{"product_id":"american-film-history-selected-readings-1960-to-the-present-paperback-softback-9781118475126","title":"American Film History; Selected Readings, 1960 to the Present (Paperback \/ softback) 9781118475126","description":"\u003cfont face=\"Georgia\"\u003e\r\n\u003cp\u003e\u003cfont size=\"6\"\u003eAmerican Film History\u003c\/font\u003e\u003cbr\u003e\r\n\u003cfont size=\"5\"\u003eSelected Readings, 1960 to the Present\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u003cp\u003e“A superior balancing of the layers of U.S. cultural history, the complex contours of the American film industry, and analysis of specific movies. Featuring a range of top-notch scholars and historians, this excellent collection counterpoints the usual long-shot perspective of most film histories with close-up investigations of key issues and practices. Ideal for any serious course in American cinema histories.”\u003cbr\u003eTimothy Corrigan, University of Pennsylvania\u003c\/p\u003e \u003cp\u003e\"We encounter fresh perspectives on some extraordinary movies and the people behind them. An admirable contribution to the vital task of understanding the last fifty years of American film history.\"  \u003cbr\u003eJulian Stringer, University of Nottingham\u003c\/p\u003e \u003cp\u003e\u003ci\u003e\"American Film History \u003c\/i\u003eis a landmark achievement.  The editors have expertly assembled an unprecedented array of estimable film scholars to produce a uniquely comprehensive, critical, lively and diversitarian history of American film since the 1960s. It is certain to be an indispensable resource for all serious students of  the cinema.\"  \u003cbr\u003eJerome Christensen, University of California, Irvine\u003c\/p\u003e\u003c\/em\u003e\u003c\/p\u003e\r\n\r\n\r\n\u003cp\u003e\u003cfont size=\"4\"\u003eCynthia Lucia (Edited by), Roy Grundmann (Edited by), Art Simon (Edited by)\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e9781118475126, Wiley\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003ePaperback \/ softback, published 21 August 2015\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e528 pages\u003cbr\u003e25.2 x 19.3 x 3.6 cm, 0.953 kg\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\r\n\u003cp align=\"justify\"\u003e\u003cstrong\u003e\u003cfont size=\"3\"\u003e\u003cp\u003eFrom the American underground film to the blockbuster superhero, this authoritative collection of introductory and specialized readings explores the core issues and developments in American cinematic history during the second half of the twentieth-century through the present day.\u003c\/p\u003e \u003cul\u003e \u003cli\u003eConsiders essential subjects that have shaped the American film industry—from the impact of television and CGI to the rise of independent and underground film; from the impact of the civil rights, feminist and LGBT movements to that of 9\/11.\u003c\/li\u003e \u003cli\u003eFeatures a student-friendly structure dividing coverage into the periods 1960-1975, 1976-1990, and 1991 to the present day, each of which opens with an historical overview\u003c\/li\u003e \u003cli\u003eBrings together a rich and varied selection of contributions by established film scholars, combining broad historical, social, and political contexts with detailed analysis of individual films, including \u003ci\u003eMidnight Cowboy\u003c\/i\u003e, \u003ci\u003eNashville, Cat Ballou\u003c\/i\u003e, \u003ci\u003eChicago\u003c\/i\u003e, \u003ci\u003eBack to the Future\u003c\/i\u003e, \u003ci\u003eKiller of Sheep\u003c\/i\u003e, \u003ci\u003eDaughters of the Dust, Nothing But a Man\u003c\/i\u003e, \u003ci\u003eAli\u003c\/i\u003e, \u003ci\u003eEasy Rider, The Conversation, The Texas Chain Saw Massacre\u003c\/i\u003e, \u003ci\u003eLongtime Companion\u003c\/i\u003e, \u003ci\u003eThe Matrix, The War Tapes\u003c\/i\u003e, the \u003ci\u003eBatman\u003c\/i\u003e films, and selected avant-garde and documentary films, among many others.\u003c\/li\u003e \u003cli\u003eAdditional online resources, such as sample syllabi, which include suggested readings and filmographies, for both general and specialized courses, will be available online.\u003c\/li\u003e \u003cli\u003eMay be used alongside \u003ci\u003eAmerican Film History: Selected Readings, Origins to 1960\u003c\/i\u003e to provide an authoritative study of American cinema from its earliest days through the new millennium\u003c\/li\u003e \u003c\/ul\u003e\u003c\/font\u003e\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e\u003cp\u003e\u003cb\u003eVolume II: 1960 to the Present\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAcknowledgments xii\u003c\/p\u003e \u003cp\u003ePreface xiii\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I 1960–1975\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e1 Setting the Stage: American Film History, 1960–1975 3\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eNotes 21\u003c\/p\u003e \u003cp\u003eReferences 21\u003c\/p\u003e \u003cp\u003e\u003cb\u003e2 Adults Only: Low-Budget Exploitation 23\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eEric Schaefer\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNote 35\u003c\/p\u003e \u003cp\u003eReferences 35\u003c\/p\u003e \u003cp\u003e\u003cb\u003e3 Black Representation in Independent Cinema: From Civil Rights to Black Power 