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Introducfion 2 IDEOLOGY and CINEMATOGRAPHIC STYLE

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Introducfion 2 IDEOLOGY and CINEMATOGRAPHIC STYLE Notes INTRODUCfION 1. C. Higham, Hollywood Cameramen (London: Thames and Hudson, 1970), p. 10. 2. Ibid., p. 11. 3. A. Sarris, The American Cinema (New York: E. P. Dutton, 1968), p. 31. 4. L. Maltin, The Art of the Cinematographer (New York: Dover, 1978), p. 12. 5. Ibid., p. 17. 6. Ibid., p. 19. 7. Ibid., p. 26. 8. T. Rainsberger,lames Wong Howe, Cinematographer (London: Tantivy Press, 1981), p.61. 9. Ibid., p. 162. 10. R. Williams, Television: Technology and Cultural Form (Glasgow: Fontana, 1974), p. 130. 11. P. Ogle, 'Technological and Aesthetic Influences on the Development of Deep Focus Cinematography in the United States', in B. Nichols (ed.), Movies and Methods, Vol. 2 (London: University of California Press, 1985), p. 64. 12. A. Bazin, What is Cinema?, Vol. 1 (London: University of California Press, 1967), pp. 21 and 30. 13. Ibid., p. 21. 14. D. Bordwell, J. Staiger and K. Thompson, The Classical Hollywood Cinema (Lon- don: Routledge and Kegan Paul, 1985), p. 244. 15. Ibid., p. 7. 16. Ibid., p. 6. 17. N. Burch, Life to Those Shadows (London: British Film Institute, 1990), pp. 260-1. 18. N. Burch, In and Out of Synch (Aldershot: Scolar Press, 1991), p. 165. 2 IDEOLOGY AND CINEMATOGRAPHIC STYLE 1. The following section is based on Chapter 1 of the author's Ideology (London: Batsford, 1992) where the defmition is developed more fully. The three texts men­ tioned earlier are: J.-L. Comolli and J. Narboni, 'Cinema/ldeology/Criticism,' in B. Nichols (ed.), Movies and Methods (London: University of California Press, 1976), pp. 22-30; P. Biskind, Seeing Is Believing (London: Pluto Press, 1984); B. Nichols, Ideology and the Image (Bloomington: Indiana University Press, 1981). 2. J. Collins, Uncommon Cultures (London: Routledge, 1989), p. xiv. 3. The original arguments can be found in N. Abercrombie, S. Hill and B. S. Turner, The Dominant Ideology Thesis (London: Allen and Unwin, 1980) with the updated version in N. Abercrombie, S. Hill and B. S. Turner (eds), Dominant Ideologies (London: Unwin Hyman, 1990). 4. T. Eagleton, Ideology: An Introduction (London: Verso, 1991), p. 45. 5. J. B. Thompson, Ideology and Modern Culture (London: Polity Press, 1990), p. 56. 6. Ibid., p. 57. 154 Notes 155 7. See Chapter 8 of the author's Ideology for an example of a general ideological analysis of a recent film (Raging Bull, d. Martin Scorsese, 1980). 8. R. Barthes, S/Z (New York: Hill and Wang, 1974), p. 20. 9. J. B. Thompson, op. cit., p. 275. 10. K. Silverman, The Subject of Semiotics (Oxford: Oxford University Press, 1983), p.270. 11. R. Barthes, op. cit., p. 100. 12. F. Basten, Glorious Technicolor (London: Thomas Yoseloff, 1980), pp. 170-1. 13. C. Metz, Language and Cinema (The Hague: Mouton, 1974), pp. 28-9. 14. Ibid., p. 62. 15. Ibid., p. 63. 16. Ibid., pp. 75-6. 17. Ibid., p. 86. 18. S. Russell, Semiotics and Lighting (Ann Arbor: UMI Research Press, 1981), pp.44-5. 