American cinema, American culture:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Boston [u.a.]
McGraw-Hill
2005
|
| Ausgabe: | 2. ed. |
| Schlagworte: | |
| Online-Zugang: | Publisher description Table of contents Inhaltsverzeichnis |
| Beschreibung: | XXVIII, 452 S. Ill. |
| ISBN: | 0072886277 |
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| 650 | 4 | |a Cinéma - États-Unis - Histoire | |
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| 650 | 4 | |a Film | |
| 650 | 4 | |a Geschichte | |
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| 650 | 4 | |a Motion picture industry |z United States |x History | |
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Datensatz im Suchindex
| _version_ | 1804136275252346880 |
|---|---|
| adam_text | CONTENTS
Preface xix
Introduction xxv
PART 1 THE MODE OF PRODUCTION
CHAPTER 1 THE EMERGENCE OF THE CINEMA AS AN INSTITUTION 3
The Cathedral of the Motion Picture 3
Developing Systems: Society and Technology 4
Edison and the Kinetoscope 6
Capturing Time 6
Peepshows versus Projectors 7
Mass Production, Mass Consumption 9
A Public Spectacle 9
Middle Class Amusements 9
The Nickelodeon: A Collective Experience 10
Cleaning Up: The Benefits of Respectability 12
Spectacle and Storytelling: From Porter to Griffith 13
The Camera as Recorder 13
The Camera as Narrator 14
The Feature Film 15
Presenting ... the Movie Palace 16
Gardens of Dreams 16
The Great Showmen 16
An Evolving Institution 19
Select Filmography 20
Select Bibliography 20
CHAPTER 2 CLASSICAL HOLLYWOOD CINEMA: NARRATION 22
A National Style 22
The Temper of an Age ... 22
A Narrative Machine 23
Equilibrium and Disruption 24
¦ ¦mmm IX
x Contents
K ¦ ¦ ¦ »
Characters and Goals 25
Problem Solving 25
Through Time and Space 26
The Audience s Journey 28
High Artifice, Invisible Art 28
Denial and Recognition 28
Underlying Patterns 29
Analyzing Film Narratives: Segmentation 30
A Circular Pattern: Chaplin s The Gold Rush 31
Symmetry 32
At the Center: Imagination 33
Journey to a New Place: Some Like It Hot 33
Flight and Pursuit 33
Narrative Structure and Sexuality 34
Resolution/Irresolution 36
Narrative Incoherence: Mulholland Dr. 36
Plot Segment of Mulholland Dr. 37
Hollywood: Love and Ambition 39
Hollywood: Jealousy and Failure 39
Desire 40
Fantasy and Reality 40
Spectatorship 41
Modernist Narration: Citizen Kane 41
Unresolved Questions 41
Artifice Exposed 42
Select Filmography 44
Select Bibliography 44
CHAPTER 3 CLASSICAL HOLLYWOOD CINEMA: STYLE 45
Film Form and Character Development 45
Classical Economy: The Opening Sequence of Shadow of a Doubt 45
The Art of Details 47
Mise en Scene 47
The Camera 48
Meaning through Context: Camera Angle and Distance 49
Systematic Meaning: Some Definitions 50
Camera Movement 51
Lighting 53
Three Point Lighting 53
High Key/Low Key Lighting 54
Star Lighting 56
Sound 57
Miking and Mixing 57
The Musical Score 57
Contents xi
¦ ¦ ¦ • ¦
Sound and Continuity 58
Editing from Scene to Scene 58
Transitions 59
Editing and Narrative Structure 60
Editing within Scenes 61
Matches 62
Point of View Editing 62
The 180 Degree Rule 63
Select Filmography 65
Select Bibliography 65
CHAPTER 4 THE STUDIO SYSTEM 66
Manufacturing Dreams 66
Movies and Mass Production 66
Intangible Goods 68
The Majors and the Minors 69
Origins 69
Vertical Integration 70
Block Booking, Blind Bidding, and Runs, Zones,
and Clearances 71
Studio Production: From Story Idea to Ad Campaign 72
Under Contract 72
A Self Contained World 73
