by
Kirshner, Jonathan.
Call Number
791.430973 23
Publication Date
2013
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6.8089
by
Grant, Barry Keith, 1947-
Call Number
791.436521 22
Publication Date
2011
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Electronic Resources
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6.7064
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by
Venkatasawmy, Rama, 1972-
Call Number
791.430973 23
Publication Date
2013
Summary
While many books have addressed visual effects in Hollywood cinema, The Digitization of Cinematic Visual Effects: Hollywood's Coming of Age, by Rama Venkatasawmy, fills an important gap in cinematic analysis and film history by providing a periodization and techno-historical account of visual effects in Hollywood cinema.
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6.6626
by
Holmlund, Chris.
Call Number
791.43097309049 22
Publication Date
2008
Summary
With the U.S. economy booming under President Bill Clinton and the cold war finally over, many Americans experienced peace and prosperity in the nineties. Digital technologies gained popularity, with nearly one billion people online by the end of the decade. The film industry wondered what the effect on cinema would be. The essays in American Cinema of the 1990s examine the big-budget blockbusters and critically acclaimed independent films that defined the decade. The 1990s' most popular genre, action, channeled anxieties about global threats such as AIDS and foreign terrorist attacks into escapist entertainment movies. Horror films and thrillers were on the rise, but family-friendly pictures and feel-good romances netted big audiences too. Meanwhile, independent films captured hearts, engaged minds, and invaded Hollywood: by decade's end every studio boasted its own "art film" affiliate. Among the films discussed are Terminator 2, The Matrix, Home Alone, Jurassic Park, Pulp Fiction, Boys Don't Cry, Toy Story, and Clueless.
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6.6498
by
Affron, Charles.
Call Number
791.43097309044 22
Publication Date
2009
Summary
Best Years shines light on a critical juncture in American history and the history of American cinema̮the end of World War II (1945) and a year of unprecedented success in Hollywood's "Golden Age" (1946). This unique time provides a rich blend of cinema genres and types̮from the battlefront to the home front, the peace film to the woman's film, psychological drama, and the period's provocative new style, film noir. This book focuses on films that were famous, infamous, forgotten, and unforgettable, with big budget A-films, road shows, and familiar series share t.
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6.6203
by
Langford, Barry, 1964-
Call Number
791.43097309045 22
Publication Date
2010
Summary
At the end of World War II, Hollywood basked in unprecedented prosperity. Since then, numerous challenges and crises have changed the American film industry. Nevertheless, at the start of a new century, Hollywood's worldwide dominance remains intact & mdash;indeed, in today's global economy, the products of the American entertainment industry (of which movies are now only one part) are more ubiquitous than ever. How does today's Hollywood & mdash;embedded within transnational media conglomerates like NewsCorp., Sony, and Viacom & mdash;differ from the legendary studios of its Golden Age? What are.
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Electronic Resources
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6.5490
by
Slide, Anthony.
Call Number
818.5209
Publication Date
2004
Summary
"Thomas Dixon has a notorious reputation as the writer of the source material for D.W. Griffith's groundbreaking and controversial 1915 feature film The Birth of a Nation . Perhaps unfairly, Dixon has been branded an arch-conservative and a racist obsessed with what he viewed as "the Negro problem." As American Racist makes clear, however, Dixon was a complex, multitalented individual who, as well as writing some of the most popular novels of the early twentieth century, was involved in the production of some eighteen films. Dixon used the motion picture as a propaganda tool for his often out.
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6.5263
by
Davis, Blair, 1975-
Call Number
791.430973 23
Publication Date
2012
Summary
In The Battle for the Bs, Blair Davis analyzes how B-films were produced, distributed, and exhibited in the 1950s and demonstrates the new possibilities that existed for low-budget filmmaking at a time when many in Hollywood abandoned the Bs. B-movies innovated such industrial components as demographic patterns and marketing approaches, created such genres as science fiction and the teen-oriented films of the early and mid fifties, and led to the emergence of 'New Poverty Row'; a movement now known as underground cinema.
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4.8640
by
Friedman, Ryan Jay.
Call Number
791.43652996073 22
Publication Date
2011
Summary
In 1929 and 1930, during the Hollywood studios' conversion to synchronized-sound film production, white-controlled trade magazines and African American newspapers celebrated a "vogue" for "Negro films." "Hollywood's African American Films" argues that the movie business turned to black musical performance to both resolve technological and aesthetic problems introduced by the medium of "talking pictures" and, at the same time, to appeal to the white "Broadway" audience that patronized their most lucrative first-run theaters. Ryan Jay Friedman a.
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4.7209
by
Bennett, M. Todd.
Call Number
791.436584053 23
Publication Date
2012
Summary
World War II coincided with cinema's golden age. Movies now considered classics were created when all sides in the war were coming to realise the great power of popular films to motivate the masses. Through multinational research, this book reveals how the Grand Alliance - Britain, China, the Soviet Union, and the United States - tapped Hollywood's impressive power to shrink the distance and bridge the differences that separated them. The Allies, it shows, strategically manipulated cinema in an effort to promote the idea that the UN was a family of nations joined by blood and affection.
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Electronic Resources
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4.7155
11.
by
Studlar, Gaylyn.
Call Number
791.43
Publication Date
2012
Summary
In Precocious Charms, Gaylyn Studlar examines how Hollywood presented female stars as young girls or girls on the verge of becoming women. Child stars are part of this study but so too are adult actresses who created motion picture masquerades of youthfulness. Studlar details how Mary Pickford, Shirley Temple, Deanna Durbin, Elizabeth Taylor, Jennifer Jones, and Audrey Hepburn performed girlhood in their films. She charts the multifaceted processes that linked their juvenated star personas to a wide variety of cultural influences, ranging from Victorian sentimental art to New Look fash.
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Electronic Resources
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4.5047
by
Sterritt, David.
Call Number
810.90054 21
Publication Date
1998
Summary
"Film critic David Sterritt presents an interdisciplinary exploration of the Beat Generation, its intersections with mainstream and experimental film, and the interactions of all of these with American society and the culture of the '50s. Examining American society in the '50s, Sterritt balances the Beat countercultural goal of rebellion through both artistic creation and everyday behavior against the mainstream values of conformity and conservatism, growing worry over cold-war hostilities, and the "rat race" toward material success." "After an introductory overview of the Beat Generation, its history, its antecedents and its influences, Sterritt shows the importance of "visual thinking" in the lives and works of major Beat authors, most notably Jack Kerouac, Allen Ginsberg, and William S. Burroughs. He turns to Mikhail Bakhtin's dialogic theory to portray the Beat writers - who were inspired by jazz and other liberating influences - as carnivalesque rebels against what they perceived as a rigid and stifling social order." "Showing the Beats as social critics, Sterritt looks at the work of '50s photographers Robert Frank and William Klein; the attack against Beat culture in the pictures and prose of Life magazine; and the counterattack in Frank's film Pull My Daisy, featuring key Beat personalities. He further explores expressions of rebelliousness in film noir, the melodramas of director Douglas Sirk, and other Hollywood films." "Finally, Sterritt shows the changing attitudes toward the Beat sensibility in Beat-related Hollywood movies like A Bucket of Blood and The Beat Generation; television programs like Route 66 and The Many Loves of Dobie Gillis, nonstudio films like John Cassavetes's improvisational Shadows and Shirley Clarke's experimental The Connection; and radically avant-garde works by such doggedly independent screen artists as Stan Brakhage, Ron Rice, Bruce Connor, and Ken Jacobs, drawing connections between their achievements and the most subversive products of their Beat contemporaries."--Jacket.
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3.3956
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