19. B. Salt, Film Style and Technology (London: Starword, 1983), pp. 389-91. 20. Ibid., p. 243. 21. J. Paine, The Simplification of American Life (New York: Amo Press, 1977), pp. 210-11. 22. Ibid., p. 16. 23. S. Neale, Genre (London: British Film Institute, 1980), p. 55. 24. S. Heath, Questions of Cinema (London: Macmillan, 1981), pp. 19-75. 25. D. Bordwell, Narration in the Fiction Film (London: Methuen, 1985), p. 25. 26. J. Feuer, The Hollywood Musical (London: Macmillan, 1982), p. 36. 27. E. Branigan, Point of View in the Cinema (Berlin: Mouton, 1984), p. 103. 3 FROM SILENT TO SOUND: ALL QUIET ON THE WESTERN FRONT 1. D. Gomery, The Hollywood Studio System (London: Macmillan, 1986), p. 150. 2. C. R. Barker and R. W. Last, Erich Maria Remarque (London: Oswald Wolff, 1979), pp. 15 and 165. 3. Ibid., pp. 19-20. 4. Details of the production history in the following paragraph are taken from C. Denton, K. Canham and T. Thomas, The Hollywood Professionals, Vol. 2: Henry King, Lewis Milestone, Sam Wood (London: Tantivy Press, 1974). 5. A. Estrin, The Hollywood Professionals, Vol. 6: Capra, Cukor, Brown (London: Tantivy Press, 1980), p. 97. 6. Slide's claim can be found in his article 'All Quiet on the Western Front,' in C. Lyon (ed.), The Macmillan Dictionary ofFilms and Filmmakers, Vol. 1 (London: Macmillan, 1984), p. 22. The information on Broadway comes from Barry Salt's Film Style and Technology (London: Starword, 1983), p. 228. 7. S. Eisenstein, Film Form (London: Harcourt Brace Jovanovich, 1949), p. 75. 8. C. Denton et aI., op. cit., p. 76. 9. K. Thiede, 'Lewis Milestone: a Film Checklist', in J. Tuska (ed.), Close Up: the Contract Director (Metuchen: Scarecrow Press, 1976), p. 347. 10. H. J. Forman, Our Movie Made Children (New York: Macmillan, 1933), p. 254. 11. Details of Academy Awards and New York Times rankings are taken from C. Steinberg's Reel Facts (Harmondsworth: Penguin, 1981). 12. C. Denton et al., op. cit., pp. 79-80. 156 Notes 13. D. Bordwell, J. Staiger and K. Thompson, The Classical Hollywood Cinema (Lon- don: Routledge and Kegan Paul, 1985), pp. 228-9. 14. Ibid., p. 229. 15. Ibid. 16. B. Salt, op. cit., pp. 222-3. 17. Ibid., p. 265. 18. Ibid. 4 A CRISIS OF EXPLANATION: THE EARLY THIRTIES 1. Statistics are taken from the US Bureau of the Census, Historical Statistics of the United States (Washington: Bureau of the Census, 1975), pp. 126 (unemployment), 224 (GNP), 226 (economic growth) and 400 (film statistics). 2. W. E. Leuchtenburg, The Perils of Prosperity. 1914-32 (London: University of Chicago Press, 1958), p. 261. 3. M. A. Jones, The Limits of Liberty (Oxford: Oxford University Press, 1983), p. 457. 4. Ibid., p. 467. 5. Ibid. 6. J. Major, The New Deal (London: Longmans, 1968), pp. 47-8. 7. M. A. Jones, op. cit., p. 456. 8. Ibid., pp. 455-6. 9. Ibid., p. 456. 10. D. Bordwell, J. Staiger and K. Thompson, The Classical Hollywood Cinema (Lon­ don: Routledge and Kegan Paul, 1985), pp. 314-15. 11. B. Salt, Film Style and Technology (London: Starword, 1983), p. 265. 12. D. Bordwell et al., op. cit., p. 343. 