On the Waterfront and High midday ?Much that characterised Hollywood in the 1950s push asunder be described as incorrect and ambiguous repayable to anti-communist hysteria and the blacklist.? How accurate is this logical argument in relation to ii films of the 1950s? A can has been do of the suggested subtexts present in High Noon and On the Waterfront, that they suppose the experiences of Carl Foreman (the source of High Noon) and Elia Kazan with the sign military commission on Un-American Activities. Foreman has openly assented to this, and Kazan has admitted that there argon parallels.
However, man this can give us insight of the ad hominem opinions of these men, I do non score out that the significance of these subtexts can be played down enough. My reasons be that they are in no way ?attached? to the films-that is, not evident without cognition early(a) than that of the films themselves; that they add nothing to the films, as a piece of work of art; and that the assumption of the subtexts is in truth ambiguous. By this ...If you want to pass a full essay, tell it on our website: Ordercustompaper.com
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