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HA7204 American Cinema | Readinglists@Leicester 09/26/21 HA7204 American Cinema | readinglists@leicester HA7204 American Cinema View Online Anon. n.d. ‘The Long Goodbye [DVD] [1973].’ Anon. n.d. ‘Top Gun [DVD] [1986].’ Beatty, Bob, and Mike Yawn. 1996. ‘John Ford’s Vision of the Closing West: From Optimism to Cynicism.’ Film and History 26(1):6–19. Bordwell, David. 2006. ‘A Certain Amount of Plot: Tentpoles, Locomotives, Blockbusters, Megapictures, and the Action Movie.’ Pp. 104–14 in The way Hollywood tells it: story and style in modern movies. Berkeley, Calif: University of California Press. Bruzzi, Stella. 2013. ‘Towards a Masculine Aesthetic.’ Pp. 68–95 in Men’s cinema: masculinity and mise-en-scene in Hollywood. Edinburgh: Edinburgh University Press. Cameron, James, Arnold Schwarzenegger, Linda Hamilton, Edward Furlong, and Robert Patrick. 2008. ‘Terminator 2: Judgement Day.’ Dole, Carol M. 2007. ‘The Return of Pink: Legally Blonde, Third-Wave Feminism and Having It All.’ Pp. 58–78 in Chick Flicks: Contemporary Women at the Movies. Hoboken: Taylor and Francis. Emmerich, Roland, Will Smith, Bill Pullman, and Jeff Goldblum. 2008. ‘Independence Day.’ Ford, John, James Stewart, John Wayne, Vera Miles, and Lee Marvin. n.d. ‘The Man Who Shot Liberty Valance.’ John Wayne collection. Garrett Stewart. 1975. ‘“The Long Goodbye” from “Chinatown”.’ Film Quarterly 28(2):25–32. Jeffords, Susan. 1994. ‘Life as a Man in the Reagan Revolution.’ Pp. 1–23 in Hard bodies: Hollywood masculinity in the Reagan era. New Brunswick, N.J.: Rutgers University Press. Jenkins, Claire. 2013. ‘“You”re Just Some Bitch Who Broke My Heart and Cut up My Mom’s Wedding Dress”: Reading the Wedding Dress in Hollywood’s Romantic Comedies’. Film, Fashion & Consumption 2(2):159–73. doi: 10.1386/ffc.2.2.159_1. Jenkins, Claire. 2015. ‘Family Dysfunction and the Action-Melodrama’.’ Pp. 101–23 in Home movies: the American family in contemporary Hollywood. London: I.B. Tauris. Jess-Cooke, Carolyn. 2009. ‘Introduction: The Age of the $equel: Beyond the Profit 1/3 09/26/21 HA7204 American Cinema | readinglists@leicester Principle’.’ Pp. 1–14 in Film Sequels : Theory and Practice from Hollywood to Bollywood. Edinburgh University Press. Johnson, Derek. 2012. ‘Cinematic Destiny: Marvel Studios and the Trade Stories of Industrial Convergence.’ Cinema Journal 52(1):1–24. doi: 10.1353/cj.2012.0108. Keane, Stephen. 2006. ‘The Sense of an Ending AND Surviving Disaster.’ Pp. 63–106 in Disaster movies: the cinema of catastrophe. Vol. Short cuts. London: Wallflower. King, Geoff. 2001. ‘Frontier Narrative and Spectacle in Twister and Independence Day.’ Pp. 17–40 in Spectacular Narratives : Hollywood in the Age of the Blockbuster. I.B. Tauris. King, Geoff. 2002a. ‘New Hollywood, Version II: Blockbusters and Corporate HollywoodIntroduction.’ Pp. 49–84 in New Hollywood Cinema: An Introduction. London: I.B.Tauris. King, Geoff. 2002b. ‘New Hollywood, Version I: The Hollywood Renaissance.’ Pp. 11–48 in New Hollywood Cinema: An Introduction. London: I.B.Tauris. King, Geoff. 2009. ‘Working Both Ends: Miramax, from Shakespeare in Love to Kill Bill.’ Pp. 93–140 in Indiewood, USA: where Hollywood meets independent cinema. Vol. International library of cultural studies. London: I.B. Tauris. Kolker, Robert Phillip. 