Acknowledgments |
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xii | |
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xiv | |
Introduction |
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1 | (4) |
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Part I The Commercial Aesthetic |
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Taking Hollywood Seriously |
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5 | (28) |
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``Metropolis of Make-Believe'' |
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5 | (2) |
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7 | (3) |
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The Commercial Aesthetic of Titanic |
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10 | (4) |
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14 | (5) |
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Hollywood and its Audiences |
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19 | (3) |
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22 | (6) |
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28 | (2) |
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30 | (1) |
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31 | (2) |
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33 | (21) |
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33 | (7) |
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40 | (6) |
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The Multiple Logics of Hollywood Cinema |
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46 | (6) |
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52 | (1) |
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53 | (1) |
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54 | (20) |
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54 | (5) |
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59 | (7) |
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Singin' in the Rain: How to Take Gene Kelly Seriously |
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66 | (5) |
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71 | (1) |
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72 | (2) |
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74 | (39) |
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83 | (3) |
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86 | (7) |
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The Empire of Genres: Pat Garrett and Billy the Kid |
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93 | (8) |
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101 | (6) |
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107 | (1) |
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108 | (5) |
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113 | (46) |
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113 | (1) |
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Distribution and Exhibition |
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114 | (12) |
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126 | (2) |
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128 | (2) |
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130 | (11) |
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141 | (5) |
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How Stars are Made: A Star is Born |
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146 | (8) |
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154 | (2) |
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156 | (3) |
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Industry 2: From 1948 to 1980 |
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159 | (30) |
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The Effects of Divorcement |
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161 | (4) |
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165 | (5) |
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Independents, Agents, and Television |
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170 | (3) |
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Corporate Consolidation and the ``New Hollywood'' |
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173 | (4) |
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177 | (4) |
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Hollywood in the Multiplex |
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181 | (5) |
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186 | (1) |
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187 | (2) |
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189 | (38) |
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191 | (14) |
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205 | (7) |
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212 | (5) |
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217 | (7) |
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224 | (1) |
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225 | (2) |
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227 | (41) |
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Realism and the Myth of Total Cinema |
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229 | (9) |
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238 | (3) |
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241 | (7) |
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248 | (3) |
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251 | (4) |
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255 | (4) |
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The Triumph of the Digital |
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259 | (5) |
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264 | (1) |
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265 | (3) |
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268 | (43) |
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The Politics of Regulation |
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270 | (6) |
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Hollywood Goes to Washington |
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276 | (4) |
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Washington Goes to Hollywood |
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280 | (7) |
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Representing the Political Machine |
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287 | (5) |
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Controversy with Class: The Social Problem Movie |
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292 | (8) |
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300 | (6) |
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306 | (1) |
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307 | (4) |
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311 | (32) |
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312 | (1) |
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Making the Picture Speak: Representation and Expression |
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313 | (6) |
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The Optics of Expressive Space |
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319 | (7) |
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Deep Space: Three-Dimensionality on a Flat Screen |
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326 | (2) |
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328 | (4) |
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332 | (7) |
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339 | (1) |
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340 | (3) |
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343 | (25) |
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The Three ``Looks'' of Cinema |
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343 | (3) |
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346 | (7) |
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353 | (5) |
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358 | (7) |
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365 | (1) |
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365 | (3) |
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368 | (25) |
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The Spectacle of Movement |
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372 | (3) |
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The Movement of Narrative |
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375 | (2) |
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377 | (3) |
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380 | (4) |
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384 | (6) |
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390 | (1) |
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391 | (2) |
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393 | (20) |
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393 | (5) |
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Acting as a Signifying System |
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398 | (3) |
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401 | (5) |
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406 | (4) |
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410 | (1) |
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411 | (2) |
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413 | (39) |
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414 | (5) |
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419 | (4) |
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423 | (3) |
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Deadlines and Coincidences: Madigan |
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426 | (3) |
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429 | (3) |
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432 | (4) |
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Back to the Present: History as a Production Value |
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436 | (4) |
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The Politics of History: Forrest Gump |
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440 | (3) |
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The Lessons of History: Juarez |
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443 | (6) |
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449 | (1) |
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450 | (2) |
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452 | (19) |
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Narrative and Other Pleasures |
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452 | (2) |
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454 | (4) |
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458 | (4) |
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462 | (3) |
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Clarity: Transparency and Motivation |
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465 | (4) |
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469 | (1) |
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470 | (1) |
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471 | (22) |
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Regulating Meaning: The Production Code |
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471 | (4) |
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Clarity and Ambiguity in Casablanca |
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475 | (9) |
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484 | (4) |
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488 | (1) |
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489 | (4) |
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493 | (33) |
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From Reviewing to Criticism |
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494 | (2) |
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Early Theory and Criticism in America |
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496 | (5) |
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501 | (10) |
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Criticism in Practice: Only Angels Have Wings |
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511 | (10) |
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521 | (2) |
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523 | (3) |
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526 | (31) |
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526 | (2) |
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Structuralism and Semiology |
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528 | (3) |
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Cinema, Ideology, Apparatus |
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531 | (4) |
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Psychoanalysis and Cinema |
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535 | (2) |
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537 | (3) |
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540 | (2) |
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Poststructuralism and Cultural Studies |
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542 | (4) |
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Neoformalism and Cognitivism |
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546 | (3) |
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From Reception to History |
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549 | (4) |
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553 | (2) |
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555 | (2) |
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557 | (21) |
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578 | (15) |
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593 | (10) |
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1 The Motion Picture Production Code |
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593 | (5) |
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2 The Code and Rating System, 1968 |
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598 | (3) |
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3 The Classification and Rating System: ``What the Ratings Mean'' |
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601 | (2) |
Notes |
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603 | (41) |
Bibliography |
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644 | (22) |
Index |
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666 | |