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Home , Poverty Row, Silent comedy

American Cinema/American Culture, 5th edition Belton ©2018 ISBN: 0073514292 / 9780073514291

Table of Contents: Artifice Exposed Segmentation and Discussion of Moonlight PART 1 THE MODE OF PRODUCTION What's in a Name? Other Nontraditional Narratives CHAPTER 1 THE EMERGENCE OF THE Select Filmography CINEMA AS AN INSTITUTION “The Cathedral of the Motion Picture” CHAPTER 3 CLASSICAL Developing Systems: Society and Technology CINEMA: STYLE Edison and the Kinetoscope Form and Character Development Capturing Time Classical Economy: The Opening Sequence of Peepshows versus Projectors Shadow of a Doubt Mass Production, Mass Consumption The Art of Details A Public Spectacle Mise-en-Scène Middle-Class Amusements The Camera The Nickelodeon: A Collective Experience Meaning through Context: Camera Angle and Cleaning Up: The Benefits of Respectability Distance Spectacle and Storytelling: From Porter to Griffith Systematic Meaning: Some Definitions The Camera as Recorder Camera Movement The Camera as Narrator Lighting The “Feature” Film Three-Point Lighting Presenting . . . the Movie Palace High-Key/Low-Key Lighting “Gardens of Dreams” Star Lighting The Great Showmen Sound An Evolving Institution Miking and Mixing Select Filmography The Musical Score Sound and Continuity CHAPTER 2 CLASSICAL HOLLYWOOD Editing from Scene to Scene CINEMA: NARRATION Transitions A National Style Editing and Narrative Structure “The Temper of an Age . . .” Editing within Scenes A Narrative Machine Matches Equilibrium and Disruption Point-of-View Editing Characters and Goals The 180-Degree Rule Problem Solving Select Filmography Through Time and Space High Artifice, Invisible Art CHAPTER 4 THE Denial and Recognition Manufacturing Dreams Underlying Patterns Movies and Mass Production Analyzing Film Narratives: Segmentation Intangible Goods A Circular Pattern: Chaplin’s The Gold Rush The Majors and the Minors Symmetry Origins At the Center: Imagination Vertical Integration Journey to a New Place: Some Like It Hot , Blind Bidding, and Runs, Zones, and Flight and Pursuit Clearances Narrative Structure and Sexuality Studio Production: From Story Idea to Ad Campaign Resolution/Irresolution Under Contract Modernist Narration: Citizen Kane A Self-Contained World Unresolved Questions The Chain of Command Segmentation of Citizen Kane Studio Style M-G-M and Paramount Narrative and Musical Number: Degrees of Warner Bros. Integration 20th Century-Fox Musical Forms RKO Backstage Musicals Busby Berkeley Musicals Moulin Rouge Poverty Row Showpeople Collapse: The End of the Studio Era Transformation of Space: Performer, Props, Divestment, Independent Production, and a Audience Changing Marketplace Performer Starting from Scratch: The New “Studios” Props Select Filmography: From Four Sample Studios Audience Stylistic Registers CHAPTER 5 THE STAR SYSTEM From Black-and-White to Color The Mechanics of Stardom From Noise to Music Making Stars The Star Power The Astaire–Rogers Musical Persona The Integrated Musical Stardom and Mass Culture: From Persona to Star The Freed Unit Stars, the System, and the Public Singin’ in the Rain Stars and Culture: A Historical Survey Ideology and the Musical The Early Years The End of an Era Exoticism, Eroticism, and Modern Morality: Stars of A New Era Begins the 1920s Select Filmography Depression/Repression: The 1930s World War II and Its Aftermath CHAPTER 8 AMERICAN Stars and Anti-Stars Laughter and Culture Different Faces: The Rise of Black Stars Comedy, Repression, and Cultural Dreamwork Economics and Contemporary Stardom From Racism to Social Integration Select Filmography Comic Disintegration and Disorder Containing Chaos PART 2 AND THE GENRE SYSTEM Comedy, Class, and Democracy A Short History of American