Word: hoberman
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...Hoberman says this sort of thematic juggling-act is characteristic of Cold War-era films. He cites anti-communist sentiment and the fear of dehumanization at the hands of a totalitarian power as important concerns. “They’re themes that different filmmakers apply themselves to and that different audiences respond to,” Hoberman says...
...Hoberman says that to divide Cold War-era films into hard-line, anti-communist propaganda pieces and free thinking anti-McCarthyite films of resistance would be an oversimplification of a complex history. Though he notes that the animated film version of George Orwell’s anti-communist allegory “Animal Farm” was partially funded by the CIA, Hoberman says some studios that produced right-wing Cold War films were just being intelligent...
...studios that were making these movies,” Hoberman says, “and if they were making them as a hostage to fortune they didn’t care really...
...while R.G. Springsteen’s “Red Menace” (1949) may be the work of a true anti-communist believer, Hoberman argues that “Pickup on South St.” (Samuel Fuller, 1953), which features communist spies and a McCarthyite hero who is also a criminal, “seems like it might be one of the anti-communist movies but is actually much crazier...
...Hoberman suggests that films in genres like science fiction, fantasy, and the Western have frequently been able to address cultural anxieties that might be too sensitive for a more realistic narrative. He cites Ishiro Honda’s “Gojira” (1954), a grim allegory of the destruction wrought by the atomic bomb, as a particularly strong example...