The Chain of Command 74
Studio Style 76
M G M and Paramount 77
Warner Bros. 79
20th Century Fox 80
RKO 81
Columbia Pictures 82
Universal Pictures 83
Poverty Row 84
Collapse: The End of the Studio Era 84
Divestment, Independent Production, and
a Changing Marketplace 84
Starting from Scratch: The New Studios 86
Select Studio Productions 89
Select Bibliography 90
CHAPTER 5 THE STAR SYSTEM 91
The Mechanics of Stardom 91
Making Stars 91
Star Power 94
Tom Hanks: A Case Study 95
xii Contents
m m m m m
Persona 97
Stardom and Mass Culture: From Persona to Star 99
Stars, the System, and the Public 102
Stars and Culture: A Historical Survey 104
The Early Years 104
Exoticism, Eroticism, and Modern Morality: Stars of the 1920s 107
Depression/Repression: The 1930s 111
World War II and Its Aftermath 114
Stars and Anti Stars 116
Different Faces: The Rise of Black Stars 119
Economics and Contemporary Stardom 122
Filmography 124
Select Bibliography 125
PART II GENRE AND THE GENRE SYSTEM
CHAPTER 6 SILENT FILM MELODRAMA 131
The Origins of Melodrama 131
Types of Melodrama 133
The Melodramatic Mode 133
A Moral Phenomenon 134
Democratic Virtue 136
A Social Vision 137
Melodrama as a Tool of Reform 137
Politics and Melodrama 139
Two Film Melodramatists: Griffith and Vidor 140
An Agrarian Past 140
History as Melodrama: The Birth of a Nation 141
Everyman/No Man: The Crowd 142
Escape and Transcendence 144
Home as Seventh Heaven 144
The Lure of the City: Sunrise 146
Sound and Melodrama 148
Select Filmography 149
Select Bibliography 149
CHAPTER 7 THE MUSICAL 150
From Narrative to Musical Number 150
Setting the Stage 150
Narrative Reality 151
Musical Reality 151
Shifts in Register 153
Chicago 153
Narrative and Musical Number: Degrees of Integration 154
Contents xiii
¦ ¦ ¦ ¦ ¦
Musical Forms 155
The Backstage Musical 155
Berkeley and 42nd St. 155
Moulin Rouge 156
Showpeople 157
Transformation of Space: Performer, Props, Audience 158
Performer 159
Props 159
Audience 160
Stylistic Registers 160
From Black and White to Color 160
From Noise to Music 161
The Operetta 161
The Astaire Rogers Musical 163
The Integrated Musical 164
The Freed Unit 164
Singin in the Rain 165
Ideology and the Musical 166
The End of an Era 167
A New Era Begins 168
Select Filmography 169
Select Bibliography 169
CHAPTER 8 AMERICAN COMEDY 170
Laughter and Culture 170
Comedy, Repression, and Cultural Dreamwork 170
From Racism to Social Integration 171
Comic Disintegration and Disorder 175
Containing Chaos 176
Comedy, Class, and Democracy 178
A Short History of American Screen Comedy 180
Silent Comedy 180
Early Sound Comedy 184
Screwball Comedy 186
After the Screwball 191
Alienation and Self Reflection: The 1960s and Beyond 195
From Animal Comedies to Ironic Romantic Comedies 196
Select Filmography 198
Select Bibliography 199
CHAPTER 9 WAR AND CINEMA 200
A World of Extremes 200
Breaking Rules 201
A Suspension of Morality 201
Deviant Narratives: From Individual to Group Goals 202
xiv Contents
¦ • M ¦ ¦
Sexual Combat: Masculinity in the War Film 204
Oedipal Battles 204
Conventional Homoeroticism 204
Masculine/Feminine 205
Back from the Front 207
Crossovers: War and Genre 208
The Battle for Public Opinion: Propaganda and the Combat Film 210
Preaching War and Peace 210
Mass Conversion: The Politics of Sergeant York 211
Why We Fight: Education and the War Film 213
The Vietnam Reversal 214
Race, Ethnicity, and the War Film 215
Conflicted: The Psychic Violence of War 217
The Enemy Is Us 217
The Aftermath 217
