Pirates of the Great Depression: Political Modes of Adventure in the Pirate Film
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The intent of this paper is to conceptualize "political mode" as a classifier that could be applied to the process of subdividing the American adventure cinema. Among myriad of films that are typically categorized as the action-adventure, pirate films are the most suitable productions that can carry in themselves certain political ideologies. By analyzing two canonical pirate films, The Black Pirate (Albert Parker, 1926) and Captain Blood (Michael Curtiz, 1935), this paper seeks to exemplify how pirate films can formulate their unique political modes by adopting different strategies in cinematizing pirate political and economic systems, and also in visualizing those outlaws. The Black Pirate consolidates the authority of a nation and its exercising violence against criminal pirates, while Captain Blood justifies the pirate rebellion against state power by romanticizing piracy. The Great Depression, happened in between the release of the two pirate films, gives clear, but only a partial answer to this diametrically opposite political modes. Supplementing this historical approach to the genre, this paper sheds light on other interpretative aspects such as the bandit myth and the actor persona. As a result, this study aims to add another dimension to the field of action-adventure studies.
Abstract
The intent of this paper is to conceptualize "political mode" as a classifier that could be applied to the process of subdividing the American adventure cinema. Among myriad of films that are typically categorized as the action-adventure, pirate films are the most suitable productions that can carry in themselves certain political ideologies. By analyzing two canonical pirate films, The Black Pirate (Albert Parker, 1926) and Captain Blood (Michael Curtiz, 1935), this paper seeks to exemplify how pirate films can formulate their unique political modes by adopting different strategies in cinematizing pirate political and economic systems, and also in visualizing those outlaws. The Black Pirate consolidates the authority of a nation and its exercising violence against criminal pirates, while Captain Blood justifies the pirate rebellion against state power by romanticizing piracy. The Great Depression, happened in between the release of the two pirate films, gives clear, but only a partial answer to this diametrically opposite political modes. Supplementing this historical approach to the genre, this paper sheds light on other interpretative aspects such as the bandit myth and the actor persona. As a result, this study aims to add another dimension to the field of action-adventure studies.
참고문헌 (22)
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