Cinematic Identity: Anatomy of a Problem Film (Volume 29) (Theory Out Of Bounds)

Though largely forgotten today, the 1949 film Pinky had a significant impact on the world of cinema. Directed by Elia Kazan, the film was a box office success despite dealing with the era’s most taboo subjects—miscegenation and racial passing—and garnered an Academy Award nomination for its African American star, Ethel Waters. It was also historically important: when a Texas movie theater owner showing the film was arrested for violating local censorship laws, his case went to the U.S. Supreme Court, which ruled the censorship ordinance unconstitutional. In Cinematic Identity, Cindy Patton takes Pinky as a starting point to meditate on the critical reception of this and other “problem films” of the period and to explore the larger issues they raise about race, gender, and sexuality. It was films like Pinky, Patton contends, that helped lay the groundwork for a shift in popular understanding of social identity that was essential to white America’s ability to accept the legitimacy of the civil rights movement. The production of these films, beginning with 1949’s Gentleman’s Agreement, coincided with the arrival of the Method school of acting in Hollywood, which demanded that performers inhabit their characters’ lives. Patton historicizes these twin developments, demonstrating how they paralleled, reflected, and helped popularize the emerging concept of the liberal citizen in postwar America, and in doing so illustrates how the reception of projected identities offer new perspectives on contemporary identity politics, from feminism to the gay rights movement. Cindy Patton holds the Canadian Research Chair in Community Culture and Health at Simon Fraser University, where she is professor of women’s studies and sociology. Her books include Inventing AIDS, Fatal Advice: How Safe-Sex Education Went Wrong, and Globalizing AIDS (Minnesota, 2002).

though Largely Forgotten Today, The 1949 Film Pinky Had A Significant Impact On The World Of Cinema. Directed By Elia Kazan, The Film Was A Box Office Success Despite Dealing With The Era’s Most Taboo Subjects—miscegenation And Racial Passing—and Garnered An Academy Award Nomination For Its African American Star, Ethel Waters. It Was Also Historically Important: When A Texas Movie Theater Owner Showing The Film Was Arrested For Violating Local Censorship Laws, His Case Went To The U.s. Supreme Court, Which Ruled The Censorship Ordinance Unconstitutional.

 

in Cinematic Identity, Cindy Patton Takes Pinky As A Starting Point To Meditate On The Critical Reception Of This And Other “problem Films” Of The Period And To Explore The Larger Issues They Raise About Race, Gender, And Sexuality. It Was Films Like Pinky, Patton Contends, That Helped Lay The Groundwork For A Shift In Popular Understanding Of Social Identity That Was Essential To White America’s Ability To Accept The Legitimacy Of The Civil Rights Movement.

 

the Production Of These Films, Beginning With 1949’s Gentleman’s Agreement, Coincided With The Arrival Of The Method School Of Acting In Hollywood, Which Demanded That Performers Inhabit Their Characters’ Lives. Patton Historicizes These Twin Developments, Demonstrating How They Paralleled, Reflected, And Helped Popularize The Emerging Concept Of The Liberal Citizen In Postwar America, And In Doing So Illustrates How The Reception Of Projected Identities Offer New Perspectives On Contemporary Identity Politics, From Feminism To The Gay Rights Movement.

 

cindypatton Holds The Canadian Research Chair In Community Culture And Health At Simon Fraser University, Where She Is Professor Of Women’s Studies And Sociology. Her Books Include Inventing Aids, Fatal Advice: How Safe-sex Education Went Wrong, And Globalizing Aids(minnesota, 2002).

CONTENTS......Page 6 ACKNOWLEDGMENTS......Page 8 Back to the Movies......Page 10 Race and Sexuality: Some Analytic Caveats......Page 21 Acting the Citizen......Page 27 2. In the Hearts of Men......Page 30 To Die For......Page 34 Popularizing “the Problem”: Politics as Melodrama......Page 40 Into the Closet......Page 46 Alienating Queer......Page 52 Censoring Race......Page 56 Cinematic Prohibition......Page 62 Race Mixing......Page 65 From Image to Story......Page 68 When a Kiss Is Not a Kiss......Page 74 Censoring Pinky......Page 76 “Prejudice” and Epithet......Page 80 The Dominoes Fall......Page 84 Sacrilege and Race versus Sexuality......Page 88 Signs of Apartheid......Page 90 Acting History/The Historicity of Acting......Page 93 Sound, Class, and Narrative......Page 99 Narrative Sublation: Recalling-Forgetting History......Page 108 The Question of Acting......Page 110 Reading (in) “White Time”: Black Performance and the Demand for Literacy......Page 116 The Victim-Witness Story......Page 121 Distinguishing Wrongs......Page 124 An Ear for the Master’s Tropes......Page 128 “White Time”/Black Place......Page 135 A Final Word, a Feeling, a Hope......Page 145 APPENDIX. PINKY: A SYNOPSIS......Page 148 NOTES......Page 152 REFERENCES......Page 182 FILMOGRAPHY......Page 188 A......Page 190 C......Page 191 D......Page 192 H......Page 193 L......Page 194 P......Page 195 Q......Page 196 S......Page 197 Z......Page 198 CONTENTS 6 ACKNOWLEDGMENTS 8 1. American Celluloid: New Medium, New Citizen 10 Back to the Movies 10 Race and Sexuality: Some Analytic Caveats 21 Acting the Citizen 27 2. In the Hearts of Men 30 To Die For 34 Popularizing “the Problem”: Politics as Melodrama 40 Into the Closet 46 Alienating Queer 52 3. Censorship and the Problem Films 56 Censoring Race 56 Cinematic Prohibition 62 Race Mixing 65 From Image to Story 68 When a Kiss Is Not a Kiss 74 Censoring Pinky 76 “Prejudice” and Epithet 80 The Dominoes Fall 84 Sacrilege and Race versus Sexuality 88 4. Acting Up: The Performing American 90 Signs of Apartheid 90 Acting History/The Historicity of Acting 93 Sound, Class, and Narrative 99 Narrative Sublation: Recalling-Forgetting History 108 The Question of Acting 110 5. Two Conversations: Black and White Americans on Film 116 Reading (in) “White Time”: Black Performance and the Demand for Literacy 116 The Victim-Witness Story 121 Distinguishing Wrongs 124 An Ear for the Master’s Tropes 128 “White Time”/Black Place 135 A Final Word, a Feeling, a Hope 145 APPENDIX. PINKY: A SYNOPSIS 148 NOTES 152 REFERENCES 182 FILMOGRAPHY 188 INDEX 190 A 190 B 191 C 191 D 192 E 193 F 193 G 193 H 193 I 194 J 194 K 194 L 194 M 195 N 195 O 195 P 195 Q 196 R 197 S 197 T 198 U 198 V 198 W 198 Z 198 Cindy Patton takes Pinky as a starting point to meditate on the critical reception of this and other Òproblem filmsÓ and to explore the larger issues they raise about race, gender, and sexuality. Patton historicizes Òproblem filmsÓ and the arrival of Method acting in Hollywood, and in doing so offers new perspectives on identity politics, from feminism to the gay rights movement. In 'Cinematic Identity', Cindy Patton takes Elia Kazan's 'Pinky' (1949) as a starting point to meditate on the critical reception of this and other 'problem films' of the period and to explore the larger issues they raise about race, gender, and sexuality