American Cinema/American Culture

Book Description

Developed to accompany the Annenberg-funded telecourse American Cinema, and written under the aegis of The New York Center for Visual History, this text offers a fascinating look at the interplay between the movie industry and mass culture in America.

Ideal for film appreciation and film and culture courses found in Cinema Studies, English, History, American Studies, or other departments, American Cinema/American Culture first examines the industry, its narrative conventions, and its cinematographic style.

Following this introduction, students are exposed to the sweep of film history in the U.S. using five genres as the bases for discussion and focusing on the point at which each had the greatest affect on the industry, film aesthetics, and American culture.

Finally, the book concludes with a look at Hollywood post World War II, giving separate chapter coverage to the effects of the Cold War, television, the counterculture of the Sixties, directors from the film school generation, and the trends of the Eighties and Nineties.

Customer Reviews:

Excellent as a Historical Text Book.......2007-03-24

So, I expected this book to be a bit more fun. Unfortunately, the fun element is missing. However, in fairness, the book serves as a thorough textbook for the history of American Cinema and its techniques and various genres. I did enjoy reading about the early studio system and the vast amount of control this oligopoly held. There were some very good critiques and studies of specific films, and a bit about specific actors and actresses. Even a bit about directors. Though packed with information, the book just lacks an entertainment value that it could and should have pulled off based on the subject matter.

The different genres studied include:

Westerns
War Movies
Silent Films
Film Noire
Screwball Comedies

As well as an overall dissertation on Classical Hollywood Style and its various techniques.

Not very good..........2005-03-05

I got this book for a class on the history of cinema. Unfortunately, as the title implies, it only deals with American Cinema. If this is a book for school, check out the class to see if foreign films and film history will be discussed. This book is, again, as the title implies--one-sided. Most of the movies it discusses, gives away crucial plot-points and endings. Some movies that I've been dying to see were ruined in just one or two sentences. This book is also very puffed-up and biased (I don't know any other way of explaining it). Many times throughout the book, Belton seems like James Lipton of "Inside the Actor's Studio", and goes on and on about the greatness of Hollywood, actors, director's, and films with nothing negative to say. It's not at all critical of anything and the author frequently inserts his own interpretation of films into the general text, which I found a little pompous. The book does offer up some interesting facts about the early history and the birth of cinema, but there's something about the way this book was written that makes it hard to stay interested. I think the chapters about film genres exaggerate the importance of some of them, and neglects other genres completely, ie. Horror, Thriller, Mystery, Sci-fi, Animation, Epics, etc. Again, question the instructor and/or look at the class syllabus before siging up if this is the only book for this class. I don't believe this is a comprehensive and unbiased view of cinema and it's history.

A very useful beginners guide to American film........2003-01-08

Years ago I took an intro-level film class at a community college. This was the text for the class. It was accompanied (at least in my class) by a PBS video series that combined film clips with interviews and historical information. Going into the class I had little more than a passing interest in film and film history. But after taking that class, my passion for film has grown exponentially with each year. But back to the book, I really liked this book and highlighted my way from the front cover to the back cover. There are of course limitations to this book. Firstly, it deals only with American films. Secondly, this book barely breaks the 300-page mark - hardly a comprehensive volume. You aren't going to get any information on John Cassavetes here or anything. Now if you have a chance to use this book in conjunction with the PBS films, I think you'll do much better (in fact I think the vids even give a nod to Cassavetes), but even then please note that this material is for an INTRO-level film class, and won't be much good for someone who already knows a fair amount about American film. But with that in mind, the book still has a lot to offer someone looking to introduce themselves to film history.

