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\Nobody Knows Anything\
by
Rogerson, Ben
in
1921-2002
/ American movies
/ Audience
/ Audiences
/ Aviation
/ Casting (Performing arts)
/ Criticism and interpretation
/ Economic aspects
/ Filmmakers
/ Genre
/ Goldman, William
/ Great Waldo Pepper (Motion picture)
/ Hill, George Roy
/ History
/ Motion picture audiences
/ Motion picture criticism
/ Motion picture directors & producers
/ Motion picture industry
/ Motion pictures
/ Motion pictures, American
/ Movie audiences
/ Movie directors
/ Movie industry
/ Nostalgia
/ Professional employees
/ Professionals
/ Recessions
/ Reflexivity
/ Screenwriters
/ Social aspects
/ United States
2019
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\Nobody Knows Anything\
by
Rogerson, Ben
in
1921-2002
/ American movies
/ Audience
/ Audiences
/ Aviation
/ Casting (Performing arts)
/ Criticism and interpretation
/ Economic aspects
/ Filmmakers
/ Genre
/ Goldman, William
/ Great Waldo Pepper (Motion picture)
/ Hill, George Roy
/ History
/ Motion picture audiences
/ Motion picture criticism
/ Motion picture directors & producers
/ Motion picture industry
/ Motion pictures
/ Motion pictures, American
/ Movie audiences
/ Movie directors
/ Movie industry
/ Nostalgia
/ Professional employees
/ Professionals
/ Recessions
/ Reflexivity
/ Screenwriters
/ Social aspects
/ United States
2019
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Do you wish to request the book?
\Nobody Knows Anything\
by
Rogerson, Ben
in
1921-2002
/ American movies
/ Audience
/ Audiences
/ Aviation
/ Casting (Performing arts)
/ Criticism and interpretation
/ Economic aspects
/ Filmmakers
/ Genre
/ Goldman, William
/ Great Waldo Pepper (Motion picture)
/ Hill, George Roy
/ History
/ Motion picture audiences
/ Motion picture criticism
/ Motion picture directors & producers
/ Motion picture industry
/ Motion pictures
/ Motion pictures, American
/ Movie audiences
/ Movie directors
/ Movie industry
/ Nostalgia
/ Professional employees
/ Professionals
/ Recessions
/ Reflexivity
/ Screenwriters
/ Social aspects
/ United States
2019
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Journal Article
\Nobody Knows Anything\
2019
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Overview
This article argues that genre provided filmmakers with a self-reflexive vehicle for reformulating the social legitimacy of filmmaking as a profession in response to the crises of recessionary New Hollywood. Faced with the apparent unpredictability of mass audiences, George Roy Hill's aviation film The Great Waldo Pepper (1975) presumes to fashion professional standards of competence and expertise that do not require social legitimation. But what encompasses these considerations are the industry's ongoing efforts to reconstitute film as a medium that serves a heterogeneous mass audience comprised of the well and the less educated, the young and the old.
Publisher
University of Texas Press,University of Texas at Austin (University of Texas Press),Michigan Publishing (University of Michigan Library)
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