Hollywood Cinema

by
Edition: 2nd
Format: Paperback
Pub. Date: 2003-03-21
Publisher(s): Wiley-Blackwell
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Summary

This extensively revised second edition offers a comprehensive introduction to Hollywood cinema, providing a fascinating account of the cultural and aesthetic significance of the world's most powerful film industry. Provides a fascinating account of Hollywood history. Examines the cultural and aesthetic significance of the world's most powerful film industry. Explores and interprets Hollywood cinema in history and in the present, in theory and in practice. Extensively revised and updated with new chapter features including box sections, further reading lists, Notes and Queries, and chapter summaries.

Author Biography

Richard Maltby is Professor of Screen Studies and Head of the School of Humanities at Flinders University. At the University of Exeter he established the Bill Douglas Centre for the History of Cinema and Popular Culture. He is the author of Harmless Entertainment: Hollywood and the Ideology of Consensus (1983), and editor of Identifying Hollywood's Audiences: Cultural Identity and the Movies (with Melvyn Stokes, 1999) and Hollywood Spectatorship: Changing Perceptions of Cinema Audiences (2001).

Table of Contents

Acknowledgments xii
List of Boxes
xiv
Introduction 1(4)
Part I The Commercial Aesthetic
Taking Hollywood Seriously
5(28)
``Metropolis of Make-Believe''
5(2)
Art and Business
7(3)
The Commercial Aesthetic of Titanic
10(4)
A Classical Cinema?
14(5)
Hollywood and its Audiences
19(3)
Ratings and Franchises
22(6)
Hollywood's World
28(2)
Summary
30(1)
Further Reading
31(2)
Entertainment 1
33(21)
Escape
33(7)
Money on the Screen
40(6)
The Multiple Logics of Hollywood Cinema
46(6)
Summary
52(1)
Further Reading
53(1)
Entertainment 2
54(20)
The Play of Emotions
54(5)
Regulated Difference
59(7)
Singin' in the Rain: How to Take Gene Kelly Seriously
66(5)
Summary
71(1)
Further Reading
72(2)
Genre
74(39)
Genre Criticism
83(3)
Genre Recognition
86(7)
The Empire of Genres: Pat Garrett and Billy the Kid
93(8)
Genre and Gender
101(6)
Summary
107(1)
Further Reading
108(5)
Part II Histories
Industry 1: To 1948
113(46)
Industry
113(1)
Distribution and Exhibition
114(12)
Exporting America
126(2)
Divorcement
128(2)
The Studio System
130(11)
The Star System
141(5)
How Stars are Made: A Star is Born
146(8)
Summary
154(2)
Further Reading
156(3)
Industry 2: From 1948 to 1980
159(30)
The Effects of Divorcement
161(4)
Roadshows and Teenpix
165(5)
Independents, Agents, and Television
170(3)
Corporate Consolidation and the ``New Hollywood''
173(4)
Ratings
177(4)
Hollywood in the Multiplex
181(5)
Summary
186(1)
Further Reading
187(2)
Industry 3: Since 1980
189(38)
Video and New Markets
191(14)
The Pursuit of Synergy
205(7)
Globalization
212(5)
Independence
217(7)
Summary
224(1)
Further Reading
225(2)
Technology
227(41)
Realism and the Myth of Total Cinema
229(9)
Sound
238(3)
Sunny Side Up
241(7)
Color
248(3)
Widescreen
251(4)
Technology and Power
255(4)
The Triumph of the Digital
259(5)
Summary
264(1)
Further Reading
265(3)
Politics
268(43)
The Politics of Regulation
270(6)
Hollywood Goes to Washington
276(4)
Washington Goes to Hollywood
280(7)
Representing the Political Machine
287(5)
Controversy with Class: The Social Problem Movie
292(8)
Ideology
300(6)
Summary
306(1)
Further Reading
307(4)
Part III Conventions
Space 1
311(32)
The Best View
312(1)
Making the Picture Speak: Representation and Expression
313(6)
The Optics of Expressive Space
319(7)
Deep Space: Three-Dimensionality on a Flat Screen
326(2)
Mise-en-Scene
328(4)
Editing
332(7)
Summary
339(1)
Further Reading
340(3)
Space 2
343(25)
The Three ``Looks'' of Cinema
343(3)
Points of View
346(7)
Safe and Unsafe Space
353(5)
Ordinary People
358(7)
Summary
365(1)
Further Reading
365(3)
Performance 1
368(25)
The Spectacle of Movement
372(3)
The Movement of Narrative
375(2)
Acting as Impersonation
377(3)
The Actor's Two Bodies
380(4)
Star Performance
384(6)
Summary
390(1)
Further Reading
391(2)
Performance 2
393(20)
The Method
393(5)
Acting as a Signifying System
398(3)
Valentino
401(5)
The Son of the Sheik
406(4)
Summary
410(1)
Further Reading
411(2)
Time
413(39)
Time Out
414(5)
Film Time
419(4)
Movie Time
423(3)
Deadlines and Coincidences: Madigan
426(3)
Mise-en-Temps
429(3)
Tense
432(4)
Back to the Present: History as a Production Value
436(4)
The Politics of History: Forrest Gump
440(3)
The Lessons of History: Juarez
443(6)
Summary
449(1)
Further Reading
450(2)
Narrative 1
452(19)
Narrative and Other Pleasures
452(2)
Show and Tell
454(4)
Theories of Narration
458(4)
Plot, Story, Narration
462(3)
Clarity: Transparency and Motivation
465(4)
Summary
469(1)
Further Reading
470(1)
Narrative 2
471(22)
Regulating Meaning: The Production Code
471(4)
Clarity and Ambiguity in Casablanca
475(9)
Narrative Pressure
484(4)
Summary
488(1)
Further Reading
489(4)
Part IV Approaches
Criticism
493(33)
From Reviewing to Criticism
494(2)
Early Theory and Criticism in America
496(5)
From Criticism to Theory
501(10)
Criticism in Practice: Only Angels Have Wings
511(10)
Summary
521(2)
Further Reading
523(3)
Theories
526(31)
Entering the Academy
526(2)
Structuralism and Semiology
528(3)
Cinema, Ideology, Apparatus
531(4)
Psychoanalysis and Cinema
535(2)
The Spectator
537(3)
Feminist Theory
540(2)
Poststructuralism and Cultural Studies
542(4)
Neoformalism and Cognitivism
546(3)
From Reception to History
549(4)
Summary
553(2)
Further Reading
555(2)
Chronology
557(21)
Glossary
578(15)
Appendices
593(10)
1 The Motion Picture Production Code
593(5)
2 The Code and Rating System, 1968
598(3)
3 The Classification and Rating System: ``What the Ratings Mean''
601(2)
Notes 603(41)
Bibliography 644(22)
Index 666

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