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Hollywood Cinema
Richard Maltby (Author)
9780631216155, Wiley
Paperback / softback, published 28 February 2003
720 pages
24.8 x 17.4 x 3.8 cm, 1.515 kg
"Hollywood Cinema is an important book, one to be included in any consideration of American film and its influence in world cinema." Journal of Film and Video “This updated and enhanced edition of Richard Maltby's Hollywood Cinema is quite simply the best single textbook on the subject. In clear, user-friendly fashion, Maltby provides an astonishing amount of basic information about Hollywood while explaining how both the movies and the critical/theoretical discourse of film study have evolved over time. The book is not only an extremely useful overview but also an important intervention in current debates. An intelligent blending of formal and historical analysis, it should become essential reading for every serious student of film, whether beginner or advanced.” James Naremore, Indiana University "In its first edition, Hollywood Cinema quickly became a ‘must-have’ volume for anyone interested in film. Beautifully reorganized, expanded, and updated with features that enhance its usefulness for research and teaching, this revised edition shows how truly indispensable Maltby’s work on Hollywood is to media studies." Barbara Klinger, Indiana University
This extensively revised second edition offers a comprehensive introduction to Hollywood cinema, providing a fascinating account of the cultural and aesthetic significance of the world’s most powerful film industry.
Acknowledgments xii List of Boxes xiv Introduction 1 Part I The Commercial Aesthetic 1 Taking Hollywood Seriously 5 “Metropolis of Make-Believe” 5 Art and Business 7 The Commercial Aesthetic of Titanic 10 A Classical Cinema? 14 Hollywood and its Audiences 19 Ratings and Franchises 22 Hollywood’s World 28 Summary 30 Further Reading 31 2 Entertainment 1 33 Escape 33 Money on the Screen 40 The Multiple Logics of Hollywood Cinema 46 Summary 52 Further Reading 53 3 Entertainment 2 54 The Play of Emotions 54 Regulated Difference 59 Singin’ in the Rain: How to Take Gene Kelly Seriously 66 Summary 71 Further Reading 72 4 Genre 74 Genre Criticism 83 Genre Recognition 86 The Empire of Genres: Pat Garrett and Billy the Kid 93 Genre and Gender 101 Summary 107 Further Reading 108 Part II Histories 5 Industry 1: To 1948 113 Industry 113 Distribution and Exhibition 114 Exporting America 126 Divorcement 128 The Studio System 130 The Star System 141 How Stars are Made: A Star is Born 146 Summary 154 Further Reading 156 6 Industry 2: From 1948 to 1980 159 The Effects of Divorcement 161 Roadshows and Teenpix 165 Independents, Agents, and Television 170 Corporate Consolidation and the “New Hollywood” 173 Ratings 177 Hollywood in the Multiplex 181 Summary 186 Further Reading 187 7 Industry 3: Since 1980 189 Video and New Markets 191 The Pursuit of Synergy 205 Globalization 212 Independence 217 Summary 224 Further Reading 225 8 Technology 227 Realism and the Myth of Total Cinema 229 Sound 238 Sunny Side Up 241 Color 248 Widescreen 251 Technology and Power 255 The Triumph of the Digital 259 Summary 264 Further Reading 265 9 Politics 268 The Politics of Regulation 270 Hollywood Goes to Washington 276 Washington Goes to Hollywood 280 Representing the Political Machine 287 Controversy with Class: The Social Problem Movie 292 Ideology 300 Summary 306 Further Reading 307 Part III Conventions 10 Space 1 311 The Best View 312 Making the Picture Speak: Representation and Expression 313 The Optics of Expressive Space 319 Deep Space: Three-Dimensionality on a Flat Screen 326 Mise-en-Scène 328 Editing 332 Summary 339 Further Reading 340 11 Space 2 343 The Three “Looks” of Cinema 343 Points of View 346 Safe and Unsafe Space 353 Ordinary People 358 Summary 365 Further Reading 365 12 Performance 1 368 The Spectacle of Movement 372 The Movement of Narrative 375 Acting as Impersonation 377 The Actor’s Two Bodies 380 Star Performance 384 Summary 390 Further Reading 391 13 Performance 2 393 The Method 393 Acting as a Signifying System 398 Valentino 401 The Son of the Sheik 406 Summary 410 Further Reading 411 14 