Acknowledgments |
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How to Use This Book |
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Part I Culture and American Film |
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1 | (46) |
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1 Introduction to the Study of Film Form and Representation |
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3 | (20) |
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4 | (2) |
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American Ideologies: Discrimination and Resistance |
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6 | (7) |
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Culture and Cultural Studies |
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13 | (5) |
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Case Study: The Lion King (1994) |
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18 | (3) |
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21 | (1) |
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22 | (1) |
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2 The Structure and History of Hollywood Filmmaking |
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23 | (24) |
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Hollywood vs. Independent Film |
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24 | (2) |
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The Style of Hollywood Cinema |
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26 | (5) |
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The Business of Hollywood |
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31 | (2) |
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The History of Hollywood: The Movies Begin |
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33 | (3) |
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The Classical Hollywood Cinema |
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36 | (3) |
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World War II and Postwar Film |
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39 | (4) |
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"New" Hollywood and the Blockbuster Mentality |
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43 | (3) |
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46 | (1) |
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46 | (1) |
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46 | (1) |
Part II Race and Ethnicity and American Film |
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47 | (108) |
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Introduction to Part II: What is Race? |
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49 | (4) |
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3 The Concept of Whiteness and American Film |
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53 | (22) |
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54 | (4) |
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Bleaching the Green: The Irish in American Cinema |
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58 | (5) |
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Looking for Respect: Italians in American Cinema |
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63 | (4) |
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A Special Case: Jews and Hollywood |
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67 | (5) |
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Case Study: The Jazz Singer (1927) |
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72 | (1) |
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73 | (1) |
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74 | (1) |
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74 | (1) |
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4 African Americans and American Film |
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75 | (21) |
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African Americans in Early Film |
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76 | (4) |
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Blacks in Classical Hollywood Cinema |
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80 | (2) |
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World War II and the Postwar Social Problem Film |
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82 | (3) |
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The Rise and Fall of Blaxploitation Filmmaking |
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85 | (2) |
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87 | (1) |
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Hollywood in the 1980's and the Arrival of Spike Lee |
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88 | (3) |
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Black Independent Film vs. "Neo-Blaxploitation" Today |
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91 | (2) |
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Case Study: Bamboozled (2000) |
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93 | (2) |
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95 | (1) |
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95 | (1) |
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95 | (1) |
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5 Native Americans and American Film |
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96 | (20) |
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The American "Indian" Before Film |
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97 | (3) |
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Ethnographic Films and the Rise of the Hollywood Western |
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100 | (4) |
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104 | (5) |
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A Kinder, Gentler America? |
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109 | (4) |
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Case Study: Smoke Signals (1998) |
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113 | (1) |
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114 | (1) |
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114 | (1) |
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115 | (1) |
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6 Asian Americans and American Film |
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116 | (19) |
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Silent Film and Asian Images |
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117 | (2) |
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Asians in Classical Hollywood Cinema |
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119 | (5) |
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World War II and After: War Films, Miscegenation Melodramas, and Kung Fu |
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124 | (4) |
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Asian American Actors and Filmmakers Today |
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128 | (3) |
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Case Study: Eat a Bowl of Tea (1989) |
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131 | (2) |
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133 | (1) |
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134 | (1) |
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134 | (1) |
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7 Latinos and American Film |
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135 | (20) |
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The Greaser and the Latin Lover: Alternating Stereotypes |
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137 | (3) |
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World War II and After: The Good Neighbor Policy |
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140 | (6) |
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The 1950's to the 1970's: Back to Business as Usual? |
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146 | (2) |
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Expanding Opportunities in Recent Decades |
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148 | (4) |
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Case Study: My Family/Mi Familia (1995) |
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152 | (1) |
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153 | (1) |
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154 | (1) |
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154 | (1) |
Part III Class and American Film |
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155 | (46) |
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Introduction to Part III: What is Class? |
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157 | (4) |
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8 Classical Hollywood Cinema and Class |
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161 | (17) |
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Setting the Stage: The Industrial Revolution |
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162 | (1) |
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Early Cinema: The Rise of the Horatio Alger Myth |