The first third of the book starts with the birth of film, moves quickly on to the Hollywood studio system, and walks us through the basics of film style (camerawork, lighting, editing, etc.). The second third covers the basics of film genre; there is a chapter about film noir, one on comedies, one on war films, and one on westerns. This second section was particularly useful to me. I could read each chapter, jot down a list of promising titles, hit my local video store, and I was good to go. The third section covers American film after World War II. In this section things seem a little compressed. 110 pages for 50 years of film? A lot is lost on the cutting room floor. But there's lots to dig into all the same. There's a chapter on Hollywood during the McCarthy years (yikes!), one on film's evolution during the emergence of television, a chapter on 1960s counterculture films, one on the film school directors of the 1970s and 1980s, and finally a pretty weak chapter on film in the 1990s. Oh yeah, and at the end of the book there's a handy glossary (in case you're ever stuck on what point-of-view editing is) and a pretty thorough index.

Again, not a book for someone who already has a good feel for film history. But definitely a great resource for someone new to film studies, or for someone who has trouble finding a movie at Blockbuster on Fridays. It did a great job getting me excited about movies, and I imagine its done the same for others.... A good companion to this text (or possibly an all-out replacement of it) is Scorsese's VHS/DVD, "A Personal Journey With Martin Scorsese Through American Movies."

Movie spoiler.......2002-10-08

This would be a great book to read if you have no intention of watching the films discussed within, or if you've already seen them. On quite a few films, it tells the whole plot, in detail, from opening to end credits.

I also don't like the prose of the author, as he excessively uses sentences "in quotations". The writing structure is very formulaic and boring. The "5 paragraph essay" format is good for high school students learning to write, but imagine an entire book written that way. I can only read it for 15 minutes before losing interest.

The book does, however, provide plenty of examples from a variety of films.

Book Description

CELLULOID MIRRORS is an exciting new survey of major developments in American filmmaking since 1945. Coverage includes changes in film content, alterations in the business structure of Hollywood, shifts in theater design, the impact of television, and Hollywood's enduring mystique. This supplement is appropriate for a variety of courses, including American History Survey courses, Modern America History courses, American Cultural History, Film History, and Popular Culture.

Customer Reviews:

Informative but oddly confusing too--.......2002-04-12

"Celluloid Mirrors: Hollywood and American Society since 1945," is a small, dense, compact book designed to give a concise history of the relationship between Hollywood and American culture since 1945. The book does is premised on a statement in the Preface: "During the decades since World War II, the entertainment industry has reflected shifting American values and business practices." While not arguing for this proposition in the formal sense, this guiding assertion is an accurate reflection of the tone and tenor of this book.

Davis's intent is to sketch a broad series of trends that have affected Hollywood and its relationship to American culture. Most of these are fairly well known-the union strikes of 1945-46, the blacklisting of writers during the time of the House Un-American Activities Committee (HUAC). Some of these are less well known-the rise of conglomeration in the industry, the advent of Norman Lear's rise in the television community of the early 1970's. All of these trends though, are described in detail and with enough contextual information to anchor film and television trends to issues of larger American culture. This is not to say that major issues are not skipped, such as the Cold War itself or the changing (?) roles of women on television.

More so than the particular cultural trends, though, is Davis's need to provide names and brief descriptions of movies and television shows that he believes had the most impact and relevancy to his discussion. Thus, his book reads more like a catalog of different movies, and when they were made. In this way Celluloid Mirrors functions well as an introductory text for those who wish to engage movies and American culture at a basic level.

On the other hand, the book suffers from two main problems. First, the author often outlines a chapter under different subject headings, including some that do not always flow together with other subjects in the same chapter, and at the end of each chapter, a conclusion is offered that rarely attempts to reprise the material at hand or link it to upcoming material. Because of this, the book is difficult to follow a get a sense of overall, even though it is easy to understand from page to page. Secondly, the author has a distinct tendency to project a narrative of moral decline on American society, a narrative that with exceptions (especially in the 80's) paints a steadily decaying picture of American society. At the same time, Davis sometimes claims that this represents a form of maturity for movies and television, most notably in the discussion of Norman Lear's situation comedies. However he is not consistent with his descriptions, and the odd nature of the chapters' internal economy of meaning makes it unable to be describes as hermeneutic tension, outright contradiction, or simply poor editing.

Davis's book is not bad, but it needs to be read through more than once (for clarity's sake) , and needs some better organization before it can be classified as truly helpful.

Christopher W. Chase, PhD Fellow , Michigan St. Univ.

