American Cinema of the 1970s: Themes and Variations

By Lester D. Friedman | Go to book overview

1973
Movies and Legacies
of War and Corruption

FRANCES GATEWARD

If one word succinctly describes the year, it would be crisis. The nation's economic future looked bleak as the recession continued and inflation spiraled out of control. The prime lending rate of banks climbed to 8 percent. President Nixon ordered a sixty-day price freeze for consumer products in an attempt to provide a cooling-off period. Industries previously considered stable were now struggling to avoid bankruptcy. General Motors, for example, laid off 86,000 workers, adding more unfortunates to the already high unemployment rolls. Straining wallets were not helped by OPEC's embargo against Western Europe and the United States, motivated by American and European support for Israel during the October Yom Kippur War against Syria and Egypt. The price of heating oil and gasoline skyrocketed, and Congress acted to conserve fuel by lowering the interstate speed limit to fifty-five miles per hour. The Nixon administration, reinaugurated in January, soon began to unravel as investigations into the Watergate scandal began on Capitol Hill. At the same time, the Justice Department revealed that Nixon's reelection committee had accepted illegal campaign contributions from Gulf Oil, Goodyear Tire and Rubber, Braniff Airways, Phillips Petroleum, American Airlines, and Ashland Oil, among others. Vice President Spiro Agnew, under investigation for receiving kickbacks while serving as the governor of Maryland, pleaded nolo contendere to charges of income tax evasion in exchange for the dropping of other criminal charges. He resigned his office and was given a three-year suspended sentence and a fine of $10,000.

Corruption seemed to be as pervasive in American culture as Coca-Cola and began to show up increasingly on movie screens across the nation. The antagonists in crime thrillers were no longer threats to the social order from without, but rather from within the very institutions whose mandates were to “protect and serve.” “Dirty Harry” Callahan, the tough extra-legal vigilante cop from Don Siegel's 1971 film, returned to mete out justice in the

-95-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
American Cinema of the 1970s: Themes and Variations
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 285

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.