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163 | (5) |
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Hollywood and Unionization |
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168 | (3) |
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Class in the Classical Hollywood Cinema |
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171 | (3) |
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Case Study: The Grapes of Wrath (1940) |
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174 | (2) |
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Conclusion: Recloaking Class Consciousness |
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176 | (1) |
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177 | (1) |
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177 | (1) |
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177 | (1) |
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9 Cinematic Class Struggle After the Depression |
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178 | (23) |
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From World War II to the Red Scare |
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179 | (3) |
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From Opulence to Counterculture |
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182 | (3) |
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185 | (4) |
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New Hollywood and the Resurrection of the Horatio Alger Myth |
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189 | (6) |
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Case Study: Bulworth (1998) |
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195 | (2) |
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Conclusion: Corporate Hollywood and Labor Today |
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197 | (1) |
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198 | (1) |
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199 | (1) |
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199 | (2) |
Part IV Gender and American Film |
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201 | (90) |
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Introduction to Part IV: What is Gender? |
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203 | (4) |
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10 Women in Classical Hollywood Filmmaking |
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207 | (22) |
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Images of Women in Early Cinema |
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208 | (5) |
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213 | (4) |
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Images of Women in 1930's Classical Hollywood |
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217 | (4) |
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221 | (4) |
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Case Study: All that Heaven Allows (1955) |
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225 | (3) |
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228 | (1) |
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228 | (1) |
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228 | (1) |
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11 Exploring the Visual Parameters of Women in Film |
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229 | (20) |
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230 | (3) |
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"Visual Pleasure and Narrative Cinema" |
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233 | (9) |
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242 | (2) |
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Conclusion: Complicating Mulvey's Arguments |
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244 | (3) |
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247 | (1) |
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247 | (1) |
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248 | (1) |
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12 Masculinity in Classical Hollywood Filmmaking |
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249 | (22) |
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Masculinity and Early Cinema |
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252 | (2) |
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Masculinity and the Male Movie Star |
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254 | (6) |
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World War II and Film Noir |
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260 | (5) |
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Case Study: Dead Reckoning (1947) |
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265 | (2) |
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Conclusion: Masculinity in 1950's American Film |
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267 | (3) |
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270 | (1) |
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270 | (1) |
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270 | (1) |
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13 Gender in American Film Since the 1960's |
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271 | (20) |
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Second Wave Feminism and Hollywood |
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272 | (5) |
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Into the 1980's: A Backlash against Women? |
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277 | (4) |
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A New Generation of Female Filmmakers |
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281 | (4) |
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Case Study: The Ballad of Little Jo (1993) |
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285 | (3) |
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Conclusion: Gender at the Turn of the Millennium |
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288 | (1) |
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289 | (1) |
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290 | (1) |
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290 | (1) |
Part V Sexuality and American Film |
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291 | (48) |
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Introduction to Part V: What is Sexuality? |
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293 | (4) |
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14 Heterosexuality, Homosexuality, and Classical Hollywood |
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297 | (21) |
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(Hetero)Sexuality on Screen |
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298 | (2) |
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(Homo)Sexuality in Early Film |
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300 | (2) |
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Censoring Sexuality during the Classical Hollywood Era |
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302 | (5) |
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Postwar Sexualities and the Weakening of the Production Code |
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307 | (6) |
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Camp and the Underground Cinema |
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313 | (2) |
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Case Study: The Celluloid Closet (1995) |
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315 | (2) |
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317 | (1) |
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317 | (1) |
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317 | (1) |
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i5 Sexualities on Film Since the Sexual Revolution |
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318 | (21) |
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Hollywood and the Sexual Revolution |
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319 | (1) |
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Film and Gay Culture from Stonewall to AIDS |
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320 | (5) |
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325 | (3) |
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Queer Theory and New Queer Cinema |
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328 | (7) |
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Case Study: Go Fish (1995) |
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335 | (1) |
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Conclusion: Hollywood Today |
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335 | (2) |
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337 | (1) |
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337 | (1) |
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338 | (1) |
Glossary |
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339 | (17) |
Index |
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356 | |