The 1991 Gulf War and World War II Redux 219
The Gulf War 219
World War II 220
Mediation and Representation 223
Select Filmography 223
Select Bibliography 224
CHAPTER 10 FILM NOIR: SOMEWHERE IN THE NIGHT 225
Made in the U.S.A. 225
Film Noir: Genre, Series, or Mode? 227
Noir as Genre: A Set of Conventions 227
Noir as Series: A Certain Style 228
Noir as Mode: An Uneasy Feeling 229
Noir Aesthetics, Themes, and Character Types 230
Noir Stylistics: A Shift in Perspective 232
American Expressionism 232
From Disturbing Conventions to Conventional Disturbances 233
Noir and the Production Code 234
Forbidden Subjects; Twisted Treatments 234
The End of Censorship; the End of Noir? 235
Innocence Lost: The Literary Origins of Film Noir 236
Hard Boiled Fiction 236
The Detective Hero 237
Noir and Verbal Wit 238
Women in Film Noir 239
Women as Social Menace 240
Women as Psychological Terror 241
A Critique of Populism 242
New Culture, Old Myths 242
Capra and Film Noir 243
Contents xv
* ¦ ¦ ¦ •
Film Noir: An Undercurrent in the Mainstream 245
Select Filmography 246
Select Bibliography 247
CHAPTER 11 TH E MAKING OF TH E WEST 248
The American Film Genre par Excellence 248
Frontiers: History and Cinema 250
Frederick Jackson Turner and the 1890s 250
... Print the Legend 250
The Literary West 252
Dime Novels and Pulp Magazines 252
From Natty Bumppo to Shane 253
Bundles of Oppositions 254
Adaptation: When East Meets West 255
Bowlers to Bucksins 255
Feminine Transformations 255
Teaching a Tenderfoot 256
Women, Civilization, and Nature 257
On Native Ground: Landscape and Conflict 259
A Struggle for National Identity 259
From Wilderness to Garden 260
A Clash of Cultures: Cowboys and Indians 261
Native Images, White Values 262
Out of Time Antiheroes 263
Contemporary Visions, Enduring Myths 265
Back to the Garden 266
Unforgiven 267
Dead Man 269
Periods of Popularity 270
Ambivalence: Land, Technology, and Utopia 271
Space: The Final Frontier 272
Select Filmography 275
Select Bibliography 276
PART III A POSTWAR HISTORY
CHAPTER 12 HOLLYWOOD AND THE COLD WAR 279
Origins: Communism, Hollywood, and the American Way 279
Revolution and Repercussion 279
In the Red: The Depression Era 281
Anti Fascists, Populists, and Dupes 282
World War II and Government Policy 284
Inquisition: Huac, McCarthy, and the Hollywood Ten 285
Friends and Foes 285
xvi Contents
¦ ¦ ¦ • ¦
Are You Now or Have You Ever Been...? 286
Blacklisting 288
Alger Hiss, the Rosenbergs, and Senator McCarthy 288
Naming Names 289
The Cold War on Screen 290
Pro Soviet Wartime Films 290
The Anti Commie Cycle 291
Us Versus Them: Science Fiction and Paranoia 292
God and Country 293
Subversions 294
Chaplin in Exile 296
In Defense of the Informers: On the Waterfront 298
Aftermath 298
The Fight Continues 298
Win, Lose, or Draw? 300
Select Filmography 301
Select Bibliography 302
CHAPTER 13 HOLLYWOOD IN THE AGE OF TELEVISION 304
The Big Decline: Hollywood Loses Its Audience 304
At Leisure: Recreation in Postwar America 305
The Role of Television 305
Do Something! Passive Entertainment vs. Action 306
The House, The Car ... 307
... The Drive In 307
Fewer, Bigger, Wider, Deeper 309
This Is Cinerama 309
The 3 D Assault 310
CinemaScope 311
Todd AO and the Theatrical Experience 314
War with Television, Peace with Its Revenues 316
From Villain to Partner 316
Panning and Scanning: Making CinemaScope Fit on TV 316
DVDsandWidescreenTV 318
Movie Going 320
Blockbusters 321
Big Event Pictures 321
Narrowing Expectations 322
