TY  - BOOK
AU  - Palmer,William J.
TI  - The films of the eighties: a social history 
SN  - 0585197563
AV  - PN1995.9.S6 P33 1993eb
U1  - 302.23/43/097309048 20
PY  - 1993///
CY  - Carbondale
PB  - Southern Illinois University Press
KW  - Motion pictures
KW  - Social aspects
KW  - United States
KW  - Cin�ema
KW  - Aspect social
KW  - �Etats-Unis
KW  - SOCIAL SCIENCE
KW  - Media Studies
KW  - bisacsh
KW  - fast
KW  - Electronic books
N1  - Includes bibliographical references (pages 313-323) and index; The holograph of history -- The Vietnam War as film text -- The "coming home" films -- The terrorism film texts -- The nuclear war film texts -- From the "evil empire" to Glasnost -- The feminist farm crisis and other neoconservative feminist texts -- The yuppie texts -- Film in the holograph of new history; Electronic reproduction; [S.l.]; HathiTrust Digital Library; 2010
N2  - Annotation; In this remarkable sequel to his Films of the Seventies: A Social History, William J. Palmer examines more than three hundred films as texts that represent, revise, parody, comment upon, and generate discussion about major events, issues, and social trends of the eighties. Palmer defines the dialectic between film art and social history, taking as his theoretical model the "holograph of history" that originated from the New Historicist theories of Hayden White and Dominick LaCapra. Combining the interests and methodologies of social history and film criticism, Palmer contends that film is a socially conscious interpreter and commentator upon the issues of contemporary social history. In the eighties, such issues included the war in Vietnam, the preservation of the American farm, terrorism, nuclear holocaust, changes in Soviet-American relations, neoconservative feminism, and yuppies. Among the films Palmer examines are Platoon, The Killing Fields, The River, Out of Africa, Little Drummer Girl, Kiss of the Spiderwoman, Silkwood, The Day After, Red Dawn, Moscow on the Hudson, Troop Beverly Hills, and Fatal Attraction. Utilizing the principles of New Historicism, Palmer demonstrates that film can analyze and critique history as well as present it
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ER  -