5 QUESTIONING SUBJECTIVITY: DR JEKYLL AND MR HYDE 1. Unless otherwise noted, all details of Paramount's history are taken from Chapter 2 of Douglas Gomery's The Hollywood Studio System (London: Macmillan, 1986). 2. D. Bordwell, J. Staiger and K. Thompson, The Classical Hollywood Cinema (Routledge and Kegan Paul, 1985), pp. 320-2. 3. Ibid., p. 328. 4. H. T. Lewis, The Motion Picture Industry (New York: Jerome S. Ozer, 1971), p. 30. 5. D. Bordwell et al., op. cit., p. 328. 6. H. T. Lewis, op. cit., p. 352. 7. B. Schulberg, Moving Pictures (Harmondsworth: Penguin, 1984), p. 359. 8. Mamoulian's history taken from Tom Milne's Rouben Mamoulian (London: Thames and Hudson, 1969). 9. J. Calder, RLS: a Life Story (London: Hamish Hamilton, 1980), p. 230. 10. S. S. Prawer, Caligari's Children (Oxford: Oxford University Press, 1980), pp.86-7. 11. C. Steinberg, Reel Facts (Harmondsworth: Penguin, 1981). 12. H. J. Forman, Our Movie Made Children (New York: Macmillan, 1933), pp. 99 and llO. 13. H. T. Lewis, op. cit., p. 388. 14. S. S. Prawer, op. cit., p. 86. Notes 157 15. Quotations from The Strange Case of Dr Jekyll and Mr Hyde are taken from R. L. Stevenson, The Collected Shorter Fiction, ed. by Peter Stone ley (London: Robinson, 1991), pp. 439-88. 16. D. Robinson, 'Painting the Leaves Black', Sight and Sound, 30, 3 (Summer, 1961), p.125. 17. B. Salt, Film Style and Technology (London: Starword, 1983). pp. 261 and 282. 18. Ibid., p. 245. 19. T. Milne, op. cit., p. 45; P. Lehman, 'Looking at Ivy Looking at Us Looking at Her', Wide Angle, 5, 3 (1983), pp. 59~3; S. S. Prawer. op. cit., p. 91; D. Bordwell. Narration in the Fiction Film (London: Methuen, 1985) p. 350. footnote 26. 20. D. Bordwell, ibid. 21. D. Bordwell, et al., op. cit., p. 305. 22. Ibid., p. 304. 23. Ibid., p. 228. 24. Ibid., p. 10. 25. Ibid., p. 229. 26. R. Dyer, Stars (London: British Film Institute, 1979), p. 30. 6 THE NEW DEAL IN HOLLYWOOD, 1933-35 I. Statistics are taken from the US Bureau of the Census, Historical Statistics of the United States (Washington: Bureau of the Census, 1975) pp. 126 (unemployment), 224 (GNP), 226 (economic growth) and 400 (film statistics). 2. M. A. Jones, The Limits of Liberty (Oxford: Oxford University Press, 1983), p. 461. 3. D. K. Adams, Franklin D. Roosevelt and the New Deal (London: The Historical Association, 1979), p. 25. Details concerning the New Deal administration in the following paragraphs are taken from M. A. Jones's The Limits of Liberty and William Miller's A New History of the United States (London: Paladin. 1970). 4. M. A. Jones, op. cit., p. 464. 5. Ibid., p. 474. 6. Ibid., p. 475. 7. D. K. Adams, op. cit., p. 8. 8. S. Terkel, Hard Times (London: Allen Lane, 1970), p. 135. 9. Ibid., p. 193. 10. M. A. Jones, op. cit., p. 462. II. Details of the Payne Fund studies are taken from Garth Jowett's Film: the Democratic Art (Boston: Little, Brown and Company, 1976), pp. 220 and 230-1. 12. H. J. Forman, Our Movie Made Children (New York: Macmillan, 1933), p. vii. 13. G. Jowett, op. cit., p. 226. 14. H. J. Forman, op. cit., p. 272. 15. R. Moley, Are We Movie Made? (New York: Macy-Masius, 1938), pp.
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