Screen Comedy CHAPTER 6 Silent Comedy The Origins of Melodrama Early Sound Comedy Types of Melodrama The Melodramatic Mode After the Screwball A Moral Phenomenon Alienation and Self-Reflection: The 1960s and Democratic Virtue Beyond A Social Vision From Animal to Ironic Romantic Comedies Melodrama as a Tool of Reform Bromance Politics and Melodrama Beta Male Comedies Two Film Melodramatists: Griffith and Vidor Serious An Agrarian Past Select Filmography History as Melodrama: The Birth of a Nation Everyman/No Man: The Crowd CHAPTER 9 WAR AND CINEMA Escape and Transcendence A World of Extremes Home as “Seventh Heaven” Breaking Rules The Lure of the City: Sunrise A Suspension of Morality Sound and Melodrama Deviant Narratives: From Individual to Group Goals Select Filmography Sexual Combat: Masculinity in the Oedipal Battles CHAPTER 7 THE MUSICAL Conventional Homoeroticism From Narrative to Musical Number Masculine/Feminine Setting the Stage Back from the Front Narrative Reality Crossovers: War and Genre Musical Reality The Battle for Public Opinion: Propaganda and the Shifts in Register Combat Film Chicago Preaching War and Peace Nine Mass Conversion: The Politics of Sergeant York Why We Fight: Education and the War Film Out of Time Anti-Heroes The Vietnam Reversal Contemporary Visions, Enduring Myths Race, Ethnicity, and the War Film Back to the Garden Confl icted: The Psychic Violence of War Unforgiven The Enemy Is Us Dead Man The Aftermath True Grit The 1991 Gulf War and World War II Redux Periods of Popularity The Gulf War Ambivalence: Land, Technology, and Utopia World War II Space: The Final Frontier The Iraq War Select Filmography Mediation and Representation Select Filmography CHAPTER 12 HORROR AND SCIENCE FICTION Horror versus Science Fiction CHAPTER 10 : SOMEWHERE IN THE The Two Things; Alien versus Aliens NIGHT “What If?” or “Oh No!” Made in the USA What It Means to Be Human Film Noir: Genre, Series, or Mode? Human versus Animal; Human versus Machine Noir as Genre: A Set of Conventions Borderline Figures Noir as Series: A Certain Style Human versus Nonhuman Noir as Mode: An Uneasy Feeling A Search for Knowledge Noir Aesthetics, Themes, and Character Types The Noir Stylistics: A Shift in Perspective The American Expressionism Self and Other From Disturbing Conventions to Conventional The Return of the Repressed Disturbances The Threat of the Other Noir and the Production Code Emotions and the Other Forbidden Subjects, Twisted Treatments Human Takeover The End of Censorship, the End of Noir? How We Became Posthuman Innocence Lost: The Literary Origins of Film Noir Sources of Cultural Anxieties Hard-Boiled Fiction Horror and Class The Detective Hero The Enlightenment and the Industrial Revolution Noir and Verbal of Science Fiction Women in Film Noir Extrapolative versus Speculative Women as Social Menace Utopian versus Dystopian Women as Psychological Terror A Brief History of Horror A Critique of Populism Classic Horror New Culture, Old Myths Modern Horror Capra and Film Noir Modern Horror and the American Family Film Noir: An Undercurrent in the Mainstream Modern Horror and Gender Select Filmography A Case Study in Modern Horror: Carrie A Brief History of Science Fiction CHAPTER 11 THE MAKING OF THE WEST 1930s Science Fiction The American par Excellence 1950s Science Fiction Frontiers: History and Cinema 1970s Science Fiction: Lucas and Spielberg Frederick Jackson Turner and the 1890s Posthuman Science Fiction “. . . Print the Legend” A Case Study in Posthuman Science Fiction: Blade The Literary West Runner Dime Novels and Pulp Magazines The Posthuman as Affi rmation of the Human From Natty Bumppo to Shane Select Filmography Bundles of Oppositions Adaptation: When East Meets West Bowlers to Bucksins PART 3 A POSTWAR HISTORY Feminine Transformations Teaching a