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American Film The Wiley-Blackwell History of AMERICAN FILM Volume IV 1976 to the Present Edited by Cynthia Lucia, Roy Grundmann, and Art Simon ffiWILEY- BLACKWELL A Iohn Wiley & Sons, Ltd., Publication CONTENTS OF VOLUME IV 1976 to the Present Ful! table of contents ix Preface xv Acknowledgments xviii Contributors to Volume IV xix Part I Setting the Stage 1 Introduction to Volume IV:American Film, 1976 to the Present 3 67 Seismic Shifts in the American Film Industry 32 Thomas Schatz 68 Independent Film: 1980s to the Present 53 Geoff King PartII 1976-1988 75 69 Reclaiming the Black Family: Charles Burnett,]ulie Dash, and the "L.A. Rebellion" 77 [anet K. Cutler 70 Feminism, Cinema, and Film Criticism 103 Lucy Fischer 71 American Avant-Garde Cinema from 1970 to the Present 128 Scott MacDonald 72 A Reintroduction to the American Horror Film 154 Adam Lowenstein 73 Charting the Middle Course: The Star Trek Films and 1980s Science Fiction Cinema 177 InaRae Hark 74 Back to the Future: Hollywood and Reagan's America 195 Susan ]effords vi Contents of Volume IV 75 Eros and Thanatos: Hollywood and the Teenage Marketplace 210 Themas Doherty Part III 1989-1998 233 76 Oliver Stone: Hollywood Historian 235 Robert A. Rosenstone 77 Black Crossover Cinema 255 Keith Harns 78 The Queer 1990s: The Challenge and Failure of Radical Change 272 Michael Bronski 79 24/7: Cable Television, Hollywood, and the Narrative Feature Film 296 Barbara Klinger 80 Plasmaries and Prisons: The Morph and the Spectacular Emergence of CGI 318 Knsten Whissel Part IV 1999-Present 339 81 Mainstream Documentary since 1999 341 Patricia Aufderheide 82 Truthiness Is Stranger than Fictition: The "New Biopic" 365 Michael Sicinski 83 The Coen Brothers and the Post-Hollywood Studio Era 386 William Luhr 84 "Asia" as Global Hollywood Commodity 406 Kenneth Chan 85 The Blockbuster Superhero 427 Bart Beaty 86 Computer Animation: Margins to Mainstream 448 Paul Wells 87 Limited Engagement: The Iraq War on Film 472 Susan 1. Carruthers 88 American Film after 9/11 495 Stephen Prince Contents of Volume IV vii Part V Film and Culture: Summary Essays 515 89 The Biggest Independent Pietures Ever Made: Industrial Reflexivity Today 517 ]. D. Connor 90 The End of Cinema (As We Know It): American Movies and Movie Business, 1995-2009 542 ion Lewis Index 562 FUll TAßlE OF CONTENTS Volume I: Origins to 1928 Full tableof contents vii Prejace xiii Acknowledgments xvi Contributors to Volume I xvii Part I Setting the Stage 1 Introduetion to Volume I: Ameriean Film, Origins to 1928 3 Writing Ameriean Film History, RobertSklar 19 Part 11 Origins to 1914 37 2 The Early Cinema of Edwin S. Porter, Charles Musser 39 3 From Peep Show to Picture Palaee: The Early Exhibition of Motion Pictures, RichardAbel 87 4 The Imagined Audienee in the Nicke1odeon Era, RichardButsch 109 5 D. W. Griffith and the Development of American Narrative Cinerna, Charlie Keil 130 6 Pink-Slipped: What Happened to the Women in the Silent Film Industryt.jane M. Gaines 155 Part III 1915-1928 179 7 Women and the Silent Sereen, Shelley Stamp 181 8 "The Poor Little Rieh Girl": Class and Embodiment in the Films of Mary Pickford, Victoria Sturtevant 207 9 Afriean-Amerieans and Silent Films, Paula ]. Massood 228 10 Chaplin and Silent Film Comedy, Charlesj. Maland 251 11 The Devil in the Details: Thomas Inee, Intertitles, and the Institutionalization of Writing in Ameriean Cinema, Torey Liepa 271 12 Erieh von Stroheim and Cecil B. DeMille: Early Hollywood and the Diseourse of Direetorial "Genius", GaylynStudlar 293 13 In the Trenehes, On the Sereen: World War I on Film, Andrew Kelly 313 14 Ameriean Modern: King Vidor's The Crowd, DavidA. Gerstner 332 15 The Star System, Mark Lynn Anderson 349 x FuLl Table of Contents 16 Immigrant Stardom in Imperial America: Pola Negri and the Problem of Typology, Diane Negra 371 17 Unsophisticated Lady: The Vicissitudes of the Matemal Melodrama in Hollywood, Leajacobs 397 18 Two or Three Things We Thought We Knew about Silent Film Sound, RickAltman 417 19 Synchronized Sound Comes to the Cinema, Paui Young 438 Part IV Film and Culture: Summary Essays 461 20 Helios and the Apocalypse: Visions of American History in Films by Griffith, Ford, and Stroheim, Nicholas Baer 463 21 Self-Reflection in American Silent Film, Charles Warren 483 Index to Volume I 502 Volume 11: 1929 to 1945 Pul! table of contents vii Prejace xiii Acknowledgments xvi Contributors to Volume II xvii Part I Setting the Stage 1 Introduction to Volume 11: American Film, 1929 to 1945 3 22 Era of the Moguls: The Studio System, Matthew H. Bernstein 23 PartII 1929-1938 23 Re-visioning Frank Capra, Vito Zagarrio 57 24 '1\s Close to Real Life As Hollywood Ever Oets": Headline Pierures. Topical Movies, Editorial