American Film History 1 Selected Readings Origins to 1960 1st Edition by Cynthia Lucia, Roy Grundmann, Art Simon ISBN 9781118475133 by Lucia, Cynthia(editor);grundmann, Roy(editor);simon, Arthur(editor) 9781118475133, 9781118475171, 1118475135, 1118475178 instant download after payment.

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ISBN 13: 9781118475133
Author: Cynthia Lucia, Roy Grundmann, Art Simon

This authoritative collection of introductory and specialized readings, takes its readers through the rich and creative history of this period in American cinema. Spanning a fascinating range of subjects from early 1900s Nickelodeon to the decline of the studio system in the 1960s, it combines broader historical context with careful readings of individual films.

American Film History 1 Selected Readings Origins to 1960 1st Table of contents:

Part I Origins to 1928
1 Setting the Stage: American Film History, Origins to 1928
The Nickelodeon Era
Censorship Battles
The Industry
Genres and Stars
Figure 1.1 Lillian Gish as the poor, vulnerable Lucy in D. W. Griffith's Broken Blossoms or The Yellow Man and the Girl.
Figure 1.2 In Charlie Chaplin's The Immigrant, Charlie and Edna Purviance are roped off immediately upon arriving in “the land of liberty.”
Hollywood and World Cinema
The Jazz Age On-Screen – Inside and Outside of Hollywood
Newsreels
Animation
The First Avant-Garde
The Coming of Sound to the Cinema
References
2 D. W. Griffith and the Development of American Narrative Cinema
Griffith's Move to Biograph: An Industry in Flux
Storytelling Challenges and Stylistic Strategies
1908–1909: Shaping a Story
1910–1911: An Increasingly Confident Style
Figure 2.1 A recurrent atmospheric image from D. W. Griffith's The Unchanging Sea.
1912–1913: Refinement and Reconfiguration
Figure 2.2 A typically dense and deep composition in D. W. Griffith's The Musketeers of Pig Alley.
Notes
References
3 Women and the Silent Screen
Exhibitors, Moviegoers, and Fans: “Remember the 83%!”
Figure 3.1 Photoplay, January 1920.
Filmmakers, Stars, and Extras: Women at Work in Early Hollywood
Figure 3.2 Lois Weber (right) directing Too Wise Wives.
Critics, Writers, and Tastemakers: Film Culture as a Feminine Sphere
Censors, Reformers, and Educators: “Ultimately a Woman's Responsibility”
Conclusion: “History Has Not Been Kind”
References
4 African-Americans and Silent Films
Early Background: Vaudeville, Blackface Minstrelsy, and Film
Story Films, Melodrama, and Uplift
Figure 4.1 The moment before the lynching in Within Our Gates.
White-Owned Race Film Companies: Competition and Collaboration
Figure 4.2 Poster for Richard E. Norman's The Crimson Skull.
The Minors: Lesser-Known Race Film Companies
The End: The Coming of Sound
Notes
References
5 Chaplin and Silent Film Comedy
The Tramp and Chaplin's Rise to Stardom
From Willie Work to the Glasses Character: Harold Lloyd
Figure 5.1 In The Circus, Charlie, despondent, overhears that the bareback rider Merna is in love with Rex.
Figure 5.2 Harold recovers from a tough football practice in Andrew Bergman's The Freshman.
A Calm Demeanor Beneath a Porkpie Hat: Buster Keaton
Figure 5.3 The projectionist separates from his sleeping self and heads for the movie screen in Buster Keaton's Sherlock Jr.
City Lights: A Farewell to Silent Film Comedy
References
6 Erich von Stroheim and Cecil B. DeMille: Early Hollywood and the Discourse of Directorial “Genius”
Two Directors and the Rise of the Feature Film
Cecil B. DeMille: The Genius of Jazz-Age Hokum
Figure 6.1 DeMille directing the spectacular Joan the Woman.
Erich von Stroheim: The Genius Hollywood Loved to Hate
Figure 6.2 Erich von Stroheim poses with his Foolish Wives footage.
Notes
References
7 The Star System
Figure 7.1 Even a motion picture star known as a decadent féministe could represent the industry and the interests of the nation. Theda Bara appeals to the public in New York City during the Second Liberty Loan Drive in the autumn of 1917.
Larger-than-Life Figures
Reinventing the Star System
Making Stars Pay
Coming to Know the Stars
The Public's Loyalties
The Compulsion to Repeat
Figure 7.2 Wishful thinking on the part of the editors at Moving Picture World.
Notes
References
8 Synchronized Sound Comes to the Cinema
Warner Bros.' Gambit: The Vitaphone
Early Sound Cinema: A Multimedia Distraction
Figure 8.1 Will Hays's speech introducing the first Vitaphone program, which preceded the synched-music feature Alan Crosland's Don Juan.
The Technical Demands of Sound
Fine-Tuning: Sound-on-Film Processes and Theories of Sound Recording
Figure 8.2 Young lovers reconcile before an image of the dead burlesque queen as a bouncy show tune fills the soundtrack in Rouben Mamoulian's Applause.
Conclusion: The Lost Futures of Sync Sound
Notes
References
Part II 1929–1945
9 Setting the Stage: American Film History, 1929–1945
The Studio Industry
The Production Code
B-Films
Studio House Styles, Genres, and Auteurs
Figure 9.1 Greta Garbo in Ernst Lubitsch's Ninotchka embraces her trio of comrades Iranoff (Sig Ruman), Buljanoff (Felix Bressart), and Kopalski (Alexander Granach) outside the Soviet Union.
Innovations in Film Technology
Documentary Filmmaking
The Film Avant-Garde
Figure 9.2 In Maya Deren and Alexander Hammid's avant-garde Meshes of the Afternoon, the filmmakers create a vertiginous staircase in a home that is imagined as threatening and entrapping.
Animation
Hollywood and World War II
Hollywood and Postwar Challenges
Note
References
10 Era of the Moguls: The Studio System
Figure 10.1 Two producers with contrasting approaches to work: the hands-off, semi-independent Walter F. Wanger on the left and the highly creative Twentieth Century-Fox studio chief Darryl F. Zanuck on the right. They talk with Wendell Willkie at a lunch he facilitated in 1942, at which Walter White, leader of the National Association for the Advancement of Colored People (NAACP), exhorted studio heads to rethink their reductive depictions of African-Americans in studio films. Willkie was a third-party presidential candidate in 1940, the industry's defending attorney against Senate accusations of warmongering in 1941, and served on Twentieth Century-Fox's board of directors.
The Historical Context
The Industrial Context
The Corporate Context
Censorship and Self-Regulation
Fox and Twentieth Century-Fox
MGM
Paramount Pictures
RKO
Warner Bros
Columbia Pictures Corporation
Universal Pictures Corporation
United Artists and Hollywood's Semi-Independent Producers

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