George Bernard Shaw once quipped that America and England are
two cultures separated by a common language. In this innovative
attempt to place the movies and theater in the larger context of
American and English cultural differences, Michael Gilmore
demonstrates that the most interesting way to understand the
distinctions between the two cultures is by looking closely at each
country's favorite art form.
"Differences in the Dark" is a fresh, wide-ranging look at the
meaning of America's fascination with movies and movie stars, and
the way the soul of Britain is reflected in its tenacious love
affair with the stage.
Gilmore shows how the characteristic features of American
experience are inscribed in how movies, the quintessentially
American idiom, are made and viewed. In the private, solitary
nature of film-viewing (in contrast to the more communal,
interactive experience of seeing a play), and in American actors'
tendency to play themselves, not their characters, from role to
role, American movies express a strong sense of individualism and a
tendency to escape the limits of time for the freedom of space. An
art form built of sophisticated technology and cutting and splicing
of time and space, Gilmore argues, resonates deeply in the country
of reinvented lives and wide-open spaces.
At the same time, the English tradition of class and collective
memory is perfectly served by an art form that requires disciplined
memorization and the submergence of the individual within a role
that, in many cases, existed before the actor was born. Unlike the
mechanical products of Hollywood or Disneyland, drama by its very
nature cannot be mass-produced.
Bringing together such diverse topics as theme parks, realism,
and social class, as well as the role of Jewish immigrants in the
making of Hollywood (and their virtual exclusion from Great
Britain) and the connection between the movies and the
African-American community, "Differences in the Dark" is one of the
most original and engaging cross-cultural studies to appear in many
years.
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