Rick Worland is Professor of Film & Media Arts at Southern Methodist University where he teaches film history, documentary, and popular genres including Westerns and horror films.

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• Acknowledgments viiIntroduction: Changing Times 1Part I Postwar Hollywood and a Changing America 131 Hollywood, Hitchcock, and the Postwar Era 15“The Vital Center” … Cannot Hold 17Postwar Film Production and Exhibition 21New Looks at Mothers, Genres, and Style 262 Domestic Relations, 1953–1967: Bachelor Pads, Nervous Dads, and Marriages on the Rocks 39Bachelor Pads 41Nervous Dads (and Moms) 58Marriages on the Rocks 66Welcoming The Graduate 713 Negotiating the Civil Rights Movement: Message Movies, To Kill a Mockingbird, and the Rise of Sidney Poitier 83It’s a Sin 85An American Story 94Poitier, ’67 99Part II The New Hollywood, Vietnam, and the Schism 1114 Art Cinema and Counter‐Culture: Dr. Strangelove, A Hard Day’s Night, Blow Up, Bonnie and Clyde, and Weekend 113General Ripper Exceeds His Authority 118Meet the Beatles (and the New European Cinema) 125Quiet Enigma in Swinging London 129“We Rob Banks” 137Coda: “Battleship Potemkin Calling the Searchers” 1465 Nowhere to Run: One-Eyed Jacks, The Man who Shot Liberty Valance, A Fistful of Dollars, and The Wild Bunch 153The Frontier Myth and the Classical Western 155California – or Maybe Oregon 158“Who Was Tom Doniphon?” 162No Name, Sudden Impact 169“Those Days Are Closing Fast” 175Destroying and Saving the Village 1816 The War: From The Longest Day to The Green Berets 191“The Good War” Refought and Rethought 192Unconventional Warfare 201Art of War 208The Only War We’ve Got 2117 Far Out: 2001: A Space Odyssey and Easy Rider 225Beyond the Infinite 226Marketing and Reception 237From Hell’s Angels to Easy Riders 239They Blew It, But … 248Afterword 259Bibliography 265Index 275

Rick Worland is Professor of Film & Media Arts at Southern Methodist University where he teaches film history, documentary, and popular genres including Westerns and horror films.

Select Guide Rating

• Acknowledgments viiIntroduction: Changing Times 1Part I Postwar Hollywood and a Changing America 131 Hollywood, Hitchcock, and the Postwar Era 15“The Vital Center” … Cannot Hold 17Postwar Film Production and Exhibition 21New Looks at Mothers, Genres, and Style 262 Domestic Relations, 1953–1967: Bachelor Pads, Nervous Dads, and Marriages on the Rocks 39Bachelor Pads 41Nervous Dads (and Moms) 58Marriages on the Rocks 66Welcoming The Graduate 713 Negotiating the Civil Rights Movement: Message Movies, To Kill a Mockingbird, and the Rise of Sidney Poitier 83It’s a Sin 85An American Story 94Poitier, ’67 99Part II The New Hollywood, Vietnam, and the Schism 1114 Art Cinema and Counter‐Culture: Dr. Strangelove, A Hard Day’s Night, Blow Up, Bonnie and Clyde, and Weekend 113General Ripper Exceeds His Authority 118Meet the Beatles (and the New European Cinema) 125Quiet Enigma in Swinging London 129“We Rob Banks” 137Coda: “Battleship Potemkin Calling the Searchers” 1465 Nowhere to Run: One-Eyed Jacks, The Man who Shot Liberty Valance, A Fistful of Dollars, and The Wild Bunch 153The Frontier Myth and the Classical Western 155California – or Maybe Oregon 158“Who Was Tom Doniphon?” 162No Name, Sudden Impact 169“Those Days Are Closing Fast” 175Destroying and Saving the Village 1816 The War: From The Longest Day to The Green Berets 191“The Good War” Refought and Rethought 192Unconventional Warfare 201Art of War 208The Only War We’ve Got 2117 Far Out: 2001: A Space Odyssey and Easy Rider 225Beyond the Infinite 226Marketing and Reception 237From Hell’s Angels to Easy Riders 239They Blew It, But … 248Afterword 259Bibliography 265Index 275

Rick Worland is Professor of Film & Media Arts at Southern Methodist University where he teaches film history, documentary, and popular genres including Westerns and horror films.

Select Guide Rating

• Acknowledgments viiIntroduction: Changing Times 1Part I Postwar Hollywood and a Changing America 131 Hollywood, Hitchcock, and the Postwar Era 15“The Vital Center” … Cannot Hold 17Postwar Film Production and Exhibition 21New Looks at Mothers, Genres, and Style 262 Domestic Relations, 1953–1967: Bachelor Pads, Nervous Dads, and Marriages on the Rocks 39Bachelor Pads 41Nervous Dads (and Moms) 58Marriages on the Rocks 66Welcoming The Graduate 713 Negotiating the Civil Rights Movement: Message Movies, To Kill a Mockingbird, and the Rise of Sidney Poitier 83It’s a Sin 85An American Story 94Poitier, ’67 99Part II The New Hollywood, Vietnam, and the Schism 1114 Art Cinema and Counter‐Culture: Dr. Strangelove, A Hard Day’s Night, Blow Up, Bonnie and Clyde, and Weekend 113General Ripper Exceeds His Authority 118Meet the Beatles (and the New European Cinema) 125Quiet Enigma in Swinging London 129“We Rob Banks” 137Coda: “Battleship Potemkin Calling the Searchers” 1465 Nowhere to Run: One-Eyed Jacks, The Man who Shot Liberty Valance, A Fistful of Dollars, and The Wild Bunch 153The Frontier Myth and the Classical Western 155California – or Maybe Oregon 158“Who Was Tom Doniphon?” 162No Name, Sudden Impact 169“Those Days Are Closing Fast” 175Destroying and Saving the Village 1816 The War: From The Longest Day to The Green Berets 191“The Good War” Refought and Rethought 192Unconventional Warfare 201Art of War 208The Only War We’ve Got 2117 Far Out: 2001: A Space Odyssey and Easy Rider 225Beyond the Infinite 226Marketing and Reception 237From Hell’s Angels to Easy Riders 239They Blew It, But … 248Afterword 259Bibliography 265Index 275