Abstract
The Chevrolet-General Motors–sponsored film American Look (1958) harnessed technologies of Hollywood spectacle to make their production bigger and bolder than many previous sponsored films. Beyond merely selling a car, the film engaged its viewers with an exhibition of General Motors' corporate persona, aligning its products with the prestige of good design on a grand scale in a Technicolor, widescreen, sponsored epic. Locating my analysis within the cultural and geopolitical context of the Cold War era, this paper argues that American Look expands current rubrics for understanding sponsored and industrial films.
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