Book Description
America on Film: Representing Race, Class, Gender, and Sexuality in the Movies is a lively introduction to issues of diversity as represented within the American cinema. The first synthetic and historical text of its kind, America on Film provides a comprehensive overview of the industrial, socio-cultural, and aesthetic factors that contribute to cinematic representations of race, class, gender, and sexuality. The volume chronicles the cinematic history of various cultural groups, examines forces and institutions of bias, and stimulates discussion about the relationship between film and American national culture.Accessible and user-friendly, America on Film features 101 illustrations, a glossary of key terms, questions for discussion, and lists for further reading and further viewing. The book is organized within a broad historical framework, with specific theoretical concepts - including film genre, auteurism, cultural studies, Orientalism, the "male gaze, " feminism, and queer theory - integrated throughout. Each individual chapter features a concise overview of the topic at hand, a discussion of representative films, figures, and movements, and an in-depth analysis of a single film, including The Lion King, The Jazz Singer, Smoke Signals, The Grapes of Wrath, and The Celluloid Closet.
Book Description
In one compact volume, POP DREAMS analyzes the trends, events, and personalities that influenced American culture from 1945 to 1970. The discussion broadens students' understanding of major events in popular culture by putting those events in historical context.
Customer Reviews:
brief and well written.......2005-08-25
This little book could easily have been a fully fledged tome. Loss surveys the popular American media in the 1960s. He shows how it echoed and in turn fed back on the burning issues of the times. The Vietnam War and the civil rights movement.
There is discussion of politics at the Federal level, with the actions of US Presidents being key events. But Loss manages to tie this all into a narrative that also encompasses analysis of the rock and roll scene and the counterculture.
The book is aimed at an undergraduate or high school reader, as a quick synopsis of trends that Loss traces back to 1945 and the emergence of the US from the Second World War. He hopes to whet the reader's appetite for more detailed reading of these vast topics.
Book Description
Hailed as the definitive work upon its original publication in 1975 and now extensively revised and updated by the author, this vastly absorbing and richly illustrated book examines film as an art form, technological innovation, big business, and shaper of American values. 80 black-and-white photos.
Customer Reviews:
Out there.......2007-09-02
I have only read the first 3 or 4 chapters so far, but the editor has no linear stream of conciousness. He meanders along in his thought process with no logical structure in mind. Interesting take on the history of American movies.
A Grand Discourse on Filmdom and Society........2006-12-10
The author shows how movies not only reflect our society but influence it as well.
Are you a film buff, a history buff, or both?
Then this book will fascinate you from start to finish.
Interesting Course Reading.......2005-09-28
This is a great book that was required reading for Steven Ross' "Film, Power, and American, History" course at USC. Not only was it very relevant and well organized, but genuinely interesting too!
Great Classic work.......2005-02-15
This is a must read in the social and cultural history of American cinema.
Perfect.......2003-12-05
Sklar's Movie Made America was assigned as my textbook for a film class I just finished here at UCLA. At first I thought it to be a bit boring, especially because I thought it was just repeating what the professor had discussed in class. However, when I truly began to appreciate this book and take the time to read every word, I realized that Sklar not only presents the facts, but synthesizes the history of American cinema in innovative and interesting contexts. He discusses the way that film, from its start, has changed America as a social body, as a political body, as an economic body, and as a body in of itself.
Certain chapters were intriguing because they took standpoints different than any other author. And while the words are a bit dated, last revised over 10 years ago, it still has a spooky sense of relevance.
Overall, a wonderful book. If you're interested in the history of American film, here you go. I'm not selling this one back to the bookstore during Buy-Back time. That's for sure.
Book Description
Combining history with discussions of dramatic cinema, Based on a True Story: Latin American History at the Movies examines how film has portrayed Latin America from the late fifteenth century to the present. The book opens with an introduction on the visual presentation of the past in the movies, while the rest of the book consists of essays that explore the best feature films on Latin America from the professional historian's perspective.
