Hollywood Cinematic Conscience

Hollywood Cinematic Conscience: History of Film (Origins to 1965)

Race Films

  • Definition: A genre of films produced solely for black audiences, often outside the Hollywood system, active for roughly 40 years starting in 1915.

    • Characteristics:

      • All-black casts and focused on black issues but generally produced by white-owned companies.

      • Many were scripted and directed by white filmmakers.

      • Promoted a limited number of black-owned studios, with Oscar Micheaux’s Micheaux Film Corporation being notable.

  • Decline: This genre faded by the mid-1950s.

Themes and Content of Race Films

  • Post-WWI Black Consciousness:

    • A new sense of black consciousness emerged after World War I.

    • Internal tensions within the black community regarding education, advancement, and the degradation of black women.

    • Issues of assimilation into "white culture."

  • Cultural Representation:

    • The films avoided depictions of poverty, crime, and ghettos but rarely addressed issues of racial inequality involving whites.

    • Aimed to avoid the negative stereotyping prevalent in mainstream Hollywood.

    • Micheaux featured educated characters who sought to help "further the race."

Notable Films and Productions

  • **Oscar Micheaux's *The Homesteader**:

    • Starring Evelyn Preer as "Orlean."

    • Significant for its portrayal of black narratives and characters.

    • Adapted from Micheaux’s novel, it is presented as a powerful drama of the American Northwest.

    • Noteworthy for promoting a black cast in a time when this was rare.

  • Productions included live performances featuring black artists, thus openly defying segregationist norms of the time.

Transition Post-WWII

  • After World War II, black actors increasingly started receiving roles in mainstream Hollywood movies.

    • Films began to address racism and integration directly, such as No Way Out (1950), which starred Sidney Poitier and Mildred Joanne Smith.

    • This film was credited for addressing racial tensions openly and head-on.

To Kill a Mockingbird (1962)

    Dir. Robert Mulligan

  • Questions:

    • The film raises the “white savior” question, portraying stark notions of racism to a predominantly white audience.

    • It attempts to illuminate issues of race and foster understanding, but the narrative predominantly focuses on the white hero, with the plight of the black family placed in the background.

    • The death of Tom Robinson serves to highlight the white protagonist's suffering, while his journey brings little true understanding of the black experience.

    • Issues of point-of-view and representation are critically examined.

Modern Times (1936) - Charlie Chaplin

  • Unique Characteristics:

    • This was a silent film created during the sound era, integrating sound effects and music recorded later.

    • The film is a satire on the machine age, addressing contemporary themes including industrialization, bureaucracy, urbanization, and law enforcement.

  • Notable Quote: "We ain’t burglars — we’re hungry."

    • This highlights desperation and social critique embedded within the narrative.

Duck Soup (1933) - Leo McCarey & The Marx Brothers

  • Ephemeral Themes:

    • The film offers a satirical perspective on society, mocking both authoritarian and democratic institutions while presenting a deep cynicism.

    • Known for its comedy style and a band of former Vaudeville comedians: Groucho, Harpo, Chico, Zeppo.

    • The film failed at the box office amid the cynicism during the Great Depression and was considered a box office failure.

The Red Scare & McCarthyism

  • Background:

    • Initiated by Senator Joseph McCarthy, who believed the government was “soft on communism.”

    • Reflected deep-seated anti-communist sentiments dating back to the 1930s.

    • Although not a member of the House Un-American Activities Committee (HUAC), McCarthy influenced its function.

    • Censured by Congress in 1954.

  • HUAC Charges:

    • In 1947, HUAC charged that there was “communism in motion pictures” along with alleged “liberal tendencies.”

    • Many involved had historical ties to the Communist Party during the 1930s.

    • Charges were often based on conjecture or association rather than direct evidence.

    • The Hollywood Ten refused to testify, leading to contempt of Congress charges.

    • The Red Channels published a blacklist naming various individuals associated with supposed communist connections.

High Noon (1952) - Fred Zinneman

  • Allegorical Elements:

    • Based on the experiences of blacklisted writer Carl Foreman, relating to the Red Scare.

    • The film unfolds in “real time,” enhancing tension and urgency.

  • Characterization:

    • The protagonist is portrayed as doubtful and reluctant, asking for assistance, representing a critique of traditional Western archetypes.

    • It serves as an “Adult Western,” reflecting a deeper conscience about societal issues during the Red Scare.

Invasion of the Body Snatchers (1954) - Don Siegal

  • Cultural Resonance:

    • This film resonates with the anti-Communist fervor of the early 1950s, portraying themes of paranoia and trust.

    • Explores the oppressive conformity of modern societies, encapsulating fears that "they are among us," emphasizing the psychological tactics used through McCarthyism.

Paths of Glory (1957) - Stanley Kubrick

  • War Commentary:

    • Based on historical events during the Battle of Verdun in 1916, particularly the bloodbath surrounding Fort Douaumont.

    • This film was banned in France for nearly 20 years because of its anti-war themes.

    • It serves as the first part of Kubrick’s anti-war trilogy, countering glorified portrayals of warfare.

  • Noteworthy Quote: “One way to maintain discipline is to shoot a man now and then…”

    • This phrase exemplifies Kubrick's critical take on military discipline and authority.

Filmography Reference

  • The Homesteader (1919)

    • Director: Oscar Micheaux

    • Blurb: A powerful drama of the American Northwest, significant for its portrayal of black narratives and characters, adapted from Micheaux’s novel, and noteworthy for promoting a black cast, often starring Evelyn Preer.

  • No Way Out (1950)

    • Director: Not specified

    • Blurb: A film that directly addressed racism and integration, credited for openly tackling racial tensions, and notably starred Sidney Poitier and Mildred Joanne Smith.

  • To Kill a Mockingbird (1962)

    • Director: Robert Mulligan

    • Blurb: Raises the “white savior” question, portraying stark notions of racism to a predominantly white audience, but focuses the narrative on the white hero. It seeks to illuminate race issues but offers little insight into the black experience.

  • Modern Times (1936)

    • Director: Charlie Chaplin

    • Blurb: A silent film made during the sound era, featuring integrated sound effects and music. It serves as a satire on the machine age, critically addressing themes of industrialization, bureaucracy, urbanization, and law enforcement.

  • Duck Soup (1933)

    • Director: Leo McCarey

    • Blurb: A satirical comedy by The Marx Brothers that mocks authoritarian and democratic institutions, exhibiting deep cynicism. It was considered a box office failure during the Great Depression.

  • High Noon (1952)

    • Director: Fred Zinneman

    • Blurb: An allegorical “Adult Western” based on blacklisted writer Carl Foreman's experiences during the Red Scare. The film unfolds in “real time” and features a doubtful, reluctant protagonist who critiques traditional Western archetypes.

  • Invasion of the Body Snatchers (1954)

    • Director: Don Siegal

    • Blurb: A film that resonates with the anti-Communist fervor of the early 1950s, exploring themes of paranoia, trust, and the oppressive conformity of modern societies, encapsulating fears akin to McCarthyism.

  • Paths of Glory (1957)

    • Director: Stanley Kubrick

    • Blurb: The first part of Kubrick’s anti-war trilogy, based on historical events of the Battle of Verdun. It critiques glorified warfare and military discipline, leading to its ban in France for nearly two decades.