{"product_id":"america-on-film-9781118743652","title":"America on Film","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003ePreface to the Third Edition xi\u003c\/p\u003e \u003cp\u003eAcknowledgments xiv\u003c\/p\u003e \u003cp\u003eHow to Use This Book xvi\u003c\/p\u003e \u003cp\u003eAbout the Companion Website xviii\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I Culture and American Film 1\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e1 Introduction to the Study of Film Form and Representation 3\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eFilm Form 3\u003c\/p\u003e \u003cp\u003eAmerican Ideologies: Discrimination and Resistance 6\u003c\/p\u003e \u003cp\u003eCulture and Cultural Studies 12\u003c\/p\u003e \u003cp\u003eCase Study: Two \u003ci\u003eLion Kings \u003c\/i\u003e(1994 and 2019) 17\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 21\u003c\/p\u003e \u003cp\u003eFurther Reading 21\u003c\/p\u003e \u003cp\u003e\u003cb\u003e2 The Structure and History of Hollywood Filmmaking 22\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eHollywood vs. Independent Film 22\u003c\/p\u003e \u003cp\u003eThe Style of Hollywood Cinema 24\u003c\/p\u003e \u003cp\u003eThe Business of Hollywood 29\u003c\/p\u003e \u003cp\u003eThe History of Hollywood: The Movies Begin 31\u003c\/p\u003e \u003cp\u003eThe Classical Hollywood Cinema 35\u003c\/p\u003e \u003cp\u003eWorld War II and Postwar Film 37\u003c\/p\u003e \u003cp\u003e“New” Hollywood and the Blockbuster Mentality 40\u003c\/p\u003e \u003cp\u003eBox: A Brief History of Television in the United States 42\u003c\/p\u003e \u003cp\u003e21st‐Century Convergence Culture 44\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 47\u003c\/p\u003e \u003cp\u003eFurther Reading 47\u003c\/p\u003e \u003cp\u003eFurther Screening 48\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II Race and Ethnicity and American Film 49\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction to Part II: What is Race?\u003c\/p\u003e \u003cp\u003e\u003cb\u003e3 The Concept of Whiteness and American Film 55\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSeeing White 56\u003c\/p\u003e \u003cp\u003eBleaching the Green: The Irish in American Cinema 60\u003c\/p\u003e \u003cp\u003eLooking for Respect: Italians in American Cinema 64\u003c\/p\u003e \u003cp\u003eA Special Case: Jews and Hollywood 69\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eThe Jazz Singer \u003c\/i\u003e(1927) 74\u003c\/p\u003e \u003cp\u003eVeiled and Reviled: Arabs on Film in America 74\u003c\/p\u003e \u003cp\u003eConclusion: Whiteness and American Film Today 80\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 81\u003c\/p\u003e \u003cp\u003eFurther Reading 81\u003c\/p\u003e \u003cp\u003eFurther Screening 82\u003c\/p\u003e \u003cp\u003e\u003cb\u003e4 African Americans and American Film 83\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAfrican Americans in Early Film 83\u003c\/p\u003e \u003cp\u003eBlacks in Classical Hollywood Cinema 87\u003c\/p\u003e \u003cp\u003eWorld War II and the Postwar Social Problem Film 89\u003c\/p\u003e \u003cp\u003eThe Rise and Fall of Blaxploitation Filmmaking 92\u003c\/p\u003e \u003cp\u003eBox: Blacks on TV 94\u003c\/p\u003e \u003cp\u003eHollywood in the 1980s and the Arrival of Spike Lee 96\u003c\/p\u003e \u003cp\u003eBlack Independent vs. “Neo‐Blaxploitation” Filmmaking in the 1990s 98\u003c\/p\u003e \u003cp\u003eAfrican Americans and the Oscars 100\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eBlacKkKlansman \u003c\/i\u003e(2018) 103\u003c\/p\u003e \u003cp\u003eThe Twenty‐first Century: Smaller Films, Bigger Profits? 106\u003c\/p\u003e \u003cp\u003eConclusion 108\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 109\u003c\/p\u003e \u003cp\u003eFurther Reading 109\u003c\/p\u003e \u003cp\u003eFurther Screening 110\u003c\/p\u003e \u003cp\u003e\u003cb\u003e5 Native Americans and American Film 111\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe American “Indian” Before Film 112\u003c\/p\u003e \u003cp\u003eEthnographic Films and the Rise of the Hollywood Western 114\u003c\/p\u003e \u003cp\u003eThe Evolving Western 118\u003c\/p\u003e \u003cp\u003eA Kinder, Gentler America? 121\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eSmoke Signals \u003c\/i\u003e(1998) 124\u003c\/p\u003e \u003cp\u003eConclusion: Twenty‐first Century Indians? 