37\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eAlex Lykidis\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 52\u003c\/p\u003e \u003cp\u003eReferences 54\u003c\/p\u003e \u003cp\u003e\u003cb\u003e4 Cinema Direct and Indirect: American Documentary, 1960–1975 56\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eCharles Warren\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 70\u003c\/p\u003e \u003cp\u003eReferences 70\u003c\/p\u003e \u003cp\u003e\u003cb\u003e5 Comedy and the Dismantling of the Hollywood Western 72\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eTeresa Podlesney\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNote 86\u003c\/p\u003e \u003cp\u003eReferences 86\u003c\/p\u003e \u003cp\u003e\u003cb\u003e6 The New Hollywood 87\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eDerek Nystrom\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 103\u003c\/p\u003e \u003cp\u003eReferences 103\u003c\/p\u003e \u003cp\u003e\u003cb\u003e7 “One Big Lousy X”: The Cinema of Urban Crisis 105\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eArt Simon\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eReferences 118\u003c\/p\u003e \u003cp\u003e\u003cb\u003e8 Nashville: Putting on the Show: Or, Paradoxes of the “Instant” and the “Moment” 120\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eThomas Elsaesser\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 131\u003c\/p\u003e \u003cp\u003eReferences 132\u003c\/p\u003e \u003cp\u003e\u003cb\u003e9 Cinema and the Age of Television, 1946–1975 134\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eMichele Hilmes\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 146\u003c\/p\u003e \u003cp\u003eReferences 146\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II 1976–1990\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e10 Setting the Stage: American Film History, 1976–1990 151\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eNotes 173\u003c\/p\u003e \u003cp\u003eReferences 173\u003c\/p\u003e \u003cp\u003e\u003cb\u003e11 Seismic Shifts in the American Film Industry 175\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eThomas Schatz\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 188\u003c\/p\u003e \u003cp\u003eReferences 188\u003c\/p\u003e \u003cp\u003e\u003cb\u003e12 Independent Film: 1980s to the Present 190\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eGeoff King\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eReferences 204\u003c\/p\u003e \u003cp\u003e\u003cb\u003e13 Reclaiming the Black Family: Charles Burnett, Julie Dash, and the “L.A. Rebellion” 205\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eJanet K. Cutler\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 218\u003c\/p\u003e \u003cp\u003eReferences 221\u003c\/p\u003e \u003cp\u003e\u003cb\u003e14 Feminism, Cinema, and Film Criticism 223\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eLucy Fischer\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eReferences 238\u003c\/p\u003e \u003cp\u003e\u003cb\u003e15 American Avant-Garde Cinema from 1970 to the Present 241\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eScott MacDonald\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNote 258\u003c\/p\u003e \u003cp\u003eReferences 258\u003c\/p\u003e \u003cp\u003e\u003cb\u003e16 A Reintroduction to the American Horror Film 259\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eAdam Lowenstein\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNote 274\u003c\/p\u003e \u003cp\u003eReferences 274\u003c\/p\u003e \u003cp\u003e\u003cb\u003e17 Back to the Future: Hollywood and Reagan’s America 275\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eSusan Jeffords\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eReferences 285\u003c\/p\u003e \u003cp\u003e\u003cb\u003e18 “Stayin’ Alive”: The Post-Studio Hollywood Musical 286\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eKaren Backstein\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 301\u003c\/p\u003e \u003cp\u003eReferences 302\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III 1991 to the Present\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e19 Setting the Stage: American Film History, 1991 to the Present 307\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eNotes 329\u003c\/p\u003e \u003cp\u003eReferences 329\u003c\/p\u003e \u003cp\u003e\u003cb\u003e20 The Queer 1990s: The Challenge and Failure of Radical Change 330\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eMichael Bronski\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 344\u003c\/p\u003e \u003cp\u003eReferences 346\u003c\/p\u003e \u003cp\u003e\u003cb\u003e21 24\/7: Cable Television, Hollywood, and the Narrative Feature Film 347\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eBarbara Klinger\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 360\u003c\/p\u003e \u003cp\u003eReferences 360\u003c\/p\u003e \u003cp\u003e\u003cb\u003e22 Plasmatics and Prisons: The Morph and the Spectacular Emergence of CGI 362\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eKristen Whissel\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eReferences 375\u003c\/p\u003e \u003cp\u003e\u003cb\u003e23 Mainstream Documentary since 1999 376\u003cbr\u003e \u003c\/b\u003e\u003ci\u003ePatricia