Explanation:
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The War Years And Post-World War II Trends
Decline of the Hollywood studios
During the U.S. involvement in World War II, the Hollywood film industry cooperated closely with the government to support its war-aims information campaign. Following the declaration of war on Japan, the government created a Bureau of Motion Picture Affairs to coordinate the production of entertainment features with patriotic, morale-boosting themes and messages about the “American way of life,” the nature of the enemy and the allies, civilian responsibility on the home front, and the fighting forces themselves. Initially unsophisticated vehicles for xenophobia and jingoism with titles such as The Devil with Hitler and Blondie for Victory (both 1942), Hollywood’s wartime films became increasingly serious as the war dragged on (Fritz Lang’s Hangmen Also Die, Jean Renoir’s This Land Is Mine, Tay Garnett’s Bataan, all 1943; Delmer Daves’s Destination Tokyo, Alfred Hitchcock’s Lifeboat, Lewis Milestone’s The Purple Heart, all 1944; Milestone’s A Walk in the Sun, 1946). In addition to commercial features, several Hollywood directors produced documentaries for government and military agencies. Among the best-known of these films, which were designed to explain the war to both servicemen and civilians, are Frank Capra’s seven-part series Why We Fight (1942–44), John Ford’s The Battle of Midway (1942), William Wyler’s The Memphis Belle (1944), and John Huston’s The Battle of San Pietro (1944). The last three were shot on location and were made especially effective by their immediacy.
Lifeboat
