{"product_id":"postwar-hollywood-9781405150750","title":"Postwar Hollywood","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003e\u003ci\u003ePostwar Hollywood\u003c\/i\u003e is a comprehensive history of the American film industry, from 1946-1962.\u003c\/b\u003e\u003c\/p\u003e \u003cul\u003e \u003cli\u003eA comprehensive introductory textbook exploring the unique period in the history of the film industry after World War II\u003c\/li\u003e \u003cli\u003eExamines the cultural history, business practices, new technologies, censorship standards, emerging genres, and styles of post-war cinema\u003c\/li\u003e \u003cli\u003eChronicles the restructuring of Hollywood cinema against the backdrop of the major political, economic, and social changes taking place after World War II\u003c\/li\u003e \u003cli\u003eFeatures in-depth discussions of important films from \u003ci\u003ePicnic, The Heiress,\u003c\/i\u003e and \u003ci\u003eFrom Here to Eternity\u003c\/i\u003e, to \u003ci\u003eCat On A Hot Tin Roof\u003c\/i\u003e and \u003ci\u003eLove Me or Leave Me\u003c\/i\u003e\n\u003c\/li\u003e \u003cli\u003eIllustrates the culture\/filmmaking interface, and demonstrates the triumphs and failures of Hollywood''s new methods of business\u003c\/li\u003e \u003c\/ul\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e“Drew Casper’s volume is a stunning achievement in American film history. Combining love for the films themselves and the creative talent behind them with a sharp attention to contexts – cultural, social, and industrial – Casper offers a comprehensive, sharply argued look at Hollywood cinema in a complex, even vexed, historical moment.”\u003cbr\u003e \u003ci\u003eDana Polan, New York University\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eIntroduction. \u003cp\u003e\u003cb\u003ePart I: Cultural Overview:The Years of Change in America, 1946--1962:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e1. Major Historical Events.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e1.1 The Cold War.\u003c\/p\u003e \u003cp\u003e1.2 Civil Rights.\u003c\/p\u003e \u003cp\u003eConclusion.\u003c\/p\u003e \u003cp\u003e2. Economic Situation.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e1.1 Economic Resurgence.\u003c\/p\u003e \u003cp\u003e1.2 Post-Industrial Society.\u003c\/p\u003e \u003cp\u003eConclusion.\u003c\/p\u003e \u003cp\u003e3. Societal Issues.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e3.1 Consumer Culture and Middle-Classness.\u003c\/p\u003e \u003cp\u003e3.2 The American Male.\u003c\/p\u003e \u003cp\u003e3.3 The American Female.\u003c\/p\u003e \u003cp\u003e3.4 The American Family.\u003c\/p\u003e \u003cp\u003e3.5 Juvenile Delinquency.\u003c\/p\u003e \u003cp\u003e3.6 Sensuality, Sex, and Violence.\u003c\/p\u003e \u003cp\u003e3.7 Social Morality.\u003c\/p\u003e \u003cp\u003e3.8 Crime.\u003c\/p\u003e \u003cp\u003e3.9 Religion.\u003c\/p\u003e \u003cp\u003eConclusion.\u003c\/p\u003e \u003cp\u003e4. Other Popular Leisure Activities.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e4.1 Television.\u003c\/p\u003e \u003cp\u003e4.2 Recordings and Radio.\u003c\/p\u003e \u003cp\u003e4.3 Theater.\u003c\/p\u003e \u003cp\u003e4.4 Adult Popular Fiction.\u003c\/p\u003e \u003cp\u003e4.5 Sports, Travel, and Home Improvement.