By Daniel Bernardi
Best students handle the myriad ways that America's attitudes approximately race expert the construction of Hollywood motion pictures from the Twenties throughout the Nineteen Sixties. From the predominantly white megastar process to segregated mise-en-sc?nes, Hollywood motion pictures bolstered institutionalized racism. The members to this quantity research how assumptions approximately white superiority and coloured inferiority, and the politics of segregation and assimilation affected Hollywood's vintage interval. individuals: Eric Avila, UCLA; Aaron Baker, Arizona kingdom U; Karla Rae Fuller, Columbia university; Andrew Gordon, U of Florida; Allison Graham, U of Memphis; Sarah Madsen Hardy, Bryn Mawr; Joanne Hershfield, U of North Carolina; Arthur Knight, William and Mary; Gina Marchetti, U of Maryland; Gary W. McDonough; Chandra Mukerji, UC, San Diego; Martin F. Norden, U of Massachusetts; Brian O'Neil, U of Southern Mississippi; Roberta E. Pearson, Cardiff U; Marguerite H. Rippy, Marymount U; Nicholas Sammond; Beretta E. Smith-Shomade, U of Arizona; Peter Stanfield, Southampton Institute; Kelly Thomas; Herman Vera, U of Florida; Karen Wallace, U of Wisconsin, Oshkosh; Thomas E. Wartenberg, Mount Holyoke; Cindy Hing-Yuk Wong, university of Staten Island, CUNY; Geoffrey White, U of Hawai'i; and Jane Yi. Daniel Bernardi is assistant professor within the division of Media Arts on the college of Arizona.
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Shortly before the play is due to open, the Polish censors shut it down for fear of offending Hitler, and the troupe has to fall back on its old standby, Hamlet. The company’s lead actors, Jozef and Maria Tura ( Jack Benny and Carole Lombard), play Hamlet and Ophelia. Maria becomes involved in a romantic dalliance with a Polish ﬂier (Robert Stack), who repeatedly walks out on Hamlet’s soliloquy to visit her backstage. As a result of this liaison, the Turas, and the company, become embroiled in a plot to assassinate a Polish collaborator, Professor Siletsky (Stanley Ridges), in order to keep him from exposing the Polish underground to the Nazis.
Lubitsch’s recourse to an elevated European status had much to do with Hollywood’s negotiation of American anti-Semitism. Likewise, the Marx Brothers’ vaguely ethnic personae simultaneously invoked longstanding vaudeville traditions and the industry’s uneasiness with openly Jewish actors; a generic ethnicity served better than a speciﬁc one. In the 1930s, the dominant discourse around the inclusion of European immigrants in American society and culture was that of assimilation. 3 For American Jews, assimilation was a little more complicated.
I love you. CLAYPOOL: It’s rather difﬁcult to believe that when I ﬁnd you dining with another woman. DRIFTWOOD: That woman? Do you know why I sat with her? 9 10 NICHOLAS SAMMOND AND CHANDRA MUKERJI CLAYPOOL: No. DRIFTWOOD: Because she reminded me of you. CLAYPOOL: Really? DRIFTWOOD: Of course. That’s why I’m sitting here with you. Because you remind me of you. Your eyes, your throat, your lips! Everything about you reminds me of you. Except you. How do you account for that? She, of course, cannot account for it.
Classic Hollywood, Classic Whiteness by Daniel Bernardi