Select Filmography 323
Select Bibliography 323
CHAPTER 14 THE 1960s: THE COUNTERCULTURE STRIKES BACK 324
Youth and Challenge 324
The Kennedy Era 325
The New Frontier 325
Contents xvii
¦ ¦ ¦ ¦ •
The Civil Rights Movement 326
Against the War 327
Liberation: The Women s Movement 328
Projections: Women on Screen 329
Youth Films: Activism as Lifestyle 331
Solving the Race Problem 333
On the Offensive: Money, Films, and Changing Morality 334
Controversy and Conservatism 334
A New Vocabulary 335
Live Fast, Die Young: Bonnie and Clyde 336
Sex, Violence, and Ratings 337
The Great Teen Pic: Easy Rider 338
Transformation: The Counterculture Goes Mainstream 339
Blaxploitation and Beyond 341
An Emerging Black Audience 341
A Revolutionary Film: Sweet Sweetback s Baadasssss Song 342
Outlaws or Role Models? 343
Split Screen: The Two 1960s 344
Rejuvenation 345
Select Filmography 346
Select Bibliography 347
CHAPTER 15 THE FILM SCHOOL GENERATION 348
The New Wave 348
The Auteur Theory: Directors as Stars 349
Cahiers du Cinema and Andrew Sarris 349
Retrospective: America Discovers Its Cinematic Past 350
The Critic as Filmmaker 351
Training Ground: The Rise of Film Schools 352
The Color of Money: Young Directors and the Box Office 353
Youth Films and Economics 353
The Roger Corman School 355
Exploitation on a Grand Scale 355
References, Meaning, and Postmodernism 356
The Art of Allusion 356
De Palma and Hitchcock 357
The Failure of the New 359
Schizophrenia and Incoherence 359
A Postmodern Case Study: Taxi Driver 361
Reassurance: Comfort, Comics, and Nostalgia 362
A Return to Innocence 362
Opposing Visions 364
Back in Time 365
Contradictory Impulses 366
The Brat Pack 367
xviii Contents
¦ a « • ¦
The Reagan Years 368
This Time Do We Get to Win? 368
Physical Culture: Biology as Destiny 369
Another Generation 370
Credits: The Film School Generation and Their Films 371
Select Filmography 373
Select Bibliography 373
CHAPTER 16 INTO THE TWENTY FIRST CENTURY 375
Contradictions: From the Gipper to Blue Velvet 375
Reaganite Cinema: Morning in America 377
Regeneration 377
Nostalgia: Coming of Age in the Past 378
Paradise Lost/Paradise Regained 379
Striking Back 381
Castles in the Air: Reimagining Traditional Institutions 382
Having It Both Ways 382
Being All That You Can Be 383
Oedipus with a Happy Ending: The Return of the Father 385
Parents and Babies: A Wide Spectrum 387
Countercurrents 389
Martin Scorsese: Against the Grain 389
The Gay New Wave 392
Spike Lee: Into the Mainstream 394
Jim Jarmusch and Julie Dash: On the Fringe 396
Into the 21st Century 398
Hollywood in the Information Age: Game Logic 398
Computers and Boolean Logic 398
Independent Cinema 399
Fantasy Films 403
The Digitization of the Cinema 405
Digitization and Fantasy 405
Seeing Through Fantasy 406
Prefiguring September 11,2001 407
Hollywood s Responses to 9/11 408
New York s Response to September 11,2001 409
Select Filmography 411
Select Bibliography 412
Glossary of Technical and Other Terms 415
Index 423
|
| adam_txt |
CONTENTS
Preface xix
Introduction xxv
PART 1 THE MODE OF PRODUCTION
CHAPTER 1 THE EMERGENCE OF THE CINEMA AS AN INSTITUTION 3
"The Cathedral of the Motion Picture" 3
Developing Systems: Society and Technology 4
Edison and the Kinetoscope 6
Capturing Time 6
Peepshows versus Projectors 7
Mass Production, Mass Consumption 9
A Public Spectacle 9
Middle Class Amusements 9
The Nickelodeon: A Collective Experience 10
Cleaning Up: The Benefits of Respectability 12