Tenderfoot CHAPTER 13 HOLLYWOOD AND THE COLD Women, Civilization, and Nature WAR On Native Ground: Landscape and Conflict Origins: Communism, Hollywood, and the American A Struggle for National Identity Way From Wilderness to Garden Revolution and Repercussion A Clash of Cultures: Cowboys and Indians In the Red: The Depression Era Native Images, White Values Antifascists, Populists, and “Dupes” World War II and Government Policy Sex, Violence, and Ratings Inquisition: HUAC, McCarthy, and the Hollywood Ten The Great Teen Pic: Easy Rider Friends and Foes Transformation: The Counterculture Goes “Are You Now or Have You Ever Been . . .?” Mainstream Blacklisting and Beyond Alger Hiss, the Rosenbergs, and Senator McCarthy An Emerging Black Audience Naming Names A Revolutionary Film: Sweet Sweetback’s The Cold War Onscreen Baadasssss Song Pro-Soviet Wartime Outlaws or Role Models? The Anti-Commie Cycle Split Screen: The Two 1960s Us versus Them: Science Fiction and Paranoia Rejuvenation God and Country Select Filmography Subversions Chaplin in Exile CHAPTER 16 THE FILM SCHOOL GENERATION In Defense of the Informers: On the Waterfront The New Wave Aftermath The Theory: Directors as Stars The Fight Continues Cahiers du cinéma and Andrew Sarris Win, Lose, or Draw? Retrospective: America Discovers Its Cinematic Past Select Filmography The Critic as Filmmaker Training Ground: The Rise of Film Schools CHAPTER 14 HOLLYWOOD IN THE AGE OF The Color of Money: Young Directors and the Box TELEVISION Office The Big Decline: Hollywood Loses Its Audience Youth Films and Economics At Leisure: Recreation in Postwar America The School The Role of Television Exploitation on a Grand Scale Do Something! Passive Entertainment versus Action References, Meaning, and Postmodernism The House, the Car . . . The Art of Allusion . . . The Drive-In De Palma and Hitchcock Fewer, Bigger, Wider, Deeper “The Failure of the New” This Is Cinerama Schizophrenia and Incoherence The 3-D Assault A Postmodern Case Study: Taxi Driver CinemaScope Reassurance: Comfort, Comics, and Nostalgia Todd-AO and the Theatrical Experience A Return to Innocence War with Television, Peace with Its Revenues Opposing Visions From Villain to Partner Back in Time Panning and Scanning: Making CinemaScope Fit on Contradictory Impulses TV The Brat Pack DVDs and Widescreen TV The Reagan Years Movie-“Going” “This Time Do We Get to Win?” Spectacles Physical Culture: Biology as Destiny Big Event Pictures Another Generation Digital Cinema and Digital 3-D Select Filmography Select Filmography CHAPTER 17 INTO THE TWENTY-FIRST CHAPTER 15 THE 1960S: THE CENTURY COUNTERCULTURE STRIKES BACK Contradictions: From the Gipper to Blue Velvet Youth and Challenge Reaganite Cinema: “Morning in America” The Kennedy Era Regeneration “The New Frontier” Nostalgia: Coming of Age in the Past The Civil Rights Movement Paradise Lost/Paradise Regained Against the War Striking Back Liberation: The Women’s Movement Castles in the Air: Reimagining Traditional Institutions Projections: Women on the Screen Having It Both Ways Youth Films: Activism as Lifestyle Being All That You Can Be “Solving” the Race Problem Oedipus with a Happy Ending: The Return of the On the Offensive: Money, Films, and Changing Father Morality Parents and Babies: A Wide Spectrum Controversy and Conservatism Countercurrents A New Vocabulary Martin Scorsese: Against the Grain Live Fast, Die Young: Bonnie and Clyde The Gay New Wave Spike Lee: Into the Mainstream Fantasy Films Jim Jarmusch and Julie Dash: On the Fringe The Digitization of the Cinema Independent Cinema Digitization and Fantasy Into the Twenty-First Century Digital 3-D: Avatar Hollywood in the Information Age: Game Logic Seeing through Fantasy Computers and Boolean Logic Select Filmography

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