and feel unaccepted, causing each to search for a spot in society where they belong. Rebel Without a Cause, a film directed by Nicholas Ray, uses the chain of events that result from poor values in the families of Jim, Judy, and Plato to demonstrate the importance of family values.