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In: A New Kind of Public
Community, Solidarity, and Political Economy in New Deal Cinema, 1935-1948
In 1936, director John Ford claimed to be making movies for “a new kind of public” that wanted more honest pictures. Graham Cassano’s A New Kind of Public: Community, solidarity, and political economy in New Deal cinema, 1935-1948 argues that this new kind of public was forged in the fires of class struggle and economic calamity. Those struggles appeared in Hollywood productions, as the movies themselves tried to explain the causes and consequence of the Great Depression. Using the tools of critical Marxism and cultural theory, Cassano surveys Hollywood’s political economic explanations and finds a field of symbolic struggle in which radical visions of solidarity and conflict competed with the dominant class ideology for the loyalty of this new audience.

prefer black-and-white characters that are easily recognisable as heroes or villains. Secondly, the protagonist is a positively drawn swashbuckler and of a jovial character. In fact, the hero’s humour will turn into a defining character trait of the swashbuckler on screen. Thirdly, while the Byronic hero

In: Postmodern Pirates

respective cultural and political situation. Fairbanks Sr.’s Black Pirate represents the early twentieth-century American ‘can-do’ spirit, the laws of Flynn’s Dr. Blood reflect the establishment of a social welfare system in the US in the 1930s, and Baron Gruda, the villain in The Crimson Pirate , can be

In: Postmodern Pirates

both the narrative quality and the economic success of The Curse of the Black Pearl is best expressed by film critic Jeffrey M. Anderson: When the summer of 2003 began, one of its least interesting cinematic prospects was a Jerry Bruckheimer-produced version of a famous amusement park ride. Now, as

In: Postmodern Pirates

the position of the captain on the Black Pearl resembles Lando, and the comic sidekicks C-3PO and R2-D2 are doubly mirrored by the soldiers Murtogg and Mullroy and the pirates Pintel and Ragetti. Both series work with villains who are presented as larger-than-life and linked to supernatural forces

In: Postmodern Pirates

Caribbean has turned into a huge success story and one of the most important franchise blockbuster series of the new millennium. Based on Disneyland’s theme park ride Pirates of the Caribbean , which first opened in 1967 in Anaheim, California, the first instalment The Curse of the Black Pearl was

In: Postmodern Pirates

black with grime that he occasionally needed to be dunked into the sea to recover its colour. Pirates wore whatever they could” (14). In fictional narratives, the pirates, and particularly their captains, are visually signified through elaborative costumes. However, by emphasising that Cleveland, once

In: Postmodern Pirates

mysteriously called throughout the series, is introduced in The Curse of the Black Pearl , by Elizabeth. Conspicuously, the governor’s daughter provides a history lesson to the two pirates Pintel and Ragetti, and the viewer, by explaining that “the Code of the Brethren [was] set down by the pirates Morgan and

In: Postmodern Pirates

concentrate on texts that are considered as classics of pirate fiction and are still in print or available on dvd , like Robert Louis Stevenson’s Treasure Island , James Matthew Barrie’s Peter and Wendy , or movies like Captain Blood and The Black Swan . The texts thus selected were divided into two big

In: Postmodern Pirates