\u003c\/p\u003e \u003cp\u003eConclusion.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II: Business:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e5. Production and Distribution.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e5.1 The Antitrust Suit Wrap-up and Fallout.\u003c\/p\u003e \u003cp\u003e5.2 The Loss of the Audience.\u003c\/p\u003e \u003cp\u003e5.3 The Decline and Shift in Product.\u003c\/p\u003e \u003cp\u003e5.4 Consolidation.\u003c\/p\u003e \u003cp\u003e5.5 The Mode of Independent Production.\u003c\/p\u003e \u003cp\u003e5.6 Runaway Production.\u003c\/p\u003e \u003cp\u003e5.7 Diversification.\u003c\/p\u003e \u003cp\u003e5.8 Company Profiles: The Administrative and Financial Picture.\u003c\/p\u003e \u003cp\u003e5.9 The Industry and HUAC.\u003c\/p\u003e \u003cp\u003e5.10 Distribution Practices.\u003c\/p\u003e \u003cp\u003e6. Exhibition.\u003c\/p\u003e \u003cp\u003eConclusion.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III: Technology:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e7. Color.\u003c\/p\u003e \u003cp\u003e7.1 Ansco Color and Metrocolor.\u003c\/p\u003e \u003cp\u003e7.2 Eastman Color, Warnercolor, Color By Deluxe, Columbia Color.\u003c\/p\u003e \u003cp\u003e7.3 Trucolor by Consolidated and Cinecolor\/Natural Color\/Super Cinecolor.\u003c\/p\u003e \u003cp\u003e8. Screen Shapes and Accompanying Sound Systems.\u003c\/p\u003e \u003cp\u003e8.1 Multi-Camera Systems.\u003c\/p\u003e \u003cp\u003e8.2 Anamorphic Systems.\u003c\/p\u003e \u003cp\u003e8.3 Widescreen.\u003c\/p\u003e \u003cp\u003e8.4 Wide-Frame Systems.\u003c\/p\u003e \u003cp\u003e8.5 The 70mm\/Wide-Gauge Processes.\u003c\/p\u003e \u003cp\u003e9. Three-Dimension, Special Effects, and Film Production Refinements.\u003c\/p\u003e \u003cp\u003e9.1 3-D.\u003c\/p\u003e \u003cp\u003e9.2 Special Effects.\u003c\/p\u003e \u003cp\u003e9.3 Film Production Refinements.\u003c\/p\u003e \u003cp\u003eConclusion.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV: Censorship:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e10. Test Cases.\u003c\/p\u003e \u003cp\u003e10.1 \u003ci\u003eThe Outlaw\u003c\/i\u003e (UA, 1946\/RKO, 1950).\u003c\/p\u003e \u003cp\u003e10.2 The Jane Russell Syndrome: Rita Hayworth, Marilyn Monroe, Cyd Charisse, Sophia Loren, and Gina Lollobrigida.\u003c\/p\u003e \u003cp\u003e10.3 The Adaptation of Controversial and Sensational Novels: \u003ci\u003eDouble Indemnity\u003c\/i\u003e (P, 1944), \u003ci\u003eLeave Her To Heaven\u003c\/i\u003e (TCF, 1945), \u003ci\u003eThe Postman Always Rings Twice\u003c\/i\u003e (MGM, 1946), \u003ci\u003eDuel In the Sun\u003c\/i\u003e (SRO, 1946), \u003ci\u003eForever Amber\u003c\/i\u003e (TCF, 1947), and \u003ci\u003eFlamingo Road\u003c\/i\u003e (WB, 1949).\u003c\/p\u003e \u003cp\u003e10. 4 Racism: \u003ci\u003ePinky\u003c\/i\u003e (TCF, 1949) and \u003ci\u003eCurley\u003c\/i\u003e (UA, 1947).\u003c\/p\u003e \u003cp\u003e10.5 \u003ci\u003eThe Bicycle Thief\u003c\/i\u003e (1949).\u003c\/p\u003e \u003cp\u003e10.6 \u003ci\u003eStromboli\u003c\/i\u003e (1950).\u003c\/p\u003e \u003cp\u003e10.7 \u003ci\u003eThe Miracle\u003c\/i\u003e (1950) and the US Supreme Court Decision of 1952.