By Joyce Evans
Evans analyzes using atomic imagery present in various Hollywood genres produced among 1947 and 1964 reminiscent of The Day the Earth Stood nonetheless (1951), Pickup on South road (1953), and Voyage to the ground of the ocean (1961). The industry-focused strategy provided during this publication perspectives cultural construction as a cloth method unfolding below particular fiscal, political and cultural stipulations and emphasizes the "pressures and limits" of creation which are inscribed within the cinematic texts.
The research illustrates in concrete aspect how the cinematic texts negotiated by way of audiences are produced in hugely targeted industries and are developed because of usually contradictory determinants. those determinants paintings to form the texts produced by way of encouraging, for instance, the construction of specific genres and through privileging a selected set of pictures over others.
Evans argues that via those photographs, Hollywood articulated a constrained critique of the chilly struggle ideology, which it additionally helped to create. She concludes that Hollywood's total ideological influence has been to limit the discursive ability on hand for outlining social fact.
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Additional resources for Celluloid Mushroom Clouds - Hollywood and the Atomic Bomb
Residual themes deeply embedded within American culture concerning nature's secrets and the role of the scientist were intermingled and appropriated by social agencies to help define and convey a specific understanding of the issue and its potential ramifications. The themes that gradually became linked with atomic energy usually involved two sides, often polar opposites. For example, along with the healing capabilities of radiation came the potential for death and destruction. These images were sometimes evoked by the scientists working with radium or were used by government officials and the media to convey the drama and significance of each new atomic discovery.
The monopoly that the major studios enjoyed over film production and distribution, which ensured a market for any studio product, also contributed to the flexibility that in-house producers were allowed in experimenting with nuclear images. However, by the early 1950s, the effects of the economic restructuring of the film industry, the changing government agenda, and Hollywood After the Bomb 26 the developing Cold War ideology would drastically inhibit the portrayal of this specific issue in film content.
Its narrative overtly questions the ethical nature of the bomb's development while adopting official government rhetoric to justify its recent use. The film's producer also appropriated residual cultural elements to link the atomic discovery to contradictory metaphors of its destructive and constructive potential. In comparison, Above and Beyond, produced only five years later in 1952, illustrates how the themes and images concerning the development and use of the atomic bomb evolved from the seminal depictions that expressed the controversial and contradictory nature of atomic technology to more Hoilywoodesque presentations embodying Cold War ideology and promoting government interests.