Dead-End Days: The Sacrifice of Displaced Workers on Film

摘要: Race, Class, and Gender on Film CLASS CONFLICTS ANIMATE THOUSANDS OF HOLLYWOOD MOVIES;1 analysts have been writing of films as American mythology for decades,2 arguing that cinema performs a "Bardic function singing back to society lullabies about what large hegemonic part it 'already knows'" (McCarthy et al. 229). Movies, this theory, interact with both their producers consumers. They become realms public discourse, turning social problems into myths-objects ritual consumption by crowds gathered rehearse troubles. I analyze one such cycle, composed seven contemporary either occur during or culminate in tense, hot days feature standoffs between armed breadwinners the law. This cycle presents explicit class conflict, informed tensions over gender race. It tells stories violence against working-class protestors, myth dreams undone twin forces tight labor market well-armed police. The arose U.S. late-twentieth-century economic downturns; frames protests unemployment morally sympathetic, racially marked, bound stylized bloodshed. A Cycle at core study (Do Right Thing [1989], Dog Day Afternoon [1975], Falling Down [1992], John Q [2002], Mad City [1997], Negotiator [1998], Set Off [1996])-all but released last fifteen years-give voice angst then blow most (anti)heroes away; they do so manner distinguishes them from other related subplots.3 dramatize agonizing conflicts families which grown estranged, police arrayed them, few unrelated subplots distract viewer. begin breadwinner stress, move territorial conflict protagonists fight space, pause speeches dispossession desperation, conclude visible jury death protestors end dead-end day. Many worked these themes without qualifying set, leads me propose two-sphere model film cycle: (seven case) exemplify periphery films, each includes some aspect core. If patterns set are robust, should appear well, even though larger group was not constructed under self-aware conditions genre production. collective psychology governs production day informs many movies, evinced tell us something cultural we living. propose, then, comment mass consciousness interpreting overt our mythology. story has roots mid-twentieth century, series westerns action melodramas take place long, days. Way 1940, instance, His Girl Friday offered an early version small subplot-a mere harbinger trend. In film's backstory, hapless white prole gone bananas shot black officer. As snide reporter story, assailant, Williams, is "a bookkeeper. he starts $20 week after fourteen years gradually works himself up $17.50 ... McClusky company goes out business Williams loses his job." At point, unmoored wandering park day, cop. Later, prison cell where awaits execution, long movie's action, explains would typical heroes follow decades later: "[Shooting cop] everything I've ever stood for. …