Titlebook: Cecil B. DeMille, Classical Hollywood, and Modern American Mass Culture; 1910–1960 David Blanke Book 2018 The Editor(s) (if applicable) and

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Book 2018mmercial culture in the US. DeMille’s success rested on how well his films presumed a broad consensus in the American public—expressed through consumer hedonism, faith, and an “exceptional” national history—which merged seamlessly with the efficient production methods developed by the largest integr

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James J. Solberg,Joseph A. Heime director’s public personality shifted as a result of these ideological pressures. Once hailed as an innovative commercial artist, by the 1940s his role as mass culture’s “Mr. Hollywood” politicized his image and caricatured his work with profoundly negative consequences.

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Who Is Cecil B. DeMille?,e director’s public personality shifted as a result of these ideological pressures. Once hailed as an innovative commercial artist, by the 1940s his role as mass culture’s “Mr. Hollywood” politicized his image and caricatured his work with profoundly negative consequences.

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https://doi.org/10.1007/978-3-642-74575-1included . (1923), . (1927), and . (1932)—and concludes with three revealing yet lesser-known and more experimental spiritual films—. (1924), . (1925), and . (1928)—that expanded the notion of faith beyond Scripture.

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Hamid Ouanan,Mohammed Ouanan,Brahim Aksasse highlighted a syntax of consensus through the shared semantics of visual pleasure, a stylized realism, and the spectacle of crowds. A close reading of passages common to both the 1923 and 1956 releases of his Biblical epic identifies how DeMille modified his filmmaking in the modern era.

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The Wanderer,included . (1923), . (1927), and . (1932)—and concludes with three revealing yet lesser-known and more experimental spiritual films—. (1924), . (1925), and . (1928)—that expanded the notion of faith beyond Scripture.

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