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Download Hot Rod - February magazine for free from ebookbiz. To download click on the following link. Hot Rod magazine is dedicated to cover traditional hot rodding featuring vintage photography from the Hot Rod archives. This is Hot Rod magazine’s august issue. Hot Rod – June Download Hot Rod - June magazine for free from ebookbiz. To download click on the following link.
The Juvenilization of American Movies in the s. Expendability is built in and so furnishes an initial criteria. They must park their cars across the railroad tracks and the first one to pull away as a train bears down on them will be the chicken. Main Street in tiny Boyd, Texas pop. Ghouls, Gimmicks, and Gold: A girl in the passenger seat of the car is witness to this Downloaded by [Peter Stanfield] at Namespaces Article Talk.
Whatever tension there is in Dragstrip is built up by cutting between the drivers, the diner and wall clock , and the locomotive. In Rebel it is ratcheted-up from the moment Judy stands arms aloft in the glare of the car headlights, acting as a master of ceremonies. The action is held in suspended animation until Judy leaps into the air and brings down her arms. As the cars race past her toward the cliff edge, she spins around, racing after them, her skirt blooming up behind her.
Jim bails, but Buzz goes over the top.
Arguably, this is a formal ploy that enables a thrilling situation to be evoked but not enacted. The strategy, if it is such, is a tease. The suggestion is that the filmmakers are tantalizing their audience with the promise of thrills, but withholding that which is most desired. The strategy guards against censorship, ensuring that potentially transgressive aspects of the film are alluded to but not shown.
The movie is thus rendered as a harmless and uncontroversial entertainment. Stanfield chicken scene crafts a dramatic and interactive experience, Dragstrip makes only a minimal gesture toward such a dynamic.
In The Delinquents, for example, teenage gang members ride around in cars, rumble in a drive-in theatre, and hang out at a drive-in restaurant. Though drive-in movie theatres had been around since , they were essentially a post-war phenomenon.
There were 25 drive-ins in , three years later, a further were built in the next two years, and there were Downloaded by [Peter Stanfield] at The major studios, however, systematically refused drive-ins first run releases, which was a major factor in why AIP and other independent producers were able to become such prodigious suppliers for this market.
The drive-ins were frequently demonized in the same terms as the teenpix designed to play in such arenas. While drive-ins were disreputable in their appeal to juveniles, the marginal, and the infirm, they were also accused of being a danger to non-users. Variety reported that drive-ins could prove a traffic hazard; as drivers on the highways that passed them often slowed down to gawp at the illuminated screens Variety, b, 1.
These distracted drivers on the highway mirrored the distracted viewer in the drive-in who, apart from the film, had many calls on his or her attention.
With all the attractions on offer — playgrounds for children, shopping, eating, tournaments, contests, parades, and launderettes — the drive-in was more akin to an amusement park than a cinema. The cycle expended minor variations with giddying velocity while holding true to a formula.
This unfolding of slight modulations, or the promotion of regular novelties, is particularly apparent in the posters for four films in the cycle, Dragstrip Girl, Hot Rod Gang, Dragstrip Riot, and Hot Rod Rumble see Figures 1 — 4. Red and yellow, hot colours, predominant.
The poster for Dragstrip Girl is split into four panels. A girl and a boy are driving the cars; to their rear is a line of hot rods racing on a circular track. The top panel is the largest of the four.
Speed Crazy! They are about to kiss. This insinuation of torrid desire suggests a sexual yearning that is unchecked and unfettered, like the careening hot rods straddled by the long-limbed youth. With its ostentatious flaunting of sensation, the poster promises a sexual ride that will match the helter-skelter thrills of speeding automobiles.
The poster for Hot Rod Gang is formed of three panels with a white central panel separating the credit bar and the main panel. With her head flung back, her mouth agape, and a bullet shaped bra straining her sweater to its outer limits, she offers a spectacle of unbridled ecstasy. The bearded singer and ducktailed guitarist who occupy the bottom right-hand side of the panel suggest the source of her rapture. Ripping across the top and central panels, and heading in a diagonal toward the bottom left-hand corner, is an illustration of two speeding hot rods.
In the leading car, a girl in a yellow sweater stands on the passenger side, with one hand holding the windscreen and the other held high.
Pulling up hard behind her is a yellow hot rod whose male passenger is likewise out of his seat, though he is leaning forward and waving a fist. Hot Rod Rumble has a credit bar over the main illustration.
Beneath the title, two cars have crashed together, their front wheels spinning high above the road. Towering over the automobiles is a strawberry blonde, her torso contorted so that she is twisting toward the viewer, providing both a sidelong glance at her chest and a view of her backside. Stanfield Downloaded by [Peter Stanfield] at Hot Rod Gang Indio Productions, Dragstrip Riot Trans World Productions, Stanfield jacket draped over her shoulder.
In line with her chest and head is a photographic insert with a scene from the movie of leather-jacketed youths in a punch up. There is no tagline, but the sexual frenzy that is evoked by the images of male violence, female pulchritude, and runaway automobiles does not require textual explication.
