By Douglas Kellner, Stephen Prince
In the course of the Nineteen Eighties, American cinema underwent huge, immense variations. Blockbusters like Raiders of the misplaced Ark, E.T., and The Empire moves again grabbed large sales for the studios. whilst, the expansion of domestic video ended in new and artistic possibilities for self sustaining movie construction, leading to some of the decade's top movies. either huge- and small-scale filmmakers spoke back to the social, political, and cultural stipulations of the time. The two-term presidency of Ronald Reagan spawned a brand new chilly battle with the Soviet Union, which Hollywood movie either embraced and critiqued. additionally in this time, Hollywood introduced a long-awaited cycle of movies in regards to the Vietnam struggle, exploring its impression either at domestic and in a foreign country. yet technological know-how fiction remained the era's hottest style, starting from upbeat fantasies to darkish, dystopic visions. Bringing jointly unique essays by way of ten revered students within the box, American Cinema of the Eighties examines the movies that marked the last decade, together with usual humans, physique warmth, Blade Runner, Zelig, Platoon, most sensible Gun, extraterrestrial beings, Blue Velvet, Robocop, deadly charm, Die challenging, Batman, and intercourse, lies & videotape .
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Additional info for American Cinema of the 1980s: Themes and Variations (Screen Decades: American Culture/American Cinema)
Its classical form, from the thirties, forties, and ﬁfties, was long gone, but the musical itself proved to be unexpectedly enduring and showed up in a series of extremely popular ﬁlms, including Flashdance, Staying Alive (1983), Purple Rain (1984), Footloose, and Dirty Dancing (1987). Other musicals of the period included Popeye (1980), Xanadu (1980), The Best Little Whorehouse in Texas (1982), Annie (1981), A Chorus Line (1985), Little Shop of Horrors (1986), and La Bamba (1987). While the range of quality was uneven, this was an impressive range of output for a genre whose demise had long been predicted.
Computer-animated sequences appeared in Star Trek II, Tron, The Last Starﬁghter, Return of the Jedi, Young Sherlock Holmes, and The Abyss. , Poltergeist, and Star Trek II, and Lucasﬁlm used a proprietary digital sound workstation for mixing and editing on Indiana Jones and the Temple of Doom. Sound playback in 20 STEPHEN PRINCE theaters during the 1980s was still in analog format, but in 1986 Dolby Laboratories introduced Dolby SR (Spectral Recording), which reduced noise and provided a cleaner signal on optical four-channel sound tracks.
Coal Miner’s Daughter is about how a man must change, a fact not lost on essayist Roger Rosenblatt, who wrote that he now looked forward to Coal Miner’s Son-in-Law (72). However, the ﬁlm is about a woman changing, too. 1980 — MOVIES AND THE NEW WOMAN 25 Thematically and structurally central to Coal Miner’s Daughter are the concepts of moving too fast and needing to slow down. As the ﬁlm begins, Doo is driving a red jeep too fast into the coal mining community in which Loretta lives with her family.