Cinema, and Studio Realism in the 1930s, Richard Maltby 76 25 Early American Avant-Garde Cinema,]an-Christopher Horak 112 26 1930s Documentary and Visual Culture, Paula Rabinowitz 133 27 Hollywood and Spanish-Speaking Audiences, Lisa jarvinen 156 28 "Let 'Ern Have Ir": The Ironie Fate of the 1930s Hollywood Gangster, Ruth Vasey 179 29 Landscapes of Fantasy, Gardens of Deceit: The Adventure Film Between Colonialism and Tourism, Hans ]ürgen Wulff 202 30 The Screwball Comedy, William Rothman 226 31 Cinema and the Modern Woman, Veronica Pravadelli 247 32 Queering the (New) Deal, David M. Lugowski 269 Full Table of Contents xi Part III 1939-1945 297 33 The Hollywood A-Production Western, Kevin L. Stoehr 299 34 There's No Place Like Horne: The Hollywood Folk Musical, Desireej. Garcia 318 35 The Magician: Orson Welles and Film Style,]ames Naremore 339 36 Classical Cel Animation, World War II, and Bambi, Kirsten Moana Thompson 358 37 Friz Freleng's jazz: Animation and Music at Warner Bros., Krin Gabbard 379 38 Mapping Why We Fight: Frank Capra and the US Army Orientation Film in World War II, Charles Wolfe 397 39 A Victory "Uneasy with Its Contrasts": The Hollywood Left Fights World War II, Saverio Giovacchini 417 40 Hollywood Unions and Hollywood Blacklists, Larry Ceplair 445 Part IV Film and Culture: Summary Essays 465 41 Hollywood as Historian, 1929-1945,}. E. Smyth 467 42 Taking Stock at War's End: Gender, Genre, and Hollywood Labor in The Strange Love of Martha Ivers, Roy Grundmann 495 Index to Volume II 530 Volume III: 1946 to 1975 Ful!table of contents ix Preface xv Acknowledgments xviii Contributors to Volume l1l xix Part I Setting the Stage 1 Introduction to Volume III: American Film, 1946 to 1975 3 43 Natalie Wood: Studio Stardom and Hollywood in Transition, Cynthia Lucia 26 44 Truthmovies Are just Beginning: Arnerican Independent Cinema in the Postwar Era, Ted Barron 62 Part II 1946-1955 85 45 The Politics of Force of Evil: An Analysis of Abraham Polonsky's Preblacklist Film, Christine Nol! Brinckmann 87 46 The Gun in the Briefcase: Or, the Inscription of Class in Film Noir, Paul Arthur 118 47 The Actors Studio in the Early Cold War, Cynthia Baron and Becken Warren 137 48 Hollywood at the Margins: Samuel Fuller, Phil Karlson, and]oseph H. Lewis, Haden Guest 158 xii Full Table of Contents 49 Authorship and Billy Wilder, Robert Sklar 177 50 Laughter and Agony in Minnelli's The Lang Long Trailer: Or, "Isn't This Fun, Honey?",]oe McEthaney 199 51 "Cot-to-See": Teenpix and the Sodal Problem Picture - Trends and Cycles, Peter Stanfield 220 Part III 1956-1965 241 52 Cold War Thrillers, R. Barton Palmer 243 53 American Underground Film,]ared Rapfogel 267 54 Adults Only: Lew-Budget Exploitation, Brie Schaefer 290 55 Black Representation in Independent Cinema: From Civil Rights to Black Power, Alex Lykidis 309 Part IV 1966-1975 337 56 Cinema Direct and Indirect: American Documenrary, 1960-1975, Charles Warren 339 57 "The Rise of a Film Generation": Film Culture and Cinephilia, Michael Zryd 362 58 Comedy and the Dismantling of the Hollywood Western, Teresa Podlesney 387 59 The New Hollywood, Derek Nystrom 409 60 The Rise and Fall of Blaxploitation, Ed Guerrero 435 61 "One Big Lousy X": The Cinema of Urban Crisis, Art Simon 470 62 Pornography in the Cinema: Last Tango in Paris, Deep Throat, and Boys in the Sand, Linda Williams 490 63 Nashville: Putting on the Show: Or, Paradoxes of the "Instant" and the "Moment", Thomas Elsacsser 528 Part V Film and Culture: Summary Essays 547 64 American Film Criticism, David Sterritt 549 65 It's Only a Movie: Reflexivity and Popular Film, Gilbmo Petez 570 66 Cinema and the Age of Television, 1946-1975, Michele Hilmes 589 Index to Volume III 608 Volume IV: 1976 to the Present Full table of contents ix Preface xv Acknowledgments xviii Conrriburors to Volume IV xix Full Table of Contents xiii Part I Setting the Stage 1 Introduction to Volume IV: American Film, 1976 to the Present 3 67 Seismic Shifts in the American Film Industry, Thomas Schatz 32 68 Independent Film: 1980s to the Present, Geoff King 53 Part II 1976-1988 75 69 Reclaiming the Black Family: Charles Burnett, julie Dash, and the "L.A. RebeIIion",]anet K. Cutler 77 70 Feminism, Cinema, and Film Criticism, Lucy Fischer 103 71 American Avant-Garde Cinema ftom 1970 to the Present, Scott MacDonald 128 72 A Reintroduction to the American Horror Film, Adam Lowenstein 154 73 Charting the Middle Course: The Star Trek Films and 1980s Science Fiction Cinema, Ina Rae Hark 177 74 Back to the Future: Hollywood and Reagan's America, S«san]effords 195 75 Eros and Thanatos: Hollywood and the Teenage Marketplace, Thomas Doherty 210 Part III 1989-1998 233 76 Oliver Stone: Hollywood Historian, RobertA.
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