Download Hard Hats, Rednecks, and Macho Men: Class in 1970s American by Derek Nystrom PDF

By Derek Nystrom

Far and wide you glance in Nineteen Seventies American cinema, you discover white working-class males. they create a violent end to effortless Rider, murdering the film's representatives of countercultural alienation and disaffection. They lurk within the Georgia woods of Deliverance, attacking outsiders in a fashion that conjures up the South's fresh heritage of racial violence and upheaval. They hang-out the singles nightclubs of attempting to find Mr. Goodbar, threatening the film's newly liberated heroine with patriarchal violence. They strut during the disco golf equipment of Saturday evening Fever, dancing to tune whose roots in post-Stonewall homosexuality invite ambiguity that the boys forget about. tough Hats, Rednecks, and Macho males argues that the power visual appeal of working-class characters in those and different motion pictures of the Nineteen Seventies unearths the robust function type performed within the key social and political advancements of the last decade, similar to the decline of the recent Left and counterculture, the re-emergence of the South because the Sunbelt, and the increase of the women's and homosexual liberation routine. interpreting the "youth cult" movie, the neo-Western "southern," and the "new nightlife" movie, Nystrom indicates how those cinematic renderings of white working-class masculinity really let us know extra in regards to the crises dealing with the center classification throughout the Nineteen Seventies than approximately working-class event itself. difficult Hats therefore demonstrates how those representations of the operating category function fantasies a few classification Other-fantasies that provide imaginary resolutions to middle-class anxieties provoked through the decade's upheavals. Drawing on examples of iconic motion pictures from the era-Saturday evening Fever, Cruising, 5 effortless items, and strolling Tall, between others-Nystrom offers an incisive, evocative research of sophistication and American cinema in the course of one of many nation's so much tumultuous many years.

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Hard Hats, Rednecks, and Macho Men: Class in 1970s American Cinema

All over the place you glance in Nineteen Seventies American cinema, you discover white working-class males. they convey a violent end to effortless Rider, murdering the film's representatives of countercultural alienation and disaffection. They lurk within the Georgia woods of Deliverance, attacking outsiders in a way that conjures up the South's contemporary heritage of racial violence and upheaval.

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Additional info for Hard Hats, Rednecks, and Macho Men: Class in 1970s American Cinema

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Mayer were lowermiddle-class and made their films for the mass of people who belonged to that class. But now the film audience has grown more educated and so have the studio people. 15 What is important here is not the question of whether this younger audience was actually as sophisticated and intellectual as this rhetoric claims, but rather that such an audience was assumed by many New Hollywood practitioners, and as such was a determining factor in shaping their cultural production. In other words, by imagining an audience whose salient features were their youth and their high level of education, the New Hollywood filmmakers presupposed a specific set of ideal readers: the younger members of (and aspirants to) the PMC.

The film then follows the two men through a series of encounters in which they engage in a kind of cross-class male bonding, until the two end up searching Greenwich Village for Bill’s runaway daughter. They find themselves at a hippie party, where they smoke pot and engage in an orgy (which Joe pronounces with a hard “g”) with the hippie women. However, the other men steal their wallets and head up north toward their commune. Bill and Joe follow them and end up shooting all of the hippies at the commune, including, in an ironic yet predictable conclusion, Bill’s daughter.

As Look magazine observed in its late 1970 cover story on the New Hollywood, only a few youth-cult films managed to become notable successes, while old fashioned “family” films were still finding their way into Variety’s Top Ten Box Office Champs. Thus, the youthoriented filmmakers who were seen (and saw themselves) as constitutive of the New Hollywood should not be taken to represent all of Hollywood (an elision implied by Schickel’s account). 13 That said, Schickel’s attention to the class orientation of this emergent fraction is quite salient.

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