2000. ‘Radical Surfaces: Robert Altman.’ Pp. 329–406 in A cinema of loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman. Oxford: Oxford University Press. Krämer, Peter. 2005. ‘Conclusion: 1977 and beyond.’ Pp. 89–104 in New Hollywood: from Bonnie and Clyde to Star Wars. Vol. Short cuts. London: Wallflower. Langford, Barry. 2010. ‘Who Lost the Picture Show?’ Pp. 155–80 in Post-classical Hollywood: film industry, style and ideology since 1945. Edinburgh: Edinburgh University Press. Lucas, George, Mark Hamill, Harrison Ford, and Carrie Fisher. 2004. ‘Star Wars.’ Star wars trilogy. Marshall, Garry, Richard Gere, and Julia Roberts. 2005. ‘Pretty Woman.’ Matheson, Sue. 2012. ‘John Ford on the Cold War: Stetsons and Cast Shadows in The Man Who Shot Liberty Valance (1962).’ Journal of Popular Culture 45(2):357–69. McDonald, Tamar Jeffers. 2006. ‘The Neo-Traditional Romantic Comedy.’ Pp. 85–105 in Romantic comedy: boy meets girl meets genre. Vol. Short cuts. London: Wallflower. Meeuf, Russell. 2013. ‘Conclusion: The Man Who Shot Liberty Valance and Nostalgia for John Wayne’s World.’ Pp. 178–86 in John Wayne’s world: transnational masculinity in the fifties. Austin: University of Texas Press. Mellen, Joan. 1977. ‘The Seventies.’ Pp. 293–345 in Big bad wolves: masculinity in the American film. New York: Pantheon Books. 2/3 09/26/21 HA7204 American Cinema | readinglists@leicester O’Donnell, Ruth. 2015. ‘Introduction: Masculinity and Performance in the Screen Persona of Tom Cruise.’ Pp. 1–14 in Tom Cruise: performing masculinity in post Vietnam Hollywood. Vol. International library of the moving image. London: I.B. Tauris. Peckinpah, Sam, William Holden, Ernest Borgnine, Robert Ryan, and Edmond O’Brien. 2006. ‘The Wild Bunch.’ Polan, Dana B., and British Film Institute. 2000. Pulp Fiction. Vol. BFI modern classics. London: BFI Publishing. Radner, Hilary. 2010. ‘Pretty Woman (1990) and the Girly Film: Defining the Format.’ Pp. 26–41 in Neo-feminist Cinema. London: Routledge. Ray, Robert B. 1985. ‘The Man Who Shot Liberty Valance.’ Pp. 215–43 in A certain tendency of the Hollywood cinema, 1930-1980. Princeton, N.J.: Princeton University Press. Schatz, Thomas. 1993. ‘The New Hollywood.’ Pp. 8–36 in Film theory goes to the movies. Vol. AFI film readers. New York: Routledge. Tarantino, Quentin, John Travolta, Samuel L. Jackson, Uma Thurman, Harvey Keitel, and Bruce Willis. 2002. ‘Pulp Fiction.’ Tasker, Yvonne. 1993. ‘Women Warriors: Gender, Sexuality and Hollywood’s Fighting Heroines.’ Pp. 14–34 in Spectacular Bodies : Gender, Genre, and the Action Cinema. Routledge. Tasker, Yvonne. 1998. ‘Action Women: Muscles, Mothers and Others.’ Pp. 67–88 in Working Girls : Gender and Sexuality in Popular Cinema. Routledge. Whedon, Joss. 2012. ‘Marvel’s Avengers Assemble [DVD].’ Williams, Linda Ruth. 2004. ‘Ready for Action: G.I. Jane, Demi Moore’s Body and the Female Combat Movie.’ Pp. 169–85 in Action and Adventure Cinema. Hoboken: Taylor and Francis. Wood, Robin. 2003. ‘Papering the Cracks: Fantasy and Ideology in the Reagan Era.’ Pp. 144–67 in Hollywood from Vietnam to Reagan. New York: Columbia University Press. Wyatt, Justin. 1998. ‘The Formation of the “major Independent”: Miramax, New Line and the New Hollywood’. Pp. 74–90 in Contemporary Hollywood cinema. London: Routledge. 3/3.
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