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The 1930 to 1970 period was mostly taken up by a period of filmmaking called the Golden Age of Hollywood because of the dominance of major film studios and the emergence of new iconic stars, directors and films. During this period,  “the studios became virtual entertainment factories, each producing more than 50 movies a year”. This era produced some of the most famous movies and stars in film history, including Clark Gable, Humphrey Bogart, Bette Davis, and Katharine Hepburn, as well as landmark films such as Gone with the Wind and Casablanca. The 1930s also saw sound development in film, leading to the decline of silent films and the rise of musicals, dramas, and comedies that defined the era. Despite the glamour of the screen, the Golden Age was not without challenges, including the threat of censorship and the eventual decline of the studio system in the 1950s, which gave way to new forms of filmmaking in the 1960s.

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Robert S. McElvaine, "Wizard of Oz, the," in Encyclopedia of the Great Depression (New York, NY: Macmillan Reference USA, 2004), 2:[Page #], Gale in Context: U.S. History.

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During the Great Depression, many sought to find a means of escape from the pains of the depression. One way they did this was through cinema, with movies like The Wizard of Oz. While The Wizard of Oz is known as one of the most iconic films in American history and a classic book series, a large reason for its popularity is that it played to the American values from the time. The fraudulent wizard who promises that he can grant anything one wishes can be seen as a comparison to the big government programs that seemed to be producing next to nothing. Similarly, Almira Gulch, the greedy landowner who is also the counterpart to the Wicked Witch of the West can be compared to the bankers who were seen as oppressors during the oppression. Additionally, the values of pulling oneself up by the bootstraps can be found in the idea that people should look inside themselves to find courage, brains, and heart. Finally, the values of hope and small town community can be found in the song “Over the Rainbow” and lines like “there’s no place like home.” Viewers were told that when they find success if they look inside of themselves and cooperate voluntarily, they could overcome the greed and evil of the capitalists of the depression

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The poster for Citizen Kane shows Charles Foster Kane standing with his arms outstretched in front of bold red text. His figure takes up most of the space, showing his importance and presence in the story. The design focuses attention on Kane as a powerful figure. Directed by and starring Orson Welles, Citizen Kane was different from many films of its time. It used new camera techniques and a story that did not follow a straight timeline. More importantly, it told the story of a man who built his power through control of the media. The film shows how public opinion can be shaped by one person and questions the idea of success and influence in America. The poster connects to this by showing Kane as someone who seems larger than life. This film helped shift movies from simple entertainment to something that could also question ideas and show problems in society.

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Claudia Springer, "Military Propaganda: Defense Department Films from World War II and Vietnam," Cultural Critique, no. 3 (1986): [Page #], https://doi.org/10.2307/1354170.

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The 40s saw a great shift in the use of film, as it was the first time movies could be used as propaganda during World War II. Know Your Enemy – Japan was a film used to promote anti Japanese sentiment while also showing American patriotism. Dehumanizing values of unfeeling and cruelness are seen, as Japanese mothers “accept the ashes of their dead soldiers without grief and sorrow.” The documentary also used animation to show Japan’s previous desire to rule the world, with its first God-emperor, Jimmu, stating “Let us extend the capital and cover the eight corners of the world under one roof.” Finally, to get the point across of winning the war for America's moral high ground, the narrator states “defeating Japan is as necessary as shooting the mad dog in your neighborhood.”

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Matthew Bernstein, "Nostalgia, Ambivalence, Irony: 'Song of the South' and Race Relations in 1946 Atlanta," Film History 8, no. 2 (1996): [Page #], JSTOR

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While the end of WWII did dissolve a lot of anti Japanese sentiment in film, racist ideals were still present in American cinema. Song of The South, released in 1946 and set in the post Civil War South, while having less direct racist remarks focused on dehumanizing another race like WWII propaganda films, still showed stereotypical portrayals of African Americans and romanticism of race relations and plantation life. In the film, a former slave who still works on a plantation, Uncle Remus, tells folk stories to a young white child who recently moved to the property Remus works on. While being set during Reconstruction, there is never any direct mention of the Civil War, slavery, or racism. However, there are racist undertones, such as Remus living in a separate cabin on the property which looks almost like a slave’s quarters. Additionally, Black characters only act as workers in the film, with no character development who are usually there for comic relief. The most important thing the film does, however, is completely erase any sort of mention of the true racism of the South, romanticising race relations and the legacy of slavery.

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“Salt of the Earth (1954 film).” Wikipedia, last modified March 19, 2025. https://en.wikipedia.org/wiki/Salt_of_the_Earth_(1954_film).”