125\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 129\u003c\/p\u003e \u003cp\u003eFurther Reading 129\u003c\/p\u003e \u003cp\u003eFurther Screening 129\u003c\/p\u003e \u003cp\u003e\u003cb\u003e6 Asian Americans and American Film 130\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSilent Film and Asian Images 131\u003c\/p\u003e \u003cp\u003eAsians in Classical Hollywood Cinema 133\u003c\/p\u003e \u003cp\u003eWorld War II and After: War Films, Miscegenation\u003c\/p\u003e \u003cp\u003eMelodramas, Kung Fu, and the Start of Asian American\u003c\/p\u003e \u003cp\u003eIndependent Filmmaking 136\u003c\/p\u003e \u003cp\u003eTowards a Global Hollywood: Asian American Actors\u003c\/p\u003e \u003cp\u003eand Filmmakers of the Last Thirty Years 141\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eCrazy Rich Asians \u003c\/i\u003e(2018) 146\u003c\/p\u003e \u003cp\u003eConclusion 148\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 148\u003c\/p\u003e \u003cp\u003eFurther Reading 148\u003c\/p\u003e \u003cp\u003eFurther Screening 149\u003c\/p\u003e \u003cp\u003e\u003cb\u003e7 Latinos and American Film 150\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Greaser and the Latin Lover: Alternating Stereotypes 152\u003c\/p\u003e \u003cp\u003eWorld War II and After: The Good Neighbor Policy 155\u003c\/p\u003e \u003cp\u003eThe 1950s to the 1970s: Back to Business as Usual? 159\u003c\/p\u003e \u003cp\u003eExpanding Opportunities in the 1980s and 1990s 161\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eMy Family\/Mi Familia \u003c\/i\u003e(1995) 164\u003c\/p\u003e \u003cp\u003eLatino Film in the 21st Century 166\u003c\/p\u003e \u003cp\u003eConclusion: Which Way Forward? 169\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 171\u003c\/p\u003e \u003cp\u003eFurther Reading 172\u003c\/p\u003e \u003cp\u003eFurther Screening 172\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III Class and American Film 173\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction to Part III: What is Class?\u003c\/p\u003e \u003cp\u003e\u003cb\u003e8 Classical Hollywood Cinema and Class 179\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSetting the Stage: The Industrial Revolution 179\u003c\/p\u003e \u003cp\u003eEarly Cinema: The Rise of the Horatio\u003c\/p\u003e \u003cp\u003eAlger Myth 181\u003c\/p\u003e \u003cp\u003eHollywood and Unionization 185\u003c\/p\u003e \u003cp\u003eClass in the Classical Hollywood Cinema 188\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eThe Grapes of Wrath \u003c\/i\u003e(1940) 190\u003c\/p\u003e \u003cp\u003eConclusion: Recloaking Class Consciousness 192\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 192\u003c\/p\u003e \u003cp\u003eFurther Reading 193\u003c\/p\u003e \u003cp\u003eFurther Screening 193\u003c\/p\u003e \u003cp\u003e\u003cb\u003e9 Cinematic Class Struggle After the Depression 194\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eFrom World War II to the Red Scare 194\u003c\/p\u003e \u003cp\u003eFrom Opulence to Counterculture 197\u003c\/p\u003e \u003cp\u003eBox: Class on Television 202\u003c\/p\u003e \u003cp\u003eNew Hollywood and the Resurrection of the Horatio Alger Myth 202\u003c\/p\u003e \u003cp\u003eCorporate Hollywood and Labor in the 21st Century 208\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eThe Florida Project \u003c\/i\u003e(2017) 213\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 215\u003c\/p\u003e \u003cp\u003eFurther Reading 215\u003c\/p\u003e \u003cp\u003eFurther Screening 215\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV Gender and American Film 217\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction to Part IV: What is Gender?\u003c\/p\u003e \u003cp\u003e\u003cb\u003e10 Women in Classical Hollywood Filmmaking 223\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eImages of Women in Early Cinema 224\u003c\/p\u003e \u003cp\u003eEarly Female Filmmakers 228\u003c\/p\u003e \u003cp\u003eImages of Women in 1930s Classical Hollywood 231\u003c\/p\u003e \u003cp\u003eWorld War II and After 235\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eAll that Heaven Allows \u003c\/i\u003e(1955) 238\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 240\u003c\/p\u003e \u003cp\u003eFurther Reading 240\u003c\/p\u003e \u003cp\u003eFurther Screening 241\u003c\/p\u003e \u003cp\u003e\u003cb\u003e11 Exploring the Visual Parameters of Women in Film 242\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eWays of Seeing \u003c\/i\u003e242\u003c\/p\u003e \u003cp\u003e“Visual Pleasure and Narrative Cinema” 245\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eGilda \u003c\/i\u003e(1946) 254\u003c\/p\u003e \u003cp\u003eConclusion: Complicating Mulvey’s Arguments 255\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 258\u003c\/p\u003e \u003cp\u003eFurther Reading 258\u003c\/p\u003e \u003cp\u003eFurther Screening 258\u003c\/p\u003e \u003cp\u003e\u003cb\u003e12 Masculinity in Classical