History and the Cinema.......1999-12-01

"Celluloid Mirrors" is a great book for those who might be studying the history of the cinema or the motion-picture industry. The author, Ronald L. Davis, did a great job of summarizing the life of the motion-picture industry. His extensive research shows the enormous role that Hollywood has and does play in the reflecting and shaping of our society. "Celluloid Mirrors" is a very informative book that should be read by everyone who considers themself an avid movie buff or film historian.

Book Description

The tangled connections that have bound Jews to African Americans in popular culture and liberal politics are at the heart of Michael Rogin's arresting and unnerving book. Looking at films from Birth of a Nation to Forrest Gump, Rogin explores blackface in Hollywood films as an aperture to broader issues: the nature of "white" identity in America, the role of race in transforming immigrants into "Americans," the common experiences of Jews and African Americans that made Jews key supporters in the fight for racial equality, and the social importance of popular culture. Rogin's forcefully argued study challenges us to confront the harsh truths behind the popularity of racial masquerade.

Customer Reviews:

Oh please!.......2007-03-12

No other entity spread anti-black racism more than the slave industry and Hollywood, and both were and are Jewish run. This claim that Jews put on a black face to work against anti-Jewish sentiment has to be the farthest stretch of Jews justifying their own racism towards blacks that I've read so far, and I've read more than my share. We need to be spending more time on combatting real racism, not a fabricated kind.

FASCINATING AND INVIGORATING SCHOLARSHIP.......2001-08-28

This is one of the five best non-fiction books I have ever read! It is superior to anything Rogin has written previously, magnificent as some of his earlier scholarship has been. I reccommend this book for film buffs, as well as anyone interested in learning how this country's history of racism has affected mass culture and how that has shaped our own understanding of what it means to be an American. Read and learn. This is cultural studies at its best.

America on Film: Hollywood and American History

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America on Film: Hollywood and American History
Kenneth M. Cameron
Manufacturer: Continuum International Publishing Group
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Binding: Hardcover

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ASIN: 0826410332

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Hollywood's American Tragedies
Mandy Merck
Manufacturer: Berg Publishers
ProductGroup: Book
Binding: Paperback

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Book Description

Theodore Dreiser's dissection of the American dream, An American Tragedy, was hailed as the greatest novel of its generation. Now a classic of American literature, the story is one to which Hollywood has repeatedly returned. Hollywood's obsession with this tale of American greed, justice, religion and sexual hypocrisy stretches across the history of cinema. Three attempts by some of cinema's greatest directors--Sergei Eisenstein, Josef von Sternberg and George Stevens--have been made to bring this classic story to the screen. Subsequently, both Jean-Luc Godard and Woody Allen have returned to the story and to these earlier adaptations. This is the first detailed study of this extraordinary sequence of adaptations. What it reveals is a history of Hollywood--from its politics to its cinematography--and, much deeper, of American culture and the difficulty of telling an American tragedy in the land of the American dream.

Hollywood's Indian: The Portrayal of the Native American in Film

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Hollywood's Indian: The Portrayal of the Native American in Film

Manufacturer: University Press of Kentucky
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ASIN: 0813190770

