Abstract

Abstract: Addressing a film seldom granted critical attention, this essay examines George Seaton's semidocumentary The Big Lift (1950), situating the film in relation to other postwar genres, Cold War politics, and a Berlin still largely in ruin. Entering a physically complex and ideologically contested terrain, this film unfolds as a surprisingly sophisticated foray into issues of identity, appearance, and deception in the blockaded city.

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