\u003c\/p\u003e \u003cp\u003e10.8 \u003ci\u003eDetective Story\u003c\/i\u003e (P, 1951), \u003ci\u003eBeyond the Forest\u003c\/i\u003e (WB, 1949), \u003ci\u003eThe Doctor and the Girl\u003c\/i\u003e (MGM, 1949), \u003ci\u003eA Place In the Sun\u003c\/i\u003e (P, 1951), \u003ci\u003ePeople Will Talk\u003c\/i\u003e (TCF, 1952), and Code Amendments of 1951.\u003c\/p\u003e \u003cp\u003e10.9 \u003ci\u003eThe Moon Is Blue\u003c\/i\u003e (UA, 1953).\u003c\/p\u003e \u003cp\u003e10.10 \u003ci\u003eThe French Line\u003c\/i\u003e (RKO, 1953).\u003c\/p\u003e \u003cp\u003e10.11 \u003ci\u003eFrom Here To Eternity\u003c\/i\u003e (C, 1953).\u003c\/p\u003e \u003cp\u003e10.12 Shurlock’s Reign and Code Readjustments of 1954; \u003ci\u003eLa Ronde\u003c\/i\u003e (1950, 1951) and \u003ci\u003eM\u003c\/i\u003e (C, 1951).\u003c\/p\u003e \u003cp\u003e10.13 Backlash; \u003ci\u003eThe Man With the Golden Arm\u003c\/i\u003e (UA, 1955) and \u003ci\u003ePicnic\u003c\/i\u003e (C, 1955).\u003c\/p\u003e \u003cp\u003e10.14 The Code Revision of 1956.\u003c\/p\u003e \u003cp\u003e10.15 \u003ci\u003eBaby Doll\u003c\/i\u003e (WB, 1956), \u003ci\u003eTea and Sympathy\u003c\/i\u003e (MGM, 1956), and \u003ci\u003eThe Bad Seed\u003c\/i\u003e (WB, 1956).\u003c\/p\u003e \u003cp\u003e10.16 \u003ci\u003eGiant\u003c\/i\u003e (WB, 1956), \u003ci\u003eSerenade\u003c\/i\u003e (WB, 1956), \u003ci\u003eIsland In the Sun\u003c\/i\u003e (TCF, 1957), and \u003ci\u003eSayonara\u003c\/i\u003e (WB, 1957).\u003c\/p\u003e \u003cp\u003e10.17 Legion Expansion: \u003ci\u003ePeyton Place\u003c\/i\u003e (TCF, 1957).\u003c\/p\u003e \u003cp\u003e10.18 Roth vs. US and \u003ci\u003eThe Game of Love\u003c\/i\u003e (1954); \u003ci\u003eThe Garden of Eden\u003c\/i\u003e (Excelsior Pictures, 1957).\u003c\/p\u003e \u003cp\u003e10.19 \u003ci\u003eVertigo\u003c\/i\u003e (P, 1958), \u003ci\u003eBonjour Tristesse\u003c\/i\u003e (C, 1958), and \u003ci\u003eCat On A Hot Tin Roof\u003c\/i\u003e (MGM, 1958).\u003c\/p\u003e \u003cp\u003e10.20 \u003ci\u003eLady Chatterley's Lover\u003c\/i\u003e (1957), \u003ci\u003eAnd God Created Woman\u003c\/i\u003e (1958), \u003ci\u003eRoom At the Top\u003c\/i\u003e (1959), and \u003ci\u003eNever On Sunday\u003c\/i\u003e (1960).\u003c\/p\u003e \u003cp\u003e10.21 \u003ci\u003eAnatomy of a Murder\u003c\/i\u003e (C, 1959).\u003c\/p\u003e \u003cp\u003e10.22 \u003ci\u003eSuddenly Last Summer\u003c\/i\u003e (C, 1959), \u003ci\u003eSome Like It Hot\u003c\/i\u003e (UA, 1959), and \u003ci\u003ePillow Talk\u003c\/i\u003e (U, 1959).\u003c\/p\u003e \u003cp\u003e10.23 \u003ci\u003eBlue Denim\u003c\/i\u003e (TCF, 1959) and \u003ci\u003eA Summer Place\u003c\/i\u003e (WB, 1959).\u003c\/p\u003e \u003cp\u003e10.24 \u003ci\u003eHappy Anniversary\u003c\/i\u003e (UA, 1959).\u003c\/p\u003e \u003cp\u003e10.25 \u003ci\u003eElmer Gantry\u003c\/i\u003e (UA, 1960).\u003c\/p\u003e \u003cp\u003e10.27 \u003ci\u003eSanctuary\u003c\/i\u003e (TCF, 1961) and \u003ci\u003eSplendor In the Grass\u003c\/i\u003e (WB, 1961).\u003c\/p\u003e \u003cp\u003e10.28 \u003ci\u003eLolita\u003c\/i\u003e (MGM, 1962) and the Code Amendment of 1961.\u003c\/p\u003e \u003cp\u003e10.29 \u003ci\u003eDon Juan\u003c\/i\u003e (1959).\u003c\/p\u003e \u003cp\u003eConclusion.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V: Genre:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e11. Adventure.