dc.contributor.author |
Rothstein, Jeffrey. |
en_US |
dc.date.accessioned |
2011-01-31T14:19:29Z |
|
dc.date.accessioned |
2019-09-08T02:32:36Z |
|
dc.date.available |
2011-01-31T14:19:29Z |
|
dc.date.available |
2019-09-08T02:32:36Z |
|
dc.date.created |
1999 |
en_US |
dc.date.issued |
1999 |
en_US |
dc.identifier |
273051251 |
en_US |
dc.identifier.other |
b1842188x |
en_US |
dc.identifier.uri |
http://www.ohiolink.edu/etd/view.cgi?ysu999201012 |
en_US |
dc.identifier.uri |
http://jupiter.ysu.edu/record=b1842188x |
en_US |
dc.identifier.uri |
http://hdl.handle.net/1989/6280 |
|
dc.description |
xx, 127 leaves : ill. ; 29 cm. |
en_US |
dc.description |
Thesis (M.S.)--Youngstown State University, 1999. |
en_US |
dc.description |
Includes bibliographical references (leaves ). |
en_US |
dc.description.abstract |
Cinema, during the 1960's indirectly reflected the social and political conflagrations ofthe
era through changes in production and style. These changes shadowed a larger
transformation in sensibility that was most visible in the development of a youth subculture
that questioned the hegemony ofa pre-existing set of cultural preconceptions, creating a
canon ofits own. While the emergence of a counterculture, did not alter American
politics, it exerted an indirect effect over all ofthe arts, including Cinema, where new
ideas about effacing boundaries between audiences and performers, directors and critics
and old notions regarding high and low culture came together to form a new cinema. This
new style in film-making reflected the growing cynicism of a generation that felt ill-at-ease
with the geo-politics ofthe cold-war, and that questioned the basic tenets upon which the
foundations of post-industrial society were erected.
I have chosen several films that reflected this transformation of sensibilities, and
which reveal the dialectical relationship between art and cultural experience. Although,
most ofwhat came to be associated with the counterculture was quickly merchandized
and absorbed into mainstream cultural discourses, including film, much ofit remained too
radical to digest, existing just beyond the purview ofwhat was considered culturally
acceptable. These more radical discourses, were slowly transformed into a pervasive
atmosphere of disaffection which is a salient characteristic ofthe films analyzed here. I
have attempted to capture the "feeling" ofthe times by deconstructing these films as if
they were artifacts, or texts. By re-reading them in this way, I hope to shed light on the
dynamics that made the 60's an era of such dramatic change, and which make these films
important illustrations ofthe period's more marginal sensibilities. |
en_US |
dc.description.sponsorship |
Youngstown State University. Dept. of History. |
en_US |
dc.description.statementofresponsibility |
by Jeffrye Rothstein. |
en_US |
dc.language.iso |
en_US |
en_US |
dc.relation.ispartofseries |
Master's Theses no. 0661 |
en_US |
dc.subject.classification |
Master's Theses no. 0661 |
en_US |
dc.title |
The apotheosis of discontent : representations of the counterculture in 1960's film and television / |
en_US |
dc.type |
Thesis |
en_US |