000			04111nam a2200481 i 4500
001			EBC4446060
003			MiAaPQ
005			20240123161948.0
006			m o d |
007			cr cnu||||||||
008			151130t20162016msua ob 001 0 eng|d
020			_z9781496806277 (hardback : alk. paper)
020			_a9781496806291 _q(electronic bk.)
035			_a(MiAaPQ)EBC4446060
035			_a(Au-PeEL)EBL4446060
035			_a(CaPaEBR)ebr11172474
035			_a(CaONFJC)MIL903754
035			_a(OCoLC)931861486
040			_aMiAaPQ _beng _erda _epn _cMiAaPQ _dMiAaPQ
043			_an-us---
050		4	_aPN1995.9.I34 _bK35 2016
082	0		_a791.43/653 _223
100	1		_aKelley, N. Megan, _eauthor.
245	1	0	_aProjections of passing : _bpostwar anxieties and Hollywood films, 1947-1960 / _cN. Megan Kelley.
264		1	_aJackson : _bUniversity Press of Mississippi, _c[2016]
264		4	_c2016
300			_a1 online resource (289 pages) : _billustrations
336			_atext _2rdacontent
337			_acomputer _2rdamedia
338			_aonline resource _2rdacarrier
504			_aIncludes bibliographical references and index.
520			_a"A key concern in postwar America was "who's passing for whom?" Analyzing representations of passing in Hollywood films reveals changing cultural ideas about authenticity and identity in a country reeling from a hot war and moving towards a cold one. After World War II, passing became an important theme in Hollywood movies, one that lasted throughout the long 1950s, as it became a metaphor to express postwar anxiety.The potent, imagined fear of passing linked the language and anxieties of identity to other postwar concerns, including cultural obsessions about threats from within. Passing created an epistemological conundrum that threatened to destabilize all forms of identity, not just the longstanding American color line separating white and black. In the imaginative fears of postwar America, identity was under siege on all fronts. Not only were there blacks passing as whites, but women were passing as men, gays passing as straight, communists passing as good Americans, Jews passing as gentiles, and even aliens passing as humans (and vice versa). Fears about communist infiltration, invasion by aliens, collapsing gender and sexual categories, racial ambiguity, and miscegenation made their way into films that featured narratives about passing. N. Megan Kelley shows that these films transcend genre, discussing Gentleman's Agreement, Home of the Brave, Pinky, Island in the Sun, My Son John, Invasion of the Body-Snatchers, I Married a Monster from Outer Space, Rebel without a Cause, Vertigo, All about Eve, and Johnny Guitar, among others.Representations of passing enabled Americans to express anxieties about who they were and who they imagined their neighbors to be. By showing how pervasive the anxiety about passing was, and how it extended to virtually every facet of identity, Projections of Passing broadens the literature on passing in a fundamental way. It also opens up important counter-narratives about postwar America and how the language of identity developed in this critical period of American history"-- _cProvided by publisher.
588			_aDescription based on print version record.
590			_aElectronic reproduction. Ann Arbor, MI : ProQuest, 2016. Available via World Wide Web. Access may be limited to ProQuest affiliated libraries.
650		0	_aIdentity (Psychology) in motion pictures.
650		0	_aPassing (Identity) in motion pictures.
650		0	_aMotion pictures _zUnited States _xHistory _y20th century.
650		0	_aMotion pictures _xSocial aspects _zUnited States.
655		4	_aElectronic books.
776	0	8	_iPrint version: _aKelley, N. Megan. _tProjections of passing : postwar anxieties and Hollywood films, 1947-1960. _dJackson : University Press of Mississippi, [2016] _h264 pages, 16 unnumbered pages of plates ; 24 cm _z9781496806277
797	2		_aProQuest (Firm)
856	4	0	_uhttps://ebookcentral.proquest.com/lib/bacm-ebooks/detail.action?docID=4446060 _zClick to View
999			_c251324 _d251324