By Sabine Doran
This can be the 1st booklet to discover the cultural value of the colour yellow, exhibiting how its mental and aesthetic price marked and formed some of the highbrow, political, and creative currents of past due modernity. It contends that yellow features in this interval essentially as a colour of stigma and scandal.
Yellow stigmatization has had an extended historical past: it is going again to the center a long time while Jews and prostitutes have been pressured to put on yellow symptoms to stress their marginal prestige. even though students have commented on those institutions specifically contexts, Sabine Doran deals the 1st overarching account of the way yellow connects disparate cultural phenomena, reminiscent of turn-of-the-century decadence (the "yellow nineties"), the increase of mass media ("yellow journalism"), mass immigration from Asia ("the yellow peril"), and mass stigmatization (the yellow superstar that Jews have been compelled to put on in Nazi Germany).
The tradition of Yellow combines cultural historical past with cutting edge readings of literary texts and visible artistic endeavors, offering a multilayered account of the original position performed through the colour yellow in overdue 19th- and twentieth-century American and ecu tradition.
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Additional resources for The Culture of Yellow: Or, The Visual Politics of Late Modernity
Their point was usually to give the viewer some place from which to critically analyze a ﬁlm without becoming removed entirely from emotional involvement. Quine’s ﬁlm allows no such position, but instead uses a realist dramatic mode that, heightened in the manner of the then-popular exposé—Conﬁdential magazine is a representative if degraded example—is astonishing in its candid portrayal of the emptiness of marriage and postwar suburban life. The empathy allowed the spectator is disconcerting as the breadth of the ﬁlm’s condemnation becomes clear.
S manipulative boss J. D. Sheldrake (Fred MacMurray). His is a character of such soulless cruelty as to place him close to ﬁlm noir were he not also a perfectly representative ﬁgure of American popular culture, the TV-sitcom dad who goes to a job we never see and that has no perceivable impact on his emotional well-being. In casting Fred MacMurray in the part, Wilder took the actor from his new career as Disney icon and star of television’s “My Three Sons,” which debuted this same year, to return him to his prior, and more sinister, screen persona, thus subverting an image associated with the bogus tranquility of postwar life.
This tension— or, as they might have said in the 1960s, Catch-22—is clear throughout the decade, beginning with movies such as Psycho, Sergeant Rutledge, and Spartacus in 1960 through Rosemary’s Baby (1968), Arthur Penn’s Bonnie and Clyde (1968), and Sam Peckinpah’s The Wild Bunch (1969) as it came to a close. And while various groups clamored for recognition during the 1960s, Hollywood gingerly approached such controversial issues as homosexuality in movies like The Children’s Hour (1961) and racial discrimination in Guess Who’s Coming to Dinner (1967).