Book Description
This engaging, deeply researched study provides the richest and most nuanced picture we have to date of cinema--both movies and movie-going--in the early 1910s. At the same time, it makes clear the profound relationship between early cinema and the construction of a national identity in this important transitional period in the United States. Richard Abel looks closely at sensational melodramas, including westerns (cowboy, cowboy-girl, and Indian pictures), Civil War films (especially girl-spy films), detective films, and animal pictures--all popular genres of the day that have received little critical attention. He simultaneously analyzes film distribution and exhibition practices in order to reconstruct a context for understanding moviegoing at a time when American cities were coming to grips with new groups of immigrants and women working outside the home. Drawing from a wealth of research in archive prints, the trade press, fan magazines, newspaper advertising, reviews, and syndicated columns--the latter of which highlight the importance of the emerging star system--Abel sheds new light on the history of the film industry, on working-class and immigrant culture at the turn of the century, and on the process of imaging a national community.
Book Description
This groundbreaking book takes the reader behind the closed doors of the editing room where Sam O'Steen along with some of the world's top directors controlled the fate of many legendary films. Editors don't usually sit on movie sets, but Sam was there through the entire shoot and his editing tales are spiced with juicy anecdotes about exotic locations and colorful producers, directors, and stars.
Customer Reviews:
A compelling mix of a master at work and celebrity intriques.......2002-03-29
This book documents the creative evolution of the editor's role in Hollywood. Sam and Bobbie O'Steen weave a fascinating tale of how Sam worked his way from messenger at Warner Bros. to 'a pair of hands cutter' to master artist crafting the most amazing films that emerged after the fall of the studio system: "Whose Afraid of Virginia Woolf", "Catch 22","Carnal Knowledge", "Chinatown". He worked with the top artists of his time and shares many unique and special anecdotes about them. Along the way he gives us insight into a master editor at work, writing about the choices and changes that can make a good film, great. A great addition to film fan or film students library.
Required Reading.......2002-03-23
Sam and Bobbie O'Steen have given us an exceptional mix of Sam's takes on all the elements that go into movie making - human, technical, personalities, talent/no talent and gossip - in a way that made me feel as though I was in a living room listening to Sam O'Steen tell stories. What a treat.
Sam O'Steen's editor's view of movie making combined with quite a cutting sense of life is unique. His throw away lines about some executives and stars are very telling. His generosity talking about editing brings great sense to the whole movie making process, and his body of work (Who's Afraid of Virginia Wolfe, The Graduate, Chinatown, Rosemary's Baby, Catch 22, Carnal Knowledge, Silkwood, Working Girl, and all the rest...) allows him to speak with an earned cockiness. This book is a treasure for anyone who loves movies.
Very highly recommended for any film student or movie buff.......2002-03-21
Cut To The Chase: Forty-five Years Of Editing America's Favorite Movies is a rare look into the film editor's trade. In the format of an extended interview of Hollywood legend Sam O'Steen, editor of such renowned movies as "The Graduate," "Chinatown," and "Who's Afraid of Virginia Wolf?", and with the assistance of his wife, Bobbie O'Steen (herself an experienced writer and former film editor) covers all aspects of the creative movie making process as it really is in the lumbering, confusing, and sometimes merciless machine that is Hollywood. Showcasing the stars that he worked with, and much more, Cut To The Chase is very highly recommended for any film student or movie buff curious about what really goes on behind the silver screen.
not as much actual editing info as expected.......2002-02-18
While I do recomend this book as a good insight into the politics of making a major motion picture, I found it lacking in the one area it should have exceled in-editing. As an editor myself I was looking for more insight to O'Steen's thought process and editiorial technique and less behind the scenes gossip. Skip all the chapters after "Chinatown". It is a good read up to that point.
A Must-Read For Film Fans.......2002-02-10
This is one of the best books about the film business I've ever read. Legendary film editor Sam O'Steen tells all about his craft and about the importance of the relationship between editor and director. In doing so, we learn how the editor's role was crucial in shaping some of the greatest films of the last forty years including Who's Afraid Of Virgina Wolf, The Graduate, Carnal Knowledge, Silkwood and others. The book is the transcribed conversations between Sam and his wife and fellow editor, Bobbie O'Steen. It is remarkably intimate and wonderful in its backstage gossip as Bobbie gets a great performance from Sam, a classic storyteller who pulls no punches. Critical insight into the technique of filmmaking is mixed with racous and often breathtaking tales of Hollywood before parents began sending their kids to film school as an alternative to being a doctor.
Book Description
White slave films, dramas documenting sex scandals, filmed prize fights featuring the controversial African-American boxer Jack Johnson, D.W. Griffith's The Birth of a Nation--all became objects of public concern after 1906, when the proliferation of nickelodeons brought moving pictures to a broad mass public. Lee Grieveson draws on extensive original research to examine the controversies over these films and over cinema more generally. He situates these contestations in the context of regulatory concerns about populations and governance in an early-twentieth-century America grappling with the powerful forces of modernity, in particular, immigration, class formation and conflict, and changing gender roles.
Tracing the discourses and practices of cultural and political elites and the responses of the nascent film industry, Grieveson reveals how these interactions had profound effects on the shaping of film content, form, and, more fundamentally, the proposed social function of cinema: how cinema should function in society, the uses to which it might be put, and thus what it could or would be. Policing Cinema develops new perspectives for the understanding of censorship and regulation and the complex relations between governance and culture. In this work, Grieveson offers a compelling analysis of the forces that shaped American cinema and its role in society.
Book Description
A revealing and affectionate account of the personal and political lives of the left-wing screenwriters, directors, and actors behind Hollywood's Golden Age. The first comprehensive book about Hollywood's future blacklistees and the hundreds of films they wrote or directed from the dawn of sound movies to the early 1950s, Radical Hollywood traces the political and personal lives of the activists along with the often-decisive impact of their work upon American film's Golden Age. A highly readable, anecdotal history, featuring an insert of classic film stills, , Radical Hollywood describes the story-behind-the-story of such famous films as Mr. Smith Goes to Washington, Casablanca, and Woman of the Year, alongside such campy items as The Adventures of Captain Marvel, Sherlock Holmes and the Voice of Terror, and Kiss the Blood off My Hands. Genres like crime and women's films, family cinema, war, animation and, above all, film noir are reconsidered here, with fresh evidence drawn from interviews and recent archival breakthroughs. A long-awaited rediscovery of an overlooked intellectual-artistic milieu, , Radical Hollywood will interest all film-lovers and devotees of political culture. 16 pages b/w photographs.
Films discussed include: The Adventures of Captain Marvel • The Big Clock • Body and Soul • Back Door to Heaven • Blues in the Night • Cabin in the Sky • Caged • Casablanca • Champion • Deadline at Dawn • Destry Rides Again • The Devil-Doll • Diplomaniacs • Dynamite • Frankenstein • G. I. Joe • Give Us This Day • Gun Crazy • High Noon • Hitler's Children • Hold That Ghost • Honky Tonk • Keeper of the Flame • Kiss the Blood off My Hands • Kitty Foyle • Lassie, Come Home • The Lawless • Life with Father • The Long Night • The Maltese Falcon • The Man Who Reclaimed His Head • Marked Woman • Mayor of Hell • Meet the People • Mission to Moscow • Monsieur Verdoux • Mr. Smith Goes to Washington • None but the Lonely Heart • Our Vines Have Tender Grapes • Phantom Lady • The Philadelphia Story • A Place in the Sun • The President's Mystery • Pride of the Marines • The Public Enemy • Ruthless • The Sea Hawk • Sherlock Holmes and the Voice of Terror • Stella Dallas • Stormy Weather • The Story of G.I. Joe • Talk of the Town • Theodora Goes Wild • The Thin Man • Thirty Seconds over Tokyo • A Tree Grows in Brooklyn • Watch on the Rhine • The Wizard of Oz • Woman of the Year
Customer Reviews:
Hollywood's Travels -- and Travails.......2004-03-29
Radical Hollywood, by Paul Buhle and David Wagner, is an exhaustively (if at times exhaustingly) comprehensive and, as far as I can tell, mostly accurate (if at times chronologically confusing) catalog of the many U.S. motion pictures created during the brief cinematic "Golden Age" from roughly the beginning of the New Deal to the onset of the Cold War by what could loosely be called the Hollywood Left -- or the Left in Hollywood, such as it was.
The fact, though, that Buhle and Wagner had to write a book largely to explain the alleged "radical" subtext in these films by their non-monolithic screenwriters illustrates how the "threat" posed to U.S. society (read: the capitalist class) by such pictures was wildly exaggerated by right-wing anti-communists for political reasons. (Was Lassie Come Home, for example, going to undermine the foundations of capitalism simply because it was adapted for the screen by a Communist?) And yet, maybe that perceived subtlety (where present, enforced perhaps at least as much by studio economics and cultural restraints as by national politics) was the kind of "subversion" the inquisitors found so dangerous to the interests of the social class they actually represented.
Or maybe it was a case of guilt by either membership or association, with the work of any Communist -- or anyone associated however remotely with a Communist or the Communist Party -- being cast under suspicion, whatever the nature of his or her work. But just as Freud is reputed to have said that sometimes a cigar is just a cigar, sometimes, say, an expressly comedic film is just that, and nothing more. And even from a Leftist perspective, that is not necessarily bad. Consider, though, Sullivan's Travels, which oddly political yet intriguing picture instead of self-consciously being "an answer to communism," actually makes a case for it in spite of itself, and which despite its intentions (or perhaps because of them), may be more politically effective than many a more tendentiously political piece of cinema, even when the title character keenly observes that, "There's a lot to be said for making people laugh," it being "all some people have." (Curiously, the opening scene-within-a-scene of this 1941 comedy -- written and directed by Preston Sturges, who, like this film, is not mentioned by Buhle and Wagner nor is he identified by them as being a part of the Hollywood Left community -- anticipated the ending of the 1948 drama Ruthless, co-scripted by one of the Hollywood Ten and discussed by the authors.) Indeed, there is nothing inherently wrong or reactionary with making people laugh, provided one sees that culture can and should be for the edification as well as the entertainment of the public. And this is where skilled and honest Leftist cultural workers are in their element. But just as an artist must elect to fight for freedom or slavery, according to the great Paul Robeson, so, ultimately, must an artist's audience.
However, Buhle and Wagner betray a kind of not so much discernibly anti-communist as anti-Communist (or anti-Communist Party) subtext of their own throughout the book -- typical of that tendency of neo-Left thought developing in the 1960s which, by intent or in effect, sought the very break with the historical continuity of the Communist Left that Buhle and Wagner see as a consequence of the Hollywood blacklist, as when they blame "Party bureaucrats" for the demise of the Hollywood Left (or what passed for it), when were it not for the (albeit imperfect) agency of the Communist Party (often in the midst of internal struggle as well as external attack, the effect of the former evidently not sufficiently and fairly understood or appreciated by the authors), most of those who became the radical screenwriters and filmmakers of Hollywood would likely never have even thought of attempting what they somehow managed in some form to bring to the movie screen.
A fascinating journey.......2003-10-03
"Radical Hollywood" is both fabulously entertaining and enlightening. For movie fans (who isn't) and students of American history, it provides a fascinating behind-the-scenes look at the radical politics of the directors, screen writers, and actors who were part of the Hollywood mainstream until McCarthyism drove them out. When you reflect on the greatness of their work, you realize that the witch-hunt was our loss as well as theirs.
The cover photo of "Radical Hollywood" suggests that many of these figures were not ordinarily associated with the left. With James Cagney placing his hand somewhat menacingly on Jean Harlow in "The Public Enemy", you have to wonder what the connection is. As it turns out, the script was written by William Bright, who was one of the first left-wing innovators in Hollywood. Hailing from Chicago, he was part of a group of youngsters around Dr. Ben Reitman, Emma Goldman's longtime lover. During the Great Depression, he worked for a time as a smalltime bootlegger and was inspired by this experience to write about criminal life, emphasizing how social relations are distorted by capitalism.
Cagney threw his support to the burgeoning labor movement in the 1930s on Bright's prompting. He signed on to a support committee for strikers in the San Joaquin Valley in 1934. When the Hearst press began to redbait Cagney, he pulled back from future involvement with the left. If witch-hunting had not been a factor in Hollywood from the beginning, it is not too difficult to imagine much more willingness on the part of movie stars to speak out on social and political questions.
To see how figures such as Ed Asner, Susan Sarandon and Sean Penn are stigmatized in the equivalent of the Hearst press today for having the temerity to speak out about US foreign policy, you can only appreciate the scholarly effort that went into "Radical Hollywood". For in the final analysis its authors demonstrate that radicalism is very much a phenomenon that grew out of the American soil and was not imported by agents of a foreign power.
Man the pumps, it's too thin to shovel.......2003-01-17
It's quite true that the authors' knowledge of Hollywood film history is encyclopedic, and this alone makes the book an indispensable reference to the stories behind the stories of innumerable great and less-than-great films. Described elsewhere as "the Abbott and Costello of film studies," these two spew forth gallons of embarrassingly wrongheaded and outmoded leftie humbug; nevertheless this is exactly what makes their work so useful. Yes, all those "paranoid" right-wingers were right all along about the real motives and agendas in Hollywood "back then." And not much has changed...it's still "Fantasyland" in more ways than one, which ought to be an important clue to the etiology of leftism. My only real objection to this work is that being so thoroughly deluded by their own political fantasies as they are, the authors attempt to claim almost everyone in Hollywood as a real, potential, or lapsed leftie, whether or not there was ever much actual evidence of it...a kind of triple-reverse McCarthyism. One final tip: buy this book second-hand. I'd hate to think I'd given one red cent (no pun intended) to either of these authors or their publisher.
Encyclopedic.......2002-07-19
This is a good look at the often ignored early radicals of hollywood. It gives a good history of the time leading up to and the aftermath of the Blacklist and it's antisemitic tendencies. Paul Buhle, et al seem to have an encyclopedic knowledge of the subject but I found their method of sharing the information a little overwhelming and pedantic. Every page is dotted with references to very obscure films, many with alternative titles, that are impossible to find. It's difficult to envision many of the situations and influential aspects of the films when you can find no more information on them much less see them. Taking all of the authors information on faith is not the usual film studies method. In contrast to many books about hollywood this one dosn't have many salacious details about harlets and moguls. I would recommend this book to serious film/hollywood history buffs only.
Average customer rating:
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This Is a Picture and Not the World: Movies and a Post-9/11 America (Suny Series in Postmodern Culture)
Joseph Natoli
Manufacturer: State University of New York Press
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Book Description
Uses satirical parodies of screenplays and political blogs to reveal the cracks in our post-9/11 American psyche.
Book Description
American culture after the end of World War II has been characterized by an abiding pessimism most clearly manifested in the film noirs of the period. Mike Chopra-Gant challenges this "noir and Zeitgeist" reading and proposes that the view of American cinema and society it develops relies on a retrospective re-imagining of the era, based on the erroneous promotion of selected movies. His vigorous revisionist account of the films and culture of the period also challenges traditional approaches to genre, to masculinity and the family, by focusing on key themes in the most popular films in terms of box office revenues, including Best Years of Our Lives, Night and Day, Scarlet Street and Gilda.
Customer Reviews:
New View of the Post War Movies.......2006-06-22
The commonly held opinion about American movies in the years 1946-50 is that they reflect a culture that was having a crisis of masculinity, a perception of widespread corruption in society and a prevailing sense of gloom, pesimism and cynicism.
In this book Chopra-Gant presents a revisionist view of the films of this period. He argues that the wrong films were studied to generate this view. Instead he researched the most popular films (in terms of revenue generated) of 1946 and in these films the tone is quite different. Many of these films instead show the triumph of American beliefs - democracy, classlessness and individualism.
One point he discusses is the fall off in revenue spent on movies after 1947. He does not supply a reson for this, but I suspect that it had nothing to do with the movies, instead it had to do with the start of the baby boom. Younger people, and dating people tend to go to the movies a lot more than married people who now have an infant at home.
Books:
- America on Film: Representing Race, Class, Gender, and Sexuality at the Movies
- American Cinema/American Culture
- Angels on Sunset Boulevard
- Art of Imagination: 20th Century Visions of Science Fiction, Horror, and Fantasy
- Before the Dawn (Dark Angel)
- Blue Ocean Strategy: How to Create Uncontested Market Space and Make Competition Irrelevant
- Bogart
- Bond on Set: Filming Casino Royale
- Carnal Thoughts: Embodiment and Moving Image Culture
- Cinema for French Conversation: Le Cinema en Cours de Francais, Second Edition
Books Index
Books Home
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Reel History: In Defense of Hollywood (Cultureamerica)
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