Spectacle and Storytelling: From Porter to Griffith 13
The Camera as Recorder 13
The Camera as Narrator 14
The "Feature" Film 15
Presenting . the Movie Palace 16
"Gardens of Dreams" 16
The Great Showmen 16
An Evolving Institution 19
Select Filmography 20
Select Bibliography 20
CHAPTER 2 CLASSICAL HOLLYWOOD CINEMA: NARRATION 22
A National Style 22
"The Temper of an Age ." 22
A Narrative Machine 23
Equilibrium and Disruption 24
¦ ¦mmm IX
x Contents
K ¦ ¦ ¦ »
Characters and Goals 25
Problem Solving 25
Through Time and Space 26
The Audience's Journey 28
High Artifice, Invisible Art 28
Denial and Recognition 28
Underlying Patterns 29
Analyzing Film Narratives: Segmentation 30
A Circular Pattern: Chaplin's The Gold Rush 31
Symmetry 32
At the Center: Imagination 33
Journey to a New Place: Some Like It Hot 33
Flight and Pursuit 33
Narrative Structure and Sexuality 34
Resolution/Irresolution 36
Narrative Incoherence: Mulholland Dr. 36
Plot Segment of Mulholland Dr. 37
Hollywood: Love and Ambition 39
Hollywood: Jealousy and Failure 39
Desire 40
Fantasy and Reality 40
Spectatorship 41
Modernist Narration: Citizen Kane 41
Unresolved Questions 41
Artifice Exposed 42
Select Filmography 44
Select Bibliography 44
CHAPTER 3 CLASSICAL HOLLYWOOD CINEMA: STYLE 45
Film Form and Character Development 45
Classical Economy: The Opening Sequence of Shadow of a Doubt 45
The Art of Details 47
Mise en Scene 47
The Camera 48
Meaning through Context: Camera Angle and Distance 49
Systematic Meaning: Some Definitions 50
Camera Movement 51
Lighting 53
Three Point Lighting 53
High Key/Low Key Lighting 54
Star Lighting 56
Sound 57
Miking and Mixing 57
The Musical Score 57
Contents xi
¦ ¦ ¦ • ¦
Sound and Continuity 58
Editing from Scene to Scene 58
Transitions 59
Editing and Narrative Structure 60
Editing within Scenes 61
Matches 62
Point of View Editing 62
The 180 Degree Rule 63
Select Filmography 65
Select Bibliography 65
CHAPTER 4 THE STUDIO SYSTEM 66
Manufacturing Dreams 66
Movies and Mass Production 66
Intangible Goods 68
The Majors and the Minors 69
Origins 69
Vertical Integration 70
Block Booking, Blind Bidding, and Runs, Zones,
and Clearances 71
Studio Production: From Story Idea to Ad Campaign 72
Under Contract 72
A Self Contained World 73
The Chain of Command 74
Studio Style 76
M G M and Paramount 77
Warner Bros. 79
20th Century Fox 80
RKO 81
Columbia Pictures 82
Universal Pictures 83
Poverty Row 84
Collapse: The End of the Studio Era 84
Divestment, Independent Production, and
a Changing Marketplace 84
Starting from Scratch: The New "Studios" 86
Select Studio Productions 89
Select Bibliography 90
CHAPTER 5 THE STAR SYSTEM 91
The Mechanics of Stardom 91
Making Stars 91
Star Power 94
Tom Hanks: A Case Study 95
xii Contents
m m m m m
Persona 97
Stardom and Mass Culture: From Persona to Star 99
Stars, the System, and the Public 102
Stars and Culture: A Historical Survey 104
The Early Years 104
Exoticism, Eroticism, and Modern Morality: Stars of the 1920s 107
Depression/Repression: The 1930s 111
World War II and Its Aftermath 114
Stars and Anti Stars 116
Different Faces: The Rise of Black Stars 119
Economics and Contemporary Stardom 122
Filmography 124
Select Bibliography 125
PART II GENRE AND THE GENRE SYSTEM
CHAPTER 6 SILENT FILM MELODRAMA 131
The Origins of Melodrama 131
Types of Melodrama 133
The Melodramatic Mode 133
A Moral Phenomenon 134
Democratic Virtue 136
A Social Vision 137
Melodrama as a Tool of Reform 137
Politics and Melodrama 139
