Abstract
As the decade neared its end, major changes were underway, not just in the United States but throughout the world. This had immediate consequences, both in the American economy and in the representations of American life which Hollywood provided. Suddenly the enemy was not internal but external and very clearly seen. This resulted in changes in cinematographic style as well as content. Dead End provided an introduction to some of these changes, being an advance indicator of them due to its particular production context. But by 1939 the changes were becoming evident to any careful observer.
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Notes
W. Miller, A New History of the United States (London: Paladin, 1970), p. 344.
P. Roffman and J. Purdy, The Hollywood Social Problem Film (Bloomington: Indiana University Press, 1981), p. 212.
N. Roddick, A New Deal in Entertainment (London: British Film Institute, 1983), P. 67.
C. Clarens, Horror Movies (London: Secker and Warburg, 1968), p. 124.
A. Bazin, What is Cinema? Vol. 1 (London: University of California Press, 1967), p. 36.
P. Schrader, ‘Notes on Film Noir’, in B. K. Grant (ed.), Film Genre Reader (Austin: University of Texas Press, 1986), p. 171.
M. B. Haralovich, ‘Sherlock Holmes: Genre and Industrial Practice’, Journal of the University Film Association 31, 2 (Spring 1979), pp. 53 and 57.
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© 1994 Mike Cormack
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Cormack, M. (1994). The End of the Decade. In: Ideology and Cinematography in Hollywood, 1930–39. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-11858-8_10
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DOI: https://doi.org/10.1007/978-1-349-11858-8_10
Publisher Name: Palgrave Macmillan, London
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