Aufderheide\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eReferences 391\u003c\/p\u003e \u003cp\u003e\u003cb\u003e24 Truthiness Is Stranger than Fictition: The “New Biopic” 393\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eMichael Sicinski\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 407\u003c\/p\u003e \u003cp\u003e\u003cb\u003e25 “Asia” as Global Hollywood Commodity 408\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eKenneth Chan\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 421\u003c\/p\u003e \u003cp\u003eReferences 422\u003c\/p\u003e \u003cp\u003e\u003cb\u003e26 The Blockbuster Superhero 423\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eBart Beaty\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 437\u003c\/p\u003e \u003cp\u003eReferences 437\u003c\/p\u003e \u003cp\u003e\u003cb\u003e27 Limited Engagement: The Iraq War on Film 438\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eSusan L. Carruthers\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 453\u003c\/p\u003e \u003cp\u003eReferences 453\u003c\/p\u003e \u003cp\u003e\u003cb\u003e28 The Biggest Independent Pictures Ever Made: Industrial Reflexivity Today 454\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eJ. D. Connor\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 468\u003c\/p\u003e \u003cp\u003eReferences 469\u003c\/p\u003e \u003cp\u003e\u003cb\u003e29 Writing American Film History 471\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eRobert Sklar\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eReferences 481\u003c\/p\u003e \u003cp\u003eIndex 483\u003c\/p\u003e \u003cp\u003e\u003cb\u003eVolume I: Origins to 1960\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAcknowledgments xii\u003c\/p\u003e \u003cp\u003ePreface xiii\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I Origins to 1928\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e1 Setting the Stage: American Film History, Origins to 1928 3\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eReferences 16\u003c\/p\u003e \u003cp\u003e\u003cb\u003e2 D. W. Griffith and the Development of American Narrative Cinema 18\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eCharlie Keil\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 34\u003c\/p\u003e \u003cp\u003eReferences 34\u003c\/p\u003e \u003cp\u003e\u003cb\u003e3 Women and the Silent Screen 36\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eShelley Stamp\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eReferences 51\u003c\/p\u003e \u003cp\u003e\u003cb\u003e4 African-Americans and Silent Films 54\u003cbr\u003e \u003c\/b\u003e\u003ci\u003ePaula J. Massood\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 68\u003c\/p\u003e \u003cp\u003eReferences 68\u003c\/p\u003e \u003cp\u003e\u003cb\u003e5 Chaplin and Silent Film Comedy 70\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eCharles J. Maland\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eReferences 84\u003c\/p\u003e \u003cp\u003e\u003cb\u003e6 Erich von Stroheim and Cecil B. DeMille: Early Hollywood and the Discourse of Directorial “Genius” 85\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eGaylyn Studlar\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 97\u003c\/p\u003e \u003cp\u003eReferences 97\u003c\/p\u003e \u003cp\u003e\u003cb\u003e7 The Star System 99\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eMark Lynn Anderson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 112\u003c\/p\u003e \u003cp\u003eReferences 113\u003c\/p\u003e \u003cp\u003e\u003cb\u003e8 Synchronized Sound Comes to the Cinema 115\u003cbr\u003e \u003c\/b\u003e\u003ci\u003ePaul Young\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 128\u003c\/p\u003e \u003cp\u003eReferences 129\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II 1929–1945\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e9 Setting the Stage: American Film History, 1929–1945 133\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eNote 151\u003c\/p\u003e \u003cp\u003eReferences 151\u003c\/p\u003e \u003cp\u003e\u003cb\u003e10 Era of the Moguls: The Studio System 153\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eMatthew H. Bernstein\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eReferences 173\u003c\/p\u003e \u003cp\u003e\u003cb\u003e11 “As Close to Real Life as Hollywood Ever Gets”: Headline Pictures, Topical Movies, Editorial Cinema, and Studio Realism in the 1930s 175\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eRichard Maltby\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 194\u003c\/p\u003e \u003cp\u003eReferences 198\u003c\/p\u003e \u003cp\u003e\u003cb\u003e12 Early American Avant-Garde Cinema 200\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eJan-Christopher Horak\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 214\u003c\/p\u003e \u003cp\u003eReferences 214\u003c\/p\u003e \u003cp\u003e\u003cb\u003e13 “Let ’Em Have It”: The Ironic Fate of the 1930s Hollywood Gangster 215\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eRuth Vasey\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 230\u003c\/p\u003e \u003cp\u003eReferences 230\u003c\/p\u003e \u003cp\u003e\u003cb\u003e14 Landscapes of Fantasy, Gardens of Deceit: The Adventure Film between Colonialism and Tourism 