Book Description

NEW EXPANDED EDITION

Book Description

When he was summoned before the House Committee on Un-American Activities in 1951, Abraham Lincoln Polonsky (1911-1999) was labeled "a very dangerous citizen" by Harold Velde, a congressman from Illinois. Lawyer, educator, novelist, labor organizer, radio and television scriptwriter, film director and screenwriter, wartime intelligence operative, and full-time radical romantic, Polonsky was blacklisted in Hollywood for refusing to be an informer. The New York Times called his blacklisting the single greatest loss to American film during the McCarthy era, and his expressed admirers include Steven Spielberg, Martin Scorsese, Sidney Lumet, Warren Beatty, and Harry Belafonte. In this first critical and cultural biography of Abraham Polonsky, Paul Buhle and Dave Wagner present both an accomplished consideration of a remarkable survivor of America's cultural cold war and a superb study of the Hollywood left.
The Bronx-born son of immigrant parents, Polonsky--in the few years after the end of World War II and just before the blacklist--had one of the most distinguished careers in Hollywood. He wrote two films that established John Garfield's postwar persona, Body and Soul (1947), still the standard for boxing films and the model for such movies as Raging Bull and Pulp Fiction; and Force of Evil (1948), the great noir drama that he also directed. Once blacklisted, Polonsky quit working under his own name, yet he proved to be one of television's most talented writers. Later in life he became the most acerbic critic of the Hollywood blacklist's legacy while writing and directing films such as Tell Them Willie Boy Is Here (1970).
A Very Dangerous Citizen goes beyond biography to help us understand the relationship between art and politics in American culture and to uncover the effects of U.S. anticommunism and anti-Semitism. Rich in anecdote and in analysis, it provides an informative and entertaining portrait of one of the most intriguing personalities of twentieth-century American culture.

Customer Reviews:

Interesting but meandering.......2004-04-10

Arguably the Renaissance man of the Leftist movement, Abe Polonsky made his mark in the worlds of education, radio, film and television. A Very Dangerous Citizen documents in detail Polonsky's participation in socialist causes -- as well as his other public activities -- that ultimately led to his head-on collision with the U.S. government during the Red Scare of the late 1940s and 1950s. The list of Americans who have been labeled "a very dangerous citizen" on the floor of the United States Congress is a short one, and Polonsky earned that label due to his membership in the Office of Strategic Services during World War II.

Authors Paul Buhle and Dave Wagner have studied the blacklist extensively -- Buhle as the co-author of Tender Comrades: A Backstory of the Hollywood Blacklist and Wagner as the political reporter for the Arizona Republic. Together they have produced a thorough if somewhat clinical study of the American Communist movement through the life of one of its staunchest advocates.

The book begins slowly, as the authors devote several chapters to setting the stage for Polonsky's great triumphs in Hollywood by examining his past and the shaping influences in his life. While good biographic work, these scene-setting passages slow down the overall narrative to the point of distraction until the narrative arrives at Polonsky's best-known works, Body and Soul and Force of Evil.

These films, produced in 1947 and 1948, respectively, are the primary reason Polonsky is remembered today. Here, the parallels between his work and his politics are clearly defined. Body and Soul, considered the standard bearer for later boxing films such as Raging Bull, establishes the postwar persona of John Garfield (also a later blacklistee) and presents a full-blown condemnation of the system that compromises an individual's morality. Force of Evil, also with John Garfield, is a noir classic that takes the next step in exposing how American society breeds those who would operate beneath the law. In each case, Garfield's character embodies values that Americans of the period would find both reprehensible and admirable. Buhle and Wagner dissect the scripts and the production value of these films in their attempt to get into Polonsky's head, and are extremely competent in their analysis.

Once Polonsky is blacklisted, there isn't too much left to tell. His acerbic condemnation of those who perpetrated the blacklist as well as the popularity of his films overseas served to keep him active, but his later films were mere curiosities, known more for their creator than their content. This is not to say that Buhle and Wagner don't have fodder to continue their thesis. Indeed, they follow Polonsky through the '50s and his later return to Hollywood to work with newer stars like Robert Redford. Unfortunately, beyond his two great masterworks, Polonsky was no longer regarded as a pioneering voice in cinema, but rather as a historical curiosity.

Book Description

This is the first book to investigate Hollywood's treatment of American politics, politicians and political institutions. The author explains the influence - through creative, ideological and financial means - that Hollywood has on politics, and vice-versa. Key questions of agenda setting are addressed, as are the value-oriented frames of reference that Hollywood has helped shape in educating and directing the American public about politics and democracy.

American Politics in Hollywood Film is structured thematically, introducing sub-genres of election films, political biographies, action, adventure and thriller films. There is an overarching chronological pattern, beginning in the 1930's and ending in the 1990's, allowing the reader to trace the progression of the genre. 25 black/white film stills are included.