Two Film Melodramatists: Griffith and Vidor 140
An Agrarian Past 140
History as Melodrama: The Birth of a Nation 141
Everyman/No Man: The Crowd 142
Escape and Transcendence 144
Home as "Seventh Heaven" 144
The Lure of the City: Sunrise 146
Sound and Melodrama 148
Select Filmography 149
Select Bibliography 149
CHAPTER 7 THE MUSICAL 150
From Narrative to Musical Number 150
Setting the Stage 150
Narrative Reality 151
Musical Reality 151
Shifts in Register 153
Chicago 153
Narrative and Musical Number: Degrees of Integration 154
Contents xiii
¦ ¦ ¦ ¦ ¦
Musical Forms 155
The Backstage Musical 155
Berkeley and 42nd St. 155
Moulin Rouge 156
Showpeople 157
Transformation of Space: Performer, Props, Audience 158
Performer 159
Props 159
Audience 160
Stylistic Registers 160
From Black and White to Color 160
From Noise to Music 161
The Operetta 161
The Astaire Rogers Musical 163
The Integrated Musical 164
The Freed Unit 164
Singin' in the Rain 165
Ideology and the Musical 166
The End of an Era 167
A New Era Begins 168
Select Filmography 169
Select Bibliography 169
CHAPTER 8 AMERICAN COMEDY 170
Laughter and Culture 170
Comedy, Repression, and Cultural Dreamwork 170
From Racism to Social Integration 171
Comic Disintegration and Disorder 175
Containing Chaos 176
Comedy, Class, and Democracy 178
A Short History of American Screen Comedy 180
Silent Comedy 180
Early Sound Comedy 184
Screwball Comedy 186
After the Screwball 191
Alienation and Self Reflection: The 1960s and Beyond 195
From Animal Comedies to Ironic Romantic Comedies 196
Select Filmography 198
Select Bibliography 199
CHAPTER 9 WAR AND CINEMA 200
A World of Extremes 200
Breaking Rules 201
A Suspension of Morality 201
Deviant Narratives: From Individual to Group Goals 202
xiv Contents
¦ • M ¦ ¦
Sexual Combat: Masculinity in the War Film 204
Oedipal Battles 204
Conventional Homoeroticism 204
Masculine/Feminine 205
Back from the Front 207
Crossovers: War and Genre 208
The Battle for Public Opinion: Propaganda and the Combat Film 210
Preaching War and Peace 210
Mass Conversion: The Politics of Sergeant York 211
Why We Fight: Education and the War Film 213
The Vietnam Reversal 214
Race, Ethnicity, and the War Film 215
Conflicted: The Psychic Violence of War 217
The Enemy Is Us 217
The Aftermath 217
The 1991 Gulf War and World War II Redux 219
The Gulf War 219
World War II 220
Mediation and Representation 223
Select Filmography 223
Select Bibliography 224
CHAPTER 10 FILM NOIR: SOMEWHERE IN THE NIGHT 225
Made in the U.S.A. 225
Film Noir: Genre, Series, or Mode? 227
Noir as Genre: A Set of Conventions 227
Noir as Series: A Certain Style 228
Noir as Mode: An Uneasy Feeling 229
Noir Aesthetics, Themes, and Character Types 230
Noir Stylistics: A Shift in Perspective 232
American Expressionism 232
From Disturbing Conventions to Conventional Disturbances 233
Noir and the Production Code 234
Forbidden Subjects; Twisted Treatments 234
The End of Censorship; the End of Noir? 235
Innocence Lost: The Literary Origins of Film Noir 236
Hard Boiled Fiction 236
The Detective Hero 237
Noir and Verbal Wit 238
Women in Film Noir 239
Women as Social Menace 240
Women as Psychological Terror 241
A Critique of Populism 242
New Culture, Old Myths 242
Capra and Film Noir 243
Contents xv
* ¦ ¦ ¦ •
Film Noir: An Undercurrent in the Mainstream 245
Select Filmography 246
Select Bibliography 247
CHAPTER 11 TH E MAKING OF TH E WEST 248
The American Film Genre par Excellence 248
Frontiers: History and Cinema 250
Frederick Jackson Turner and the 1890s 250