\u003c\/p\u003e \u003cp\u003e12. Biography.\u003c\/p\u003e \u003cp\u003e13. Historical Spectacle.\u003c\/p\u003e \u003cp\u003e14. Comedy.\u003c\/p\u003e \u003cp\u003e14.1 Social Satire.\u003c\/p\u003e \u003cp\u003e14.2 Farce.\u003c\/p\u003e \u003cp\u003e14.3 Romantic Comedy.\u003c\/p\u003e \u003cp\u003e14.4 Family Comedy.\u003c\/p\u003e \u003cp\u003e14.5 Fantasy Comedy.\u003c\/p\u003e \u003cp\u003e14.6 Comedian Comedy.\u003c\/p\u003e \u003cp\u003e14.7 Black Comedy.\u003c\/p\u003e \u003cp\u003e14.8 Parody.\u003c\/p\u003e \u003cp\u003e15. Horror, Science Fiction, and Fantasy.\u003c\/p\u003e \u003cp\u003e15.1 Horror--Science Fiction.\u003c\/p\u003e \u003cp\u003e15.2 AIP Teenage Horror.\u003c\/p\u003e \u003cp\u003e15.3 Modern Horror.\u003c\/p\u003e \u003cp\u003e15.4 Science Fiction.\u003c\/p\u003e \u003cp\u003e15.5 Fantasy.\u003c\/p\u003e \u003cp\u003e16. Melodrama.\u003c\/p\u003e \u003cp\u003e16.1 Family Melodrama.\u003c\/p\u003e \u003cp\u003e16.2 Female Melodrama.\u003c\/p\u003e \u003cp\u003e16.3 Male Melodrama.\u003c\/p\u003e \u003cp\u003e16.4 Romance Melodrama.\u003c\/p\u003e \u003cp\u003e17. Musical.\u003c\/p\u003e \u003cp\u003e17.1 Musical Comedy and Musical Drama.\u003c\/p\u003e \u003cp\u003e17.2 Musical Biography.\u003c\/p\u003e \u003cp\u003e18. Social Problem Film and Courtroom Drama.\u003c\/p\u003e \u003cp\u003e18.1 Social Problem Film.\u003c\/p\u003e \u003cp\u003e18.2 Courtroom Drama.\u003c\/p\u003e \u003cp\u003e19. Suspense Thriller.\u003c\/p\u003e \u003cp\u003e19.1 World War II and Cold War Thriller.\u003c\/p\u003e \u003cp\u003e19.2 Crime Thriller: Lawmen and Criminals.\u003c\/p\u003e \u003cp\u003e19.3 Social Problem Thriller.\u003c\/p\u003e \u003cp\u003e20. War.\u003c\/p\u003e \u003cp\u003e21. Western.\u003c\/p\u003e \u003cp\u003eConclusion.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VI: Style:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e22. Noir.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e22.1 Determinations and Practitioners.\u003c\/p\u003e \u003cp\u003e22.2 Noir and Genre.\u003c\/p\u003e \u003cp\u003e22.3 Mode of Representation and Attitude of Mind.\u003c\/p\u003e \u003cp\u003e23. Documentary Realism and Psychological-Sociological Realism.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e23.1 Determinations of a Deeper Realism.\u003c\/p\u003e \u003cp\u003e23.2 Documentary Realism: Determinations and Practitioners.\u003c\/p\u003e \u003cp\u003e23.3 Psychological-Sociological Realism: Determinations and Practitioners.\u003c\/p\u003e \u003cp\u003e23.4 Mode of Representation and Attitude of Mind.\u003c\/p\u003e \u003cp\u003e24. Other Stylistic Devices.\u003c\/p\u003e \u003cp\u003eConclusion.\u003c\/p\u003e \u003cp\u003e25. Coda.\u003c\/p\u003e \u003cp\u003eSelect Bibliography.\u003c\/p\u003e \u003cp\u003eAppendix: Hierarchical Order of Postwar Hollywood’s Top Ten Box-Office Stars (1946—62).\u003c\/p\u003e \u003cp\u003eIndex\u003c\/p\u003e","brand":"John Wiley and Sons Ltd","offers":[{"title":"Default Title","offer_id":49407884460375,"sku":"9781405150750","price":37.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781405150750.jpg?v=1730500846","url":"https:\/\/bookcurl.com\/products\/postwar-hollywood-9781405150750","provider":"Book Curl","version":"1.0","type":"link"}