Hollywood Filmmaking 259\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eMasculinity and Early Cinema 262\u003c\/p\u003e \u003cp\u003eMasculinity and the Male Movie Star 263\u003c\/p\u003e \u003cp\u003eWorld War II and Film Noir 268\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eDead Reckoning \u003c\/i\u003e(1947) 273\u003c\/p\u003e \u003cp\u003eMasculinity in 1950s American Film 274\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 277\u003c\/p\u003e \u003cp\u003eFurther Reading 277\u003c\/p\u003e \u003cp\u003eFurther Screening 277\u003c\/p\u003e \u003cp\u003e\u003cb\u003e13 Gender in American Film Since the 1960s 278\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSecond Wave Feminism and Hollywood 278\u003c\/p\u003e \u003cp\u003eBox: Women and American Television 282\u003c\/p\u003e \u003cp\u003eInto the 1980s: A Backlash against Women? 285\u003c\/p\u003e \u003cp\u003eA New Generation of Female Filmmakers 288\u003c\/p\u003e \u003cp\u003eGender at the Turn of the Century 292\u003c\/p\u003e \u003cp\u003eGender Politics after 9\/11 294\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eWonder Woman \u003c\/i\u003e(2017) 297\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 299\u003c\/p\u003e \u003cp\u003eFurther Reading 300\u003c\/p\u003e \u003cp\u003eFurther Screening 300\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V Sexuality and American Film 301\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction to Part V: What is Sexuality?\u003c\/p\u003e \u003cp\u003e\u003cb\u003e14 Heterosexuality, Homosexuality, and Classical Hollywood 307\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e(Hetero)Sexuality on Screen 307\u003c\/p\u003e \u003cp\u003e(Homo)Sexuality in Early Film 309\u003c\/p\u003e \u003cp\u003eCensoring Sexuality during the Classical Hollywood Era 311\u003c\/p\u003e \u003cp\u003ePostwar Sexualities and the Weakening of the Production Code 316\u003c\/p\u003e \u003cp\u003eCamp and the Underground Cinema 320\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eThe Celluloid Closet \u003c\/i\u003e(1995) 322\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 323\u003c\/p\u003e \u003cp\u003eFurther Reading 324\u003c\/p\u003e \u003cp\u003eFurther Screening 324\u003c\/p\u003e \u003cp\u003e\u003cb\u003e15 Sexualities on Film Since the Sexual Revolution 325\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eHollywood and the Sexual Revolution 325\u003c\/p\u003e \u003cp\u003eFilm and Gay Culture from Stonewall to AIDS 327\u003c\/p\u003e \u003cp\u003eThe AIDS Crisis 332\u003c\/p\u003e \u003cp\u003eQueer Theory and New Queer Cinema 334\u003c\/p\u003e \u003cp\u003eBox: Queer TV 338\u003c\/p\u003e \u003cp\u003eHollywood Responds to New Queer Cinema 340\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eLove, Simon \u003c\/i\u003e(2018) 344\u003c\/p\u003e \u003cp\u003e(Hetero)Sexualities in Contemporary American Cinema 346\u003c\/p\u003e \u003cp\u003eConclusion: The Power Dynamics of Sexuality 349\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 351\u003c\/p\u003e \u003cp\u003eFurther Reading 351\u003c\/p\u003e \u003cp\u003eFurther Screening 352\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VI Ability and American Film 353\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction to Part VI: What is Ability?\u003c\/p\u003e \u003cp\u003e\u003cb\u003e16 Cinematic Images of (Dis)Ability 359\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDisabled People in Early American Film: Curiosities and Freaks 360\u003c\/p\u003e \u003cp\u003eRomanticizing Disability in Classical Hollywood Melodramas 364\u003c\/p\u003e \u003cp\u003eDisability in War Movies and Social Problem Films 366\u003c\/p\u003e \u003cp\u003eDisability and the Counterculture 369\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eChildren of a Lesser God \u003c\/i\u003e(1986) 373\u003c\/p\u003e \u003cp\u003eAfter the 1980s: A More Enlightened Hollywood? 374\u003c\/p\u003e \u003cp\u003eFar From Hollywood: Documentary, Activism,\u003c\/p\u003e \u003cp\u003eand New Modes of Television 377\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 380\u003c\/p\u003e \u003cp\u003eFurther Reading 380\u003c\/p\u003e \u003cp\u003eFurther Screening 381\u003c\/p\u003e \u003cp\u003eGlossary 382\u003c\/p\u003e \u003cp\u003eIndex 404\u003c\/p\u003e","brand":"John Wiley and Sons Ltd","offers":[{"title":"Default Title","offer_id":49406914756951,"sku":"9781118743652","price":39.85,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781118743652.jpg?v=1730497544","url":"https:\/\/bookcurl.com\/products\/america-on-film-9781118743652","provider":"Book Curl","version":"1.0","type":"link"}