Customer Reviews:

Jeff Hart's review of American Politics and Hollywood Film.......2002-03-08

This is a good book on an important topic. Not only does it carefully describe and analyze a large number of Hollywood films on American politics, it also provides brief discussions of relevant film theories. As a result, the book might be quite useful in undergraduate courses where the instructor wants to provide a gentle entry point for students to film theory while also engaging them in debates about American politics.

Chapter 1 is devoted to an exposition of theory. Chapter 2 introduces the reader to a number of films of the 1930s and 1940s that have been forgotten in an effort to put classic films like Mr. Smith Goes to Washington and Citizen Kane into historical context. Chapter 3 focuses on films that deal with electoral campaigns. Chapter 4 deals with "conspiracy films" - including most of Oliver Stone's work, but also films like Francis Ford Coppola's The Conversation, Alan J. Pakula's All the President's Men, and Sydney Pollack's Three Days of the Condor. Ian Scott discusses these films as part of the larger genre of action thrillers, but also does a good job of parsing their political messages. Chapter 5 focuses on political biographies, particularly on films about specific presidents like Wilson, Sunrise at Campobello, JFK, and Nixon. Chapter 6 deals with the strange satirical political films of the 1990s like Wag the Dog, Bob Roberts, and Primary Colors. The book lacks a concluding a chapter.

The argument put forward in this book is that Hollywood "...has served to ground many of the fundamental principles and beliefs of the nation into the consciousness of its citizenry through symbolic as well as pedagogic means." More negatively, the author argues that Hollywood "has somehow been complicit in the simplification of the democratic debate..." [p. 3]

Scott notes that Hollywood uses existing myths/symbols to make filmic statements. In most Hollywood films about U.S. politics, liberal use is made of important monuments. In Mr. Smith Goes to Washington, for example, the Lincoln Memorial is used to symbolize integrity in democratic leadership. The colossal but benign image of Lincoln is associated with "triumph in the face of adversity, with sacrifice, and with preservation of the republic in a time of great upheaval." In Oliver Stone's movie Nixon, there is an important scene in which Richard Nixon debates with antiwar protesters at the Lincoln Memorial.

Another theme highlighted by Scott is the frequent plot element of "betrayed values." In films like Mr. Smith Goes to Washington, Citizen Kane, The Candidate, Primary Colors, and Bulworth, one of the key characters is portrayed as having betrayed his or her own core values during the film. The film then explores how that character deals with self-betrayal.

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Useful Case Studies of Individual Films and How They Depict American History

fun facts are only novel for the first few essays.

Excellent synthesis of history and film criticism.

History by Hollywood: The Use and Abuse of the American Past
Robert Toplin
Manufacturer: University of Illinois Press
ProductGroup: Book
Binding: Hardcover

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History Goes to the Movies: A Viewer's Guide to the Best (and Some of the Worst) Historical Films Ever Made

Reel History: In Defense of Hollywood (Cultureamerica)

Based on a True Story: Fact and Fantasy in 100 Favorite Movies

ASIN: 0252020731

Customer Reviews:

Useful Case Studies of Individual Films and How They Depict American History.......2006-07-06

Historians are uniformly condemnatory of most feature films that seeking to depict history events. Almost never are they accurate in any serious manner, even if they costume the cast appropriately for the time and place. "Gods and Generals," "Titanic," and "The Patriot" suggest that even when attention to detail prevails it often yields a false impression of the past. This is particularly unnerving to most historians because of the power of the medium to shape popular conceptions of historical events. In "History by Hollywood" Robert Brent Toplin offers a detailed analysis of how film makers "tell the story of real people and actual events from American history" (p. 1). While allowing that film makers should be allowed "dramatic license," Toplin insists that they do so in a responsible manner that seeks to understand rather than reinvent the past.

Toplin uses eight case studies to demonstrate how film makers have dealt with American history since the 1940s. In terms of release, the earliest film Toplin discusses is "Sergeant York," made in 1941 and it receives his plaudits for historical accuracy while also drawing important lessons for the present. Likewise, "Patton" (1970) draws powerful lessons from the World War II experience of the charismatic and eccentric Army officer applicable to the Vietnam experience of the 1960s and early 1970s. Toplin finds that "All the President's Men" (1976) and "Norma Rae" (1979) also exhibit a high commitment to historical accuracy, despite some liberties taken, and serve well as means of educating the present about threats to democratic institutions or worker rights.