". Print the Legend" 250
The Literary West 252
Dime Novels and Pulp Magazines 252
From Natty Bumppo to Shane 253
Bundles of Oppositions 254
Adaptation: When East Meets West 255
Bowlers to Bucksins 255
Feminine Transformations 255
Teaching a Tenderfoot 256
Women, Civilization, and Nature 257
On Native Ground: Landscape and Conflict 259
A Struggle for National Identity 259
From Wilderness to Garden 260
A Clash of Cultures: Cowboys and Indians 261
Native Images, White Values 262
Out of Time Antiheroes 263
Contemporary Visions, Enduring Myths 265
Back to the Garden 266
Unforgiven 267
Dead Man 269
Periods of Popularity 270
Ambivalence: Land, Technology, and Utopia 271
Space: The Final Frontier 272
Select Filmography 275
Select Bibliography 276
PART III A POSTWAR HISTORY
CHAPTER 12 HOLLYWOOD AND THE COLD WAR 279
Origins: Communism, Hollywood, and the American Way 279
Revolution and Repercussion 279
In the Red: The Depression Era 281
Anti Fascists, Populists, and "Dupes" 282
World War II and Government Policy 284
Inquisition: Huac, McCarthy, and the Hollywood Ten 285
Friends and Foes 285
xvi Contents
¦ ¦ ¦ • ¦
"Are You Now or Have You Ever Been.?" 286
Blacklisting 288
Alger Hiss, the Rosenbergs, and Senator McCarthy 288
Naming Names 289
The Cold War on Screen 290
Pro Soviet Wartime Films 290
The Anti Commie Cycle 291
Us Versus Them: Science Fiction and Paranoia 292
God and Country 293
Subversions 294
Chaplin in Exile 296
In Defense of the Informers: On the Waterfront 298
Aftermath 298
The Fight Continues 298
Win, Lose, or Draw? 300
Select Filmography 301
Select Bibliography 302
CHAPTER 13 HOLLYWOOD IN THE AGE OF TELEVISION 304
The Big Decline: Hollywood Loses Its Audience 304
At Leisure: Recreation in Postwar America 305
The Role of Television 305
Do Something! Passive Entertainment vs. Action 306
The House, The Car . 307
. The Drive In 307
Fewer, Bigger, Wider, Deeper 309
This Is Cinerama 309
The 3 D Assault 310
CinemaScope 311
Todd AO and the Theatrical Experience 314
War with Television, Peace with Its Revenues 316
From Villain to Partner 316
Panning and Scanning: Making CinemaScope Fit on TV 316
DVDsandWidescreenTV 318
Movie "Going" 320
Blockbusters 321
Big Event Pictures 321
Narrowing Expectations 322
Select Filmography 323
Select Bibliography 323
CHAPTER 14 THE 1960s: THE COUNTERCULTURE STRIKES BACK 324
Youth and Challenge 324
The Kennedy Era 325
"The New Frontier" 325
Contents xvii
¦ ¦ ¦ ¦ •
The Civil Rights Movement 326
Against the War 327
Liberation: The Women's Movement 328
Projections: Women on Screen 329
Youth Films: Activism as Lifestyle 331
"Solving" the Race Problem 333
On the Offensive: Money, Films, and Changing Morality 334
Controversy and Conservatism 334
A New Vocabulary 335
Live Fast, Die Young: Bonnie and Clyde 336
Sex, Violence, and Ratings 337
The Great Teen Pic: Easy Rider 338
Transformation: The Counterculture Goes Mainstream 339
Blaxploitation and Beyond 341
An Emerging Black Audience 341
A Revolutionary Film: Sweet Sweetback's Baadasssss Song 342
Outlaws or Role Models? 343
Split Screen: The Two 1960s 344
Rejuvenation 345
Select Filmography 346
Select Bibliography 347
CHAPTER 15 THE FILM SCHOOL GENERATION 348
The New Wave 348
The Auteur Theory: Directors as Stars 349
Cahiers du Cinema and Andrew Sarris 349
Retrospective: America Discovers Its Cinematic Past 350
The Critic as Filmmaker 351
Training Ground: The Rise of Film Schools 352
The Color of Money: Young Directors and the Box Office 353
