"Ain't Got No Chance": The Case of "The Breaking Point"

This article explores The Breaking Point (1950), the lesser-known Hollywood adaptation of Ernest Hemingway's 1937 novel To Have and Have Not, within its postwar historical context. Transferring a fisherman's fight for survival from the Depression into an era of prosperity and political anx...

Ausführliche Beschreibung

Bibliographische Detailangaben
Veröffentlicht in:Cinema Journal. in. - University of Texas Press, 1966. - 56(2016), 1, Seite 1-22
1. Verfasser: Civille, Michael (VerfasserIn)
Format: Online-Aufsatz
Sprache:English
Veröffentlicht: 2016
Zugriff auf das übergeordnete Werk:Cinema Journal. in
Schlagworte:Political science Arts Behavioral sciences Business
LEADER 01000caa a22002652 4500
001 JST139928286
003 DE-627
005 20240613012517.0
007 cr uuu---uuuuu
008 240122s2016 xx |||||o 00| ||eng c
035 |a (DE-627)JST139928286 
035 |a (JST)44072162 
040 |a DE-627  |b ger  |c DE-627  |e rakwb 
041 |a eng 
100 1 |a Civille, Michael  |e verfasserin  |4 aut 
245 1 0 |a "Ain't Got No Chance": The Case of "The Breaking Point" 
264 1 |c 2016 
336 |a Text  |b txt  |2 rdacontent 
337 |a Computermedien  |b c  |2 rdamedia 
338 |a Online-Ressource  |b cr  |2 rdacarrier 
520 |a This article explores The Breaking Point (1950), the lesser-known Hollywood adaptation of Ernest Hemingway's 1937 novel To Have and Have Not, within its postwar historical context. Transferring a fisherman's fight for survival from the Depression into an era of prosperity and political anxiety, the film draws comparisons to the progressive Hollywood filmmaking of the time through its visions of working-class life and racial solidarity. However, its more complicated details and disappointing box-office returns simultaneously reveal that a repressive conservatism was slowly replacing calls for social reform by the dawn of the 1950s. 
540 |a © 2016 University of Texas Press 
650 4 |a Political science  |x Political philosophy  |x Political ideologies  |x Communism 
650 4 |a Arts  |x Art theory  |x Art criticism  |x Film criticism 
650 4 |a Behavioral sciences  |x Anthropology  |x Applied anthropology  |x Cultural anthropology  |x Cultural studies  |x Film studies  |x Movies 
650 4 |a Business  |x Industry  |x Industrial sectors  |x Cultural industries  |x Entertainment industries  |x Motion picture industry 
650 4 |a Behavioral sciences  |x Sociology  |x Human societies  |x Social structures  |x Social stratification  |x Social classes  |x Lower class  |x Working class 
650 4 |a Political science  |x Politics  |x International politics  |x International relations  |x International disputes  |x Cold wars 
650 4 |a Behavioral sciences  |x Sociology  |x Human societies  |x Social movements  |x Labor movements 
650 4 |a Political science  |x Political philosophy  |x Political ideologies  |x Conservatism 
650 4 |a Behavioral sciences  |x Anthropology  |x Applied anthropology  |x Cultural anthropology  |x Cultural studies  |x Film studies  |x Movies  |x Film genres  |x Film noir 
650 4 |a Political science  |x Political philosophy  |x Political ideologies  |x Anticommunism 
655 4 |a research-article 
773 0 8 |i Enthalten in  |t Cinema Journal. in  |d University of Texas Press, 1966  |g 56(2016), 1, Seite 1-22  |w (DE-627)JST024493694  |x 15272087  |7 nnns 
773 1 8 |g volume:56  |g year:2016  |g number:1  |g pages:1-22 
856 4 0 |u http://www.jstor.org/stable/44072162  |3 Volltext 
912 |a GBV_USEFLAG_A 
912 |a GBV_JST 
951 |a AR 
952 |d 56  |j 2016  |e 1  |h 1-22