By Robert Shandley
In the Nineteen Fifties and early Sixties, the US imagined itself younger and in love in Europe. And Hollywood movies of the period mirrored this romantic attract. From a tender and naïve Audrey Hepburn falling in love with Gregory Peck in Roman vacation to David Lean’s Summertime, that includes Katherine Hepburn’s sexual event in Venice, those modern travelogue romances have been shot on position, and confirmed an exhilarating new style for Hollywood.
As Robert Shandley exhibits in Runaway Romances, those movies weren't in basic terms indicative of the ideology of the American-dominated postwar global order, yet additionally they represented a shift in Hollywood creation values. wanting to catch new audiences in the course of a interval of monetary concern, Hollywood’s ecu output applied the widescreen strategy to reinforce cinematic adventure. The films—To capture a Thief, 3 cash within the Fountain, and Funny Face between them—enticed audience to go to far off locations for romantic escapades. within the method, those runaway romances captured American fantasies for a short, yet excessive, interval that ended as audiences grew bored with previous international splendors, and entered right into a new period of sexual awakening.
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Additional resources for Runaway Romances: Hollywood's Postwar Tour of Europe
Example text
For the studios, the political whirl in which they found themselves was certainly more of a problem than a solution. On November 24, 1947, Congress cited the ten “unfriendly” witnesses for contempt of Congress. That same day fifty members of the Motion Picture Producers Association (MPPA) met at the Waldorf Astoria hotel in New York City to discuss the congressional investigations. Despite the protests of, among others, Louis B. ”9 With this manifesto the Hollywood studios attempted to liberate themselves from congressional investigations by sacrificing eight screenwriters and two directors.
41 Audiences, it seems, had grown used to the look of location work and were no longer accepting of the rear projection techniques of an earlier age. “Today’s audience,” Preminger asserts, “is more demanding. ”42 Enough evidence does exist to suggest that filmgoers responded well to and therefore likely began to demand the look of location shooting. Given this entwinement of causalities, the studios’ strategies for survival involved a tremendous shift in production from southern California to Europe and the rest of the world.
The studios were prevented by the consent decrees that followed from the Paramount decision from investing in new theaters themselves. And, given the drastic drop in ticket sales, building new movie palaces in the suburbs seemed like a bad investment to other entrepreneurs. This convergence of factors left a virtual void in the cinematic culture of the new suburbs, a void that rapidly would be filled. As John Belton points out, The quickest and cheapest solution to the problem of theater construction in the suburbs was the drive-in.