Youth Films and Economics 353
The Roger Corman School 355
Exploitation on a Grand Scale 355
References, Meaning, and Postmodernism 356
The Art of Allusion 356
De Palma and Hitchcock 357
"The Failure of the New" 359
Schizophrenia and Incoherence 359
A Postmodern Case Study: Taxi Driver 361
Reassurance: Comfort, Comics, and Nostalgia 362
A Return to Innocence 362
Opposing Visions 364
Back in Time 365
Contradictory Impulses 366
The Brat Pack 367
xviii Contents
¦ a « • ¦
The Reagan Years 368
"This Time Do We Get to Win?" 368
Physical Culture: Biology as Destiny 369
Another Generation 370
Credits: The Film School Generation and Their Films 371
Select Filmography 373
Select Bibliography 373
CHAPTER 16 INTO THE TWENTY FIRST CENTURY 375
Contradictions: From the Gipper to Blue Velvet 375
Reaganite Cinema: "Morning in America" 377
Regeneration 377
Nostalgia: Coming of Age in the Past 378
Paradise Lost/Paradise Regained 379
Striking Back 381
Castles in the Air: Reimagining Traditional Institutions 382
Having It Both Ways 382
Being All That You Can Be 383
Oedipus with a Happy Ending: The Return of the Father 385
Parents and Babies: A Wide Spectrum 387
Countercurrents 389
Martin Scorsese: Against the Grain 389
The Gay New Wave 392
Spike Lee: Into the Mainstream 394
Jim Jarmusch and Julie Dash: On the Fringe 396
Into the 21st Century 398
Hollywood in the Information Age: Game Logic 398
Computers and Boolean Logic 398
Independent Cinema 399
Fantasy Films 403
The Digitization of the Cinema 405
Digitization and Fantasy 405
Seeing Through Fantasy 406
Prefiguring September 11,2001 407
Hollywood's Responses to 9/11 408
New York's Response to September 11,2001 409
Select Filmography 411
Select Bibliography 412
Glossary of Technical and Other Terms 415
Index 423 |
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| dewey-hundreds | 700 - The arts |
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| index_date | 2024-07-02T16:46:10Z |
| indexdate | 2024-07-09T20:53:48Z |
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| spellingShingle | Belton, John 1945- American cinema, American culture Cinéma - Aspect social - États-Unis Cinéma - Industrie - États-Unis - Histoire Cinéma - États-Unis - Histoire Culture populaire - États-Unis - Histoire - 20e siècle Film Geschichte Gesellschaft Motion pictures United States History Motion picture industry United States History Motion pictures Social aspects United States Popular culture United States History 20th century Film (DE-588)4017102-4 gnd |
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| title | American cinema, American culture |
| title_auth | American cinema, American culture |
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| title_full | American cinema, American culture John Belton |
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| title_full_unstemmed | American cinema, American culture John Belton |
| title_short | American cinema, American culture |
| title_sort | american cinema american culture |
| topic | Cinéma - Aspect social - États-Unis Cinéma - Industrie - États-Unis - Histoire Cinéma - États-Unis - Histoire Culture populaire - États-Unis - Histoire - 20e siècle Film Geschichte Gesellschaft Motion pictures United States History Motion picture industry United States History Motion pictures Social aspects United States Popular culture United States History 20th century Film (DE-588)4017102-4 gnd |
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