231\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eHans Jürgen Wulff\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 245\u003c\/p\u003e \u003cp\u003eReferences 246\u003c\/p\u003e \u003cp\u003e\u003cb\u003e15 Cinema and the Modern Woman 248\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eVeronica Pravadelli\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 262\u003c\/p\u003e \u003cp\u003eReferences 262\u003c\/p\u003e \u003cp\u003e\u003cb\u003e16 Queering the (New) Deal 264\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eDavid M. Lugowski\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 280\u003c\/p\u003e \u003cp\u003eReferences 280\u003c\/p\u003e \u003cp\u003e\u003cb\u003e17 There’s No Place Like Home: The Hollywood Folk Musical 282\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eDesirée J. Garcia\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 295\u003c\/p\u003e \u003cp\u003eReferences 296\u003c\/p\u003e \u003cp\u003e\u003cb\u003e18 The Magician: Orson Welles and Film Style 297\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eJames Naremore\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 309\u003c\/p\u003e \u003cp\u003eReferences 310\u003c\/p\u003e \u003cp\u003e\u003cb\u003e19 Classical Cel Animation, World War II, and Bambi 311\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eKirsten Moana Thompson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 324\u003c\/p\u003e \u003cp\u003eReferences 325\u003c\/p\u003e \u003cp\u003e\u003cb\u003e20 Mapping Whywefight: Frank Capra and the US Army Orientation Film in World War II 326\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eCharles Wolfe\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 339\u003c\/p\u003e \u003cp\u003eReferences 339\u003c\/p\u003e \u003cp\u003e\u003cb\u003e21 a Victory “uneasy with Its Contrasts”: the Hollywood Left Fights World War II 341\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eSaverio Giovacchini\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 356\u003c\/p\u003e \u003cp\u003eReferences 359\u003c\/p\u003e \u003cp\u003e\u003cb\u003e22 Hollywood as Historian, 1929–1945 361\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eJ. E. Smyth\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 377\u003c\/p\u003e \u003cp\u003eReferences 377\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III 1945–1960\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e23 Setting the Stage: American Film History, 1945–1960 383\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eReferences 397\u003c\/p\u003e \u003cp\u003e\u003cb\u003e24 Taking Stock at War’s End: Gender, Genre, and Hollywood Labor in The Strange Love of Martha Ivers 398\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eRoy Grundmann\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 419\u003c\/p\u003e \u003cp\u003eReferences 421\u003c\/p\u003e \u003cp\u003e\u003cb\u003e25 Natalie Wood: Studio Stardom and Hollywood in Transition 423\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eCynthia Lucia\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 444\u003c\/p\u003e \u003cp\u003eReferences 446\u003c\/p\u003e \u003cp\u003e\u003cb\u003e26 The Politics of Force of Evil: An Analysis of Abraham Polonsky’s Preblacklist Film 448\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eChristine Noll Brinckmann\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 467\u003c\/p\u003e \u003cp\u003eReferences 469\u003c\/p\u003e \u003cp\u003e\u003cb\u003e27 The Actors Studio in the Early Cold War 471\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eCynthia Baron \u0026amp; Beckett Warren\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 485\u003c\/p\u003e \u003cp\u003eReferences 485\u003c\/p\u003e \u003cp\u003e\u003cb\u003e28 Authorship and Billy Wilder 486\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eRobert Sklar\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNotes 501\u003c\/p\u003e \u003cp\u003eReferences 501\u003c\/p\u003e \u003cp\u003e\u003cb\u003e29 Cold War Thrillers 503\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eR. Barton Palmer\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eReferences 519\u003c\/p\u003e \u003cp\u003e\u003cb\u003e30 American Underground Film 520\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eJared Rapfogel\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNote 535\u003c\/p\u003e \u003cp\u003eReferences 535\u003c\/p\u003e \u003cp\u003eIndex 537\u003c\/p\u003e\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003eSubject Areas: Society \u0026amp; culture: general [\u003ca title=\"See our other books on Society \u0026amp; culture: general\" href=\"https:\/\/freshlyprintedbooks.co.uk\/search?q=%22Society%20\u0026amp;%20culture:%20general%20%5BJF%5D%22\"\u003eJF\u003c\/a\u003e]\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\u003c\/font\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Brand New","offer_id":52501417787672,"sku":"9781118475126","price":41.79,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0730\/2037\/5320\/files\/9781118475126.jpg?v=1786236804","url":"https:\/\/freshlyprintedbooks.co.uk\/products\/american-film-history-selected-readings-1960-to-the-present-paperback-softback-9781118475126","provider":"Freshly Printed Books","version":"1.0","type":"link"}