Hollywood genres: formulas, filmmaking, and the studio system
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York
Random House
1981
|
| Ausgabe: | 1. ed. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XIV, 297 S. Ill. |
| ISBN: | 039432255X |
Internformat
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Datensatz im Suchindex
| _version_ | 1804119449328943104 |
|---|---|
| adam_text | Preface vii
PART ONE i
1 THE GENIUS OF THE SYSTEM 3
The studio system 4
The genre film and the genre director 6
The auteur policy 7
Genre and narrative conventions 10
Genre as a social force 11
2 FILM GENRES AND THE GENRE FILM 14
Genre as system 15
The language analogy 18
Toward a grammar of film genre 20
Iconography: Imagery and meaning 22
Character and setting: Communities in conflict 24
Plot structure: From conflict to resolution 29
Narrative strategy and social function: Contradictions, happy endings,
and the status quo 34
Generic evolution: Patterns of increasing self-consciousness 36
xi
xii CONTENTS
PART TWO 43
3 THE WESTERN 45
Western as genre 45
The early films 46
The landscape of the West 47
John Ford s Stagecoach 49
The changing vision of the West 50
Stagecoach and The Shootist 53
Shane: The initiate hero and the integration of opposites 55
The changing hero: The psychological and professional
Westerns 58
Our idealized past: The Western 63
John Ford and the evolution of the Western 63
Ford s embellishment of the Western formula 64
Stagecoach as an advance in the genre 66
Clementine: A Utopian Western 67
Ford s postwar Westerns 70
Ford s masterpiece: The Searchers 72
Ford s farewell to the Westerner 76
4 THE GANGSTER FILM 81
The classic gangster films 81
The gangster hero and the urban milieu 82
The gangster prototypes: Little Caesar and The Public Enemy 86
The consummate gangster saga: Howard Hawks Scarface 90
The gangster and the audience 92
The production code and the death of the classic gangster 95
Patterns of industry censorship 96
Recasting the gangster 98
Genre variations in the late 1930s 99
The bandit films of the early 1940s 102
Key Largo and White Heat-. The gangster s epitaph 104
5 THE HARDBOILED-DETECTIVE FILM 111
Film noir, Citizen Kane, and the rise of American expressionism 111
The emergence of film noir 111
CONTENTS xiii
Film noir and the American dream 113
Noir techniques in Citizen Kane 116
Citizen Kane as a detective film 120
The birth of Expressionism and the death of Hollywood 122
The hard boiled-detective genre 123
The hardboiled-prototype: Huston s The Maltese Falcon 126
The noir influence: Murder, My Sweet and Double Indemnity 130
The genre s postwar development 136
The police-detective variation 142
Regeneration in the New Hollywood 147
6 THE SCREWBALL COMEDY 150
The prototype: It Happened One Night 152
The screwball genre s dilemma: Reconciling class differences 155
Godfrey, Mr. Deeds, and other homespun aristocrats 157
Antagonism and the embrace: Narrative logic and narrative
rupture 159
The divorce-remarriage variation 162
Screwball comedy shaded black: His Girl Friday and Meet John
Doe 165
Undercutting the genre: The films of Preston Sturges 168
Postwar developments: The genre winds down 170
Frank Capra and Robert Riskin: The Capriskin Touch 173
The collaborators 173
The films: 1934-1941 176
The Deeds-Smith-Doe trilogy 179
7 THE MUSICAL 186
The musical comes of age: 42nd Street and Gold Diggers of
1933 189
Fred Astaire and the rise of the integrated musical 191
Internal logic and the atmosphere of illusion 194
The musical as courtship rite 196
MGM s Freed Unit: Studio as Auteur 202
Integrated romance and the promise of utopia 204
The evolution of the music man: Fred Astaire and Gene Kelly 207
Kelly s persona in the early 1950s 209
Singin in the Rain and The Band Wagon: The professionals go
natural 212
xiv CONTENTS
Characters, performers, and crises of identity 215
Rites of integration/rites of entertainment 218
8 THE FAMILY MELODRAMA 221
Melodrama as style and as genre 221
1950s melodrama: The genre comes of age 223
The family as narrative focus 226
Young at Heart and Picnic: The male intruder-redeemer in a world of
women 228
The widow-lover variation 232
The family aristocracy variation 235
Nicholas Ray, Vincente Minnelli, and the male weepie 239
Stylization, social reality, and critical values 243
Douglas Sirk and the family melodrama: Hollywood baroque 245
Sirk as stylist 248
All that heaven allows 249
Written on the Wind 252
Imitation of Life 256
EPILOGUE Hollywood Filmmaking and American Mythmaking 261
NOTES 269
REFERENCES 275
INDEX 285
|
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| classification_rvk | AP 59783 |
| ctrlnum | (OCoLC)6915259 (DE-599)BVBBV005262294 |
| dewey-full | 791.43/09794/94 |
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| dewey-ones | 791 - Public performances |
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| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| edition | 1. ed. |
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| geographic | USA Hollywood (Los Angeles, Calif.) History Los Angeles- Hollywood (DE-588)4099817-4 gnd |
| geographic_facet | USA Hollywood (Los Angeles, Calif.) History Los Angeles- Hollywood |
| id | DE-604.BV005262294 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T16:26:22Z |
| institution | BVB |
| isbn | 039432255X |
| language | English |
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| physical | XIV, 297 S. Ill. |
| publishDate | 1981 |
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| publishDateSort | 1981 |
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| spelling | Schatz, Thomas Verfasser aut Hollywood genres formulas, filmmaking, and the studio system 1. ed. New York Random House 1981 XIV, 297 S. Ill. txt rdacontent n rdamedia nc rdacarrier Film Geschichte Film genres Motion pictures United States Filmgenre (DE-588)4328427-9 gnd rswk-swf Film (DE-588)4017102-4 gnd rswk-swf USA Hollywood (Los Angeles, Calif.) History Los Angeles- Hollywood (DE-588)4099817-4 gnd rswk-swf Film (DE-588)4017102-4 s Los Angeles- Hollywood (DE-588)4099817-4 g DE-604 Filmgenre (DE-588)4328427-9 s 1\p DE-604 HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=003276195&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Schatz, Thomas Hollywood genres formulas, filmmaking, and the studio system Film Geschichte Film genres Motion pictures United States Filmgenre (DE-588)4328427-9 gnd Film (DE-588)4017102-4 gnd |
| subject_GND | (DE-588)4328427-9 (DE-588)4017102-4 (DE-588)4099817-4 |
| title | Hollywood genres formulas, filmmaking, and the studio system |
| title_auth | Hollywood genres formulas, filmmaking, and the studio system |
| title_exact_search | Hollywood genres formulas, filmmaking, and the studio system |
| title_full | Hollywood genres formulas, filmmaking, and the studio system |
| title_fullStr | Hollywood genres formulas, filmmaking, and the studio system |
| title_full_unstemmed | Hollywood genres formulas, filmmaking, and the studio system |
| title_short | Hollywood genres |
| title_sort | hollywood genres formulas filmmaking and the studio system |
| title_sub | formulas, filmmaking, and the studio system |
| topic | Film Geschichte Film genres Motion pictures United States Filmgenre (DE-588)4328427-9 gnd Film (DE-588)4017102-4 gnd |
| topic_facet | Film Geschichte Film genres Motion pictures United States Filmgenre USA Hollywood (Los Angeles, Calif.) History Los Angeles- Hollywood |
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