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Salt of the Earth came out in 1954 and was one of the most controversial movies in American film history. It’s based on a real strike by Mexican-American miners in New Mexico who were fighting for fair pay, safer working conditions, and respect. What made this movie different is that it didn’t just show the workers—it also focused on the women in the community. When the men were legally banned from protesting, their wives took over the picket line and kept the fight going. This was one of the first films to show working-class people, especially women of color, standing up for their rights. Because the filmmakers were accused of being communists, the U.S. government and the Hollywood industry tried to stop the movie from being made and shown. Many theaters refused to play it. But over time, people began to see it as a powerful example of how movies can talk about real problems and challenge unfair systems. This movie shows a big change in American film—it wasn’t just about entertainment anymore. Movies could now be used to tell the truth about issues like racism, sexism, and class struggles that Hollywood usually ignored.

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Dennis Fischer, "Rebel without a Cause," in St. James Encyclopedia of Popular Culture Online (Gale, 2013), [Page #], Gale in Context: U.S. History.

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After World War II America saw great industrial growth sparking a boost in the economy and suburban expansion. This caused a tension inside of teens and young adults, as their identities and freedom clashed with the expectations placed on them. This is portrayed in the film, where the main character, Jim Stark, is caught in between the expectations of masculinity and his own personal needs, reflecting how the old form of families no longer serviced the American youth. The tennagers in the film form their own community outside of adult structures, showing how adolescents were beginning to reject the authority of schools, families, and tradition in favor of their own identities.

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Jewish Film Institute. “A Face in the Crowd.” Accessed April 21, 2025. https://jfi.org/programs/jfi-film-archive/a-face-in-the-crowd.

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1957 - A Face in the Crowd, Media manipulation, the rise of television, celebrity politics, public opinion.

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1957 - A Face in the Crowd, Media manipulation, the rise of television, celebrity politics, public opinion.

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A Face in the Crowd was Directed by Elia Kazan and written by Budd Schulberg. The movie explores the fusion of media and political influence in postwar America. Released during the early years of television's cultural dominance, the film acts as a warning of the unchecked power of media personalities and the growing ability of television to shape public opinion. In the shadow of McCarthyism and amid growing distrust in traditional political institutions, the film suggested that influence was no longer limited to politicians, it was shifting to entertainers and media moguls. Face in the Crowd was ahead in exposing how easily charm and image could eclipse truth and policy. It critiques the machinery behind fame, marketing, and media production long before the rise of cable news, reality television, and social media influencers. Its themes remain relevant in today’s political-media landscape, where public figures are often crafted as products rather than representatives. The film captures a cultural turning point when television rivaled traditional institutions in shaping American values, voting behavior, and political discourse.

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Zimmer, Janina S. "An American Family Is Watching TV in 1958." Gendered TV: American Families on Television – 1950s vs. Today, June 2016. https://www.researchgate.net/figure/An-American-family-is-watching-TV-in-1958-The-family-was-gathered-around-the-same-screen_fig1_365140848.​
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Artifact(1958): Photograph of Family Watching TV Together

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Artifact(1958): Photograph of Family Watching TV Together

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This photograph shows a typical family in the 1950s sitting together and watching television. By the mid-20th century, television had become a common feature in many American homes. Families began spending more time indoors watching TV, which started to replace other forms of entertainment like radio or going to the movies. The image reflects a shift in daily routines and how people received information. Television became a new way to deliver news, advertising, and entertainment to a large audience at once. This change played a role in shaping public opinion and cultural trends during the period.

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1962 - The Manchurian Candidate, Korean War, Anti-Communist 

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1962 - The Manchurian Candidate, Korean War, Anti-Communist 

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The Manchurian Candidate, a political thriller published in 1962, captured the anti-communist scare during the Cold War era. The movie centers on a Korean War veteran who is inadvertently involved in a plot to overthrow the American government from within after being brainwashed by communists. The film, which was released shortly before the Cuban Missile Crisis, encapsulated the concern that communism might infiltrate American institutions and society. With its commentary on manipulation, loyalty, and government control, it was one of the first significant Hollywood productions to directly challenge the political climate shaped by McCarthyism and the Red Scare. Because of its themes, it marked a change in American cinema and opened the door for more politically audacious productions in the 1960s.

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The President’s Analyst is a comedy-thriller from 1967 that mixes funny moments with serious ideas. It’s about a therapist who starts working with the President of the United States. But things take a strange turn when he finds out that everyone from spies to phone companies is watching him. The movie ends up revealing a wild plan from a phone company to put tracking chips in everyone’s brains. While it sounds like a joke, it actually points to real fears about technology and privacy that still matter today. Even though it’s a comedy, the movie is really about how much control big companies and the government might have over people. It came out at a time when Americans were starting to question what they were being told, especially during the Vietnam War and the rise of mass media. This film fits into the timeline because it shows how movies in the 1960s started calling out not just other countries or enemies, but the problems within America itself. It also ties into the growing worry about how technology and media shape the way people think and live.