At Miles Per Hour!! As their vehicles hurtle forward, two boys are depicted in a seemingly mortal struggle. A girl in the passenger seat of the car is witness to this Downloaded by [Peter Stanfield] at She is wearing a red jacket, which visually rhymes with the red Triumph ridden by the boy intent on striking the driver of the car she is in. The car and bike break out of the panel, their wheels crossing into the title bar.
The posters all work on a gendered demarcation of the promised thrills, articulating a link between the curved bodies of women and cars. The women function as props for the speed thrills offered to the young men, but they are not in themselves the subjects of such transgressive fantasies. The acts of transgression are conservatively codified, both in generic and gendered terms — with men acting out violent impulses in front of women.
The posters address a male audience and are symptomatic of a shift from the studio era, when films were geared toward a female audience, to the post-studio era, when young men became the principal target of film producers. A key theme in his work of the period was the idea of a popular culture that was resolutely defined through its topicality. The immediacy of the appeal of popular culture was part of its attraction for the artists and critics who formed the Independent Group IG that Hamilton belonged to, and which also included Lawrence Alloway, Rayner Banham, Eduardo Paolozzi, and John McHale.
As theorized by the IG, popular culture was, in counterpoint to the fine arts, defined as transient and evanescent Stanfield , — Writing in McHale notes: Almost as soon as a trend becomes recognizable, and can be labelled, the image series has become obsolete. Expendability is built in and so furnishes an initial criteria.
Rapid turnover in iconography in any sector varies strictly according to acceptance, to success which is its own accelerator. The expendable nature of the movies was part of their appeal and like seasonal fashion changes, the film cycle contains within it its own demise; it is dying in the very process of being born. In July , the New York Times reported that the juvenile delinquency film cycle had come to an end: This does not mean, however, that delinquency among the young decreased.
The cultural historian James Gilbert notes that media reporting on the phenomenon peaked between and and thereafter dissipated, even though juvenile delinquency as a criminal problem actually increased after Stanfield subculture was formed and shaped by the developing exhibition needs of the drive-in. Production of this cycle peaked at the height of attendance at drive-ins in — 57 and then declined as patronage dropped thereafter, filmmakers only exploited the subculture when it had value to them that extended beyond its timeliness.
In — 58 the hot rod movie filled a need for a product that was no longer being provided by the big studios, a product that was now being supplied by independent distributors and exhibitors who were moving into film production to satisfy a gap in the market. The cycle appropriated the values, interests, vocabulary, and gestures of young Americans as it also played to that self same youth culture. As Waller noted at the start of this paper, it is difficult to account in general terms for topicality in films, but being responsive to the range of possibilities that govern the multiple ways that films are contingent on the topical and are themselves emanations of the topical ameliorates the problems historians face in explaining the life of films within the public sphere.
The film rights to the story were bought by MGM who were looking for another juvenile delinquency feature to follow up on their success with Blackboard Jungle, as reported in the Saturday Evening Post , An earlier film depiction of hot rods can be seen in Wings William Wellman, , which links youthful enthusiasm for car customization with flying.
In , Charlton publishers issued the comic book Hot Rods and Racing Cars, a bi-monthly, which ran for at least 12 issues.
On hot rod themed pinball machines, see Krutnik in this issue. This musical exploitation of hot rods was part a wider fascination with speed and automotive thrills — e. Two rides took me to Bakersfield, four hundred miles south. The first was the mad one, with a burly blond kid in a souped-up rod. Hot rods blew by.
San Antonio, ah-haa! Chidester, Brian, and Daniel Priore. Pop Surf Culture: Santa Monica: Santa Monica Press. Cohen, Mary Morley. Davis, Blair. The Battle for the Bs: New Brunswick, NJ: Rutgers University Press. Doherty, Thomas. Teenagers and Teenpics: The Juvenilization of American Movies in the s. This Subscription automatically renews unless auto-renew is turned off at least hours before the end of the current period, your account will be charged for renewal within hours prior to the end of the current period, and identify the cost of the renewal.
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Sometimes it takes a week, sometimes a minute after a reset to get the new issue to show. Yet when I finally get a new issue to show, it always says I have to pay.
I then have to hit the upper right hand tab to reacquire old issues by entering in my iTunes password. This sometimes also works sometimes with the problem explained in the above paragraph to get an issue to appear when resetting and waiting doesn't work.
So every month, I have to wait and hope for an episode to appear just to have to go through the paces of letting the app know I have a subscription just to get the new issue. It is Hot Rod man!!! The new app does have better resolution although I like the older layout better. The content is great and the app is higher quality however, I'm still missing some Hot Rod issues after weeks of trying and Roadkill issues are nowhere to be found.
And why do the digital issues only go back to ? The old app on my first gen iPad goes all the way back to February of Version History Here you can find the changelog of Rat Rod Magazine since it was posted on our website on The latest version is See below the changes in each version:. Continue to Rat Rod Magazine. Add a review Tell us your experience with Rat Rod Magazine Rat rods are blue-collar hot rods built from scavenged parts, skillfully patched together from cars and trucks of Continue to app Rating: