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In a series of newly commissioned chapters,
The Oxford Handbook of American Film History offers a new and fully compelling discussion of American film as marked by significant moments of industrial and artistic change. Many of the chapters are built upon primary sourced research, while others detail aspects of form and style. Together, the chapters in this book show a history shaped by multiple theses and voices and interests.
Table des matières
- Introduction
- Part 1. Early and Silent Cinema-1895-1927
- Chapter 1: "All Things Go: Travel Imaginaries, Letter Sheets, and the Emergence of Cinema"
- Chapter 2: Transition's Longue Duréeand the Historiographical Vagaries of Silent American Cinema
- Chapter 3: 16mm Hollywood
- Chapter 4: "The Conquest of Paris": Making French Cinema American, 1910-1925
- Chapter 5: Slapstick as Media History, or, the Joke in the Machine
- Chapter 6: "Rethinking Uplift and Class in Early Black American Cinema"
- Chapter 7: When "Orientals" Become "Indians": Gender, Race, Masquerade in Frontier Silent Films
- Part 2. Classical Hollywood-1928-1946
- Chapter 8: The Classical Hollywood Studio Era: A Case Study of Warner Brothers
- Chapter 9: The Sound of Movement
- Chapter 10: The MGM Woman's Film 1928-1947
- Chapter 11: Managing the Classical Hollywood Musical's Dancing Bodies: "Morality" and Glamour
- Chapter 12: Hollywood Gangsters: Crime, Punishment, and Movieland Celebrity
- Chapter 13: License Revoked? Orson Welles's Studio Films of the Mid-Forties
- Part 3. The Postwar Transition-1947-1967
- Chapter 14: "Image Management and the Fall of Hollywood's Golden Age"
- Chapter 15: Selling Noir's "Red Meat" to the Female Market
- Chapter 16: Efficient Alfred: Hitchcock's Technical Images, 1946-1964
- Chapter 17: Becoming Queen: Barbara Stanwyck's Postwar Westerns
- Chapter 18: The Square Screen: A Look at the Unhip Cinema of the 1960s
- Chapter 19: "'Who Do I Have to Fuck to Get off This Picture?' Roger Corman as Progressive Exploitation Auteur"
- Part 4. The New Hollywood(s)-1968-1999
- Chapter 20: "Industrial Signposts to New Hollywood's Demise: First Artists, the Directors Company and United Artists"
- Chapter 21: The End of the World (As It Is Collectively Known at the Time): Hit Patterns in US and Global Box-Office Charts
- Chapter 22: "Men Produce, Women Develop": Feminized Story Labor, Executive Power and the "D-Girl" In New Hollywood
- Chapter 23: Foxtrot Tango Alpha: Jane Fonda's New Hollywood
- Chapter 24: Changing the Conversation: Black Film Discourse in 1970s New York
- Chapter 25: Male Fusion: Cronenberg's Masculinities, The Fly, and the First AIDS Era
- Chapter 26: "A short little Hebrew man" with "a scintilla of homosexuality": Mel Brooks's Queer Comedy and Vulgar Humanism, from The Producers (1967) to The Producers (2005)
- Chapter 27: Genderqueer Approaches to Blaxploitation
- Part 5. Converging Media-2000-2023
- Chapter 28: "Fin-dies," Filmanthropy, and the Financialization of Indie Film
- Chapter 29: From Tentpoles to Universes: Hollywood's Evolving Franchise Strategy
- Chapter 30: The Disintegration Effect
- Chapter 31: "Dark Money Documentaries"
- Chapter 32: Forward-looking Statements, or, The Content of the Content
A propos de l'auteur
Jon Lewis is the University Distinguished Professor of Film Studies at Oregon State University. He is the author of
Hollywood v. Hard Core: How the Struggle over Censorship Saved the Modern Film Industry,
Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles, and
Road Trip to Nowhere: Hollywood Encounters the Counterculture.
