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Editorial Reviews
From Publishers Weekly
For a book that doesn't so much drive home an overarching thesis about its subject as unravel particular events that are dense with historical, political and cinematic import, this assessment of the 1960s and its aftermath by longtime Village Voice critic Hoberman packs a salient and unique wallop. Hoberman wants to remind readers that the '60s marked the first time in American history when "[m]ovies might be political events, and political events were experienced as movies." It is a lesson that by now seems fairly obvious, but the book's power lies in its assessment of how new and forceful the heady combination of politics and visual mass media was, as politicians began to stress their images in addition to their words, and the restrictive Hays Code, which had tightly governed mass media content, loosened. Although the book contains much political analysis, it's a rare history that also reveals the era's sensibilities. Hoberman does so by employing language of the time (when discussing Gordon Park Jr.'s Superfly, he describes the protagonist's "incredible pad" and his "mockery of the honky police") and by using a plethora of sources: Norman Mailer's contemporary writings, popular magazines like Life, the political news of the time, box office stats, etc. Hoberman's usual epigrammatic wit ("Easy Rider is, even in 1968, a costume movie") is on display here, making his long sections of political examinations more bearable.
Copyright 2003 Reed Business Information, Inc. --This text refers to the Hardcover edition.
From Booklist
In The Magic Hour [BKL Ja 1 & 15 03], Village Voice film critic Hoberman viewed 1990s movies through the lens of the decade's politics. Politics come further to the fore as he juxtaposes the events and the movies of the 1960s. Many of his juxtapositions are obvious--certainly the agendas of The Green Berets and Easy Rider vis-a-vis contemporary events are plain--and most are insightful and revelatory. In 1960, he says, Spartacus and The Alamo symbolized the New Deal and the Cold War; Brando's ineffectual sheriff in The Chase represented the failure of the Great Society; Bonnie and Clyde presaged the counterculture and the end of nonviolence; and the phenomena that soured the era--Vietnam escalation, the Weathermen, and Charlie Manson--are encapsulated in Night of the Living Dead. The events Hoberman chooses are familiar, and his knowledgeable perception of the films makes the book noteworthy as it suggests that, when the outlandish '60s become less comprehensible as they recede in time, the era's movies will remain vital. Gordon Flagg
Copyright © American Library Association. All rights reserved --This text refers to the Hardcover edition.
See all Editorial Reviews
For a book that doesn't so much drive home an overarching thesis about its subject as unravel particular events that are dense with historical, political and cinematic import, this assessment of the 1960s and its aftermath by longtime Village Voice critic Hoberman packs a salient and unique wallop. Hoberman wants to remind readers that the '60s marked the first time in American history when "[m]ovies might be political events, and political events were experienced as movies." It is a lesson that by now seems fairly obvious, but the book's power lies in its assessment of how new and forceful the heady combination of politics and visual mass media was, as politicians began to stress their images in addition to their words, and the restrictive Hays Code, which had tightly governed mass media content, loosened. Although the book contains much political analysis, it's a rare history that also reveals the era's sensibilities. Hoberman does so by employing language of the time (when discussing Gordon Park Jr.'s Superfly, he describes the protagonist's "incredible pad" and his "mockery of the honky police") and by using a plethora of sources: Norman Mailer's contemporary writings, popular magazines like Life, the political news of the time, box office stats, etc. Hoberman's usual epigrammatic wit ("Easy Rider is, even in 1968, a costume movie") is on display here, making his long sections of political examinations more bearable.
Copyright 2003 Reed Business Information, Inc. --This text refers to the Hardcover edition.
From Booklist
In The Magic Hour [BKL Ja 1 & 15 03], Village Voice film critic Hoberman viewed 1990s movies through the lens of the decade's politics. Politics come further to the fore as he juxtaposes the events and the movies of the 1960s. Many of his juxtapositions are obvious--certainly the agendas of The Green Berets and Easy Rider vis-a-vis contemporary events are plain--and most are insightful and revelatory. In 1960, he says, Spartacus and The Alamo symbolized the New Deal and the Cold War; Brando's ineffectual sheriff in The Chase represented the failure of the Great Society; Bonnie and Clyde presaged the counterculture and the end of nonviolence; and the phenomena that soured the era--Vietnam escalation, the Weathermen, and Charlie Manson--are encapsulated in Night of the Living Dead. The events Hoberman chooses are familiar, and his knowledgeable perception of the films makes the book noteworthy as it suggests that, when the outlandish '60s become less comprehensible as they recede in time, the era's movies will remain vital. Gordon Flagg
Copyright © American Library Association. All rights reserved --This text refers to the Hardcover edition.
See all Editorial Reviews
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cite this book:
- The KGB Bar Nonfiction Reader (Nation Books) by Mark Jacobson in Back Matter (1), and Back Matter (2)
- Her Best Shot: Women and Guns in America by Laura Browder in Back Matter
- The X List: The National Society of Film Critics' Guide to the Movies That Turn Us On by Jami Bernard in Back Matter
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