In this second edition of a volume first published in 2006, Franklin some examples and sprinkles in discussion…of television as ‘film,’ but he keeps to his central thesis surrounding the interactive relationship between US political culture and the content of US films. Franklin explores cause and effect, looking at how films project the interests and events of the times during which they are made while responding to the economics of what the author projects as the changing audience for films. He argues that filmmaking can be thought of in terms of three eras of ‘monopolies’: the Edison Trust era; the ‘golden era,’ controlled by the studio system; and the modern era, with its disparate markets and responses to them (e.g., the rise of independent productions). In addition to exploring the relationship of political philosophies and movies, Franklin looks at the politics of censorship. Examples appear throughout, and each chapter concludes with a brief case study….
"It has become practically a national pastime to criticize Hollywood movies for their sex, violence, and ultra-liberal politics. But why are films like that? In this book Daniel Franklin enters the scholarly controversy about the sources of American film content. His conclusion, vigorously argued, is that film-makers are simply acting as good capitalists and responding to the audience. Because filmgoers are more secular and liberal than the population as a whole, films are more secular and liberal than they would otherwise be."
Revised to include developments in technology and viewing conditions, Daniel Franklin’s second edition of Film and Politics dares to stand by its initial premise that the audience determines the content of the film. With his clear prose and numerous up-to-date examples, Franklin offers a balanced and nuanced view on the politics of commercial filmmaking in the United States. An indispensable read for those who want a comprehensive take on the relations of contemporary cinema and politics.
"Like its predecessor, Daniel Franklin’s new edition of Politics and Film is as detailed and as provocative as ever. Resisting the temptation to merely ‘read’ the political messages and intent in films, Franklin looks to all the deeper meanings and conditions that inform the birth, production and reception of movies. From the off, he signposts Seth Rogan, James Franco, Selma, and David’s Death of Marat in a wide-ranging and effusive opening that signals this book’s content which is choc-full of insight, argument and analysis. Accessible, informative and lucid, Politics and Film remains a great primer for those interested in the way American cinema operates as well as a fascinating insight into the way all culture influences our world in the 21st century."
In this second edition of a volume first published in 2006, Franklin some examples and sprinkles in discussion…of television as ‘film,’ but he keeps to his central thesis surrounding the interactive relationship between US political culture and the content of US films. Franklin explores cause and effect, looking at how films project the interests and events of the times during which they are made while responding to the economics of what the author projects as the changing audience for films. He argues that filmmaking can be thought of in terms of three eras of ‘monopolies’: the Edison Trust era; the ‘golden era,’ controlled by the studio system; and the modern era, with its disparate markets and responses to them (e.g., the rise of independent productions). In addition to exploring the relationship of political philosophies and movies, Franklin looks at the politics of censorship. Examples appear throughout, and each chapter concludes with a brief case study…. Summing Up: Optional. Graduate students, researchers/faculty; general readers.
For any serious-minded person with a curiosity about Hollywood, Professor Franklin’s Politics and Film offers three great virtues. First, it is not the usual star-struck, disorganized wander through anecdote and speculation, but a rigorous application of a theory that explains why movies turn out as they do. Second, Franklin offers a wealth of several different kinds of evidence to buttress his explanation. And third, the book is so clearly and charmingly written that the reader often forgets that it was produced by a scholar. Like any movie lover, Franklin has strong opinions about which of Hollywood’s products are great art, and which of them are stinkers. But his evaluations are so strongly embedded in his theory that the reader will have to think hard to try to refute them. Thus, the opportunity to silently argue with Franklin’s judgments is an additional pleasure offered by this fine book.
This is a fun book to read, hard to put down, and spiked with intriguing information that will be unfamiliar to most readers. Students of all ages will love it.
Political Science Quarterly
In this new edition, Dan Franklin carefully weaves together two important subjects often thought to exist in separate vacuums: politics and culture. Franklin expertly takes on the task of demonstrating how culture and politics exist together in a symbiotic circle, each driving the other. Franklin walks readers through an remarkable analysis of modern film. Politics and Film is a must have for anyone interested in political culture or film.
With technological advances, movies are increasingly accessible to more and more viewers. As movie audiences continue to grow and evolve, questions naturally arise about the ability of the medium to influence its audience and the ability of the audience to influence the medium. In Daniel Franklin’s new and nicely updated edition of Politics and Film, he delves into the relationship between politics, culture, and film. His highly readable text is accessible to a wide range of audiences interested in these fundamental and vital questions. With a seamless integration of seminal concepts, existing research, survey data, and contemporary film examples, this book is a must read.
Students, citizens, and scholars are increasingly aware that films' stories and metaphors—'American Tales,' if you will—influence our perception of politics. Daniel Franklin's Politics and Film is a welcome contribution to our ongoing conversation about the evolving relationship between entertainment, art, commerce, and politics—and how this in turn affects the shape, style, and bias of our political attitudes and collective memory. Those who wish to connect the dots between the reel world of Hollywood and the real world of American political culture will find some serious food for thought in this engaging, entertaining book.
Updated and with new films, Daniel Franklin takes us safely through American culture, film and politics, showing how new social and technological developments interact with contemporary politics to shape the way films are made and seen. A must read for students interested in the politics of film.
Daniel P. Franklin’s second edition of Politics and Film: The Political Culture of Television and Movies offers a broad overview of the dynamic relation between politics and film. This edition includes references to the latest Hollywood blockbusters (including Avatars and Furious 7) and TV series (House of Cards) and examines how these films contribute to the construction of shared cultural and political values in America while also drawing attention to films as political objects. Franklin shows how films can be used to promote American studies and vice versa, opening up avenues for further reflection at the end of each chapter. The book offers stimulating insight into the political culture that surrounds the industry of filmmaking; Franklin makes us aware of films as political tools serving the expansion of American ideals and fueling the democratic debate.
In this second edition of a volume first published in 2006, Franklin some examples and sprinkles in discussion…of television as ‘film,’ but he keeps to his central thesis surrounding the interactive relationship between US political culture and the content of US films. Franklin explores cause and effect, looking at how films project the interests and events of the times during which they are made while responding to the economics of what the author projects as the changing audience for films. He argues that filmmaking can be thought of in terms of three eras of ‘monopolies’: the Edison Trust era; the ‘golden era,’ controlled by the studio system; and the modern era, with its disparate markets and responses to them (e.g., the rise of independent productions). In addition to exploring the relationship of political philosophies and movies, Franklin looks at the politics of censorship. Examples appear throughout, and each chapter concludes with a brief case study…. Summing Up: Optional. Graduate students, researchers/faculty; general readers.