The remaining four films raise other issues. "Bonnie and Clyde" (1967) and "Missing" (1982) both take important liberties with the historical record to make points about the present and to indict the U.S. government for crimes real and imagined. At the same time Toplin finds those films useful entrée points for those engaged in historical investigation of weighty issues. Finally, Toplin analyzes "Mississippi Burning" (1988) and "JFK" (1991) and finds both fatally flawed as history. Both raised important points about the events they depict but left a false impression of them in the minds of viewers.

Robert Brent Toplin is more magnanimous in assessing these films than I would be. With the exception of "Patton" and "Norma Rae" I am less kind in my assessments of these eight films. In some instances, such as "All the President's Men" and "JFK," the films create an utterly false impression of what took place. In the case of "All the President's Men" only the two Washington Post writers, Bob Woodward and Carl Bernstein, are seen as battling the forces of the administration, although several others such as Tip O'Neill and Judge John Sirica played key roles. "JFK," of course, promulgated a massive conspiracy of the military-industrial complex in the assassination of the president in 1963 when evidence is lacking supporting such an assertion.

This is an interesting and useful book in understanding the nature of Hollywood's depictions of American history. Enjoy!

fun facts are only novel for the first few essays........2001-06-16

this book shows a great deal of attention to the flubbs in hollywood, but in some cases, the information is too much. for instance, it is great to know where Patton was shot and where all of the equipment came from, but the essay lacks a clear thesis. for an academic text, i am disappointed.

Excellent synthesis of history and film criticism........1998-03-07

How does Hollywood distort history?
Toplin, a history professor at the University of North Carolina, describes four of Hollywood's principal methods of treating (or mistreating) history: mixing fact with fiction, shaping evidence to deliver specific conclusions, suggesting messages for the present in stories about the past, and fabricating a documentary style to develop the "Great Man" perspective on the past.
The techniques are employed in works as varied as "Bonnie and Clyde", " Sergeant York", and Oliver (I-don't-have-to-tell-the-truth-I'm-an-artist) Stone's "JFK", but while Toplin (naturally) respects historical accuracy, he acknowledges the narrative and dramatic necessities which inevitably contaminate the historical reality. He also notes special interest pressures to have movies reflect particular interpretations, and the film-makers' responses to criticisms of their historical veracity. A worthwhile look at some of Hollywood's reconstructions of the past, and their connections to larger issues.

Book Description

This fascinating study explores the Hollywood novel as a culmination of the American Dream and a symbol of its betrayal. Born of promise and hope yet focused on immediate gratification and profit, Hollywood mirrors the contradictions inherent in the myth of the American Dream. The history of the development of the Hollywood novel reflects the deterioration of the American Dream during the 20th century as it has passed from utopian promise through decadence to nightmare and apocalypse. Along these lines, the genre provides a metaphor for the growing sense of futility, loss of hope, and increasing sense of chaos that characterizes a spiritually deprived America.

Customer Reviews:

Hollywood Novels.......2000-08-21

This is a very well written and interesting book discussing the relationship between the Hollywood novel and the 'American Dream'. The author does a great job of giving synopses of the novels he discusses along with short quotations that give a good feel for both the novel and the author. I, personally, had not read any of the novels discussed, yet did not feel at any point that I needed more information about them to follow the discussion. This is an excellent overview for anyone particularly interested in the Hollywood novel. It also offers a fascinating insight into the modern American psyche. Even though I believe that Hollywood is at times unfairly villified by the public (and many of the authors of the novels discussed in this book), so, too, is modern America itself. To that extent, I think the Hollywood novel is a microcosm for modern American literature (a view which I formulated after reading this book). This book is clearly and intelligently written and should be a good read for anyone intereseted in American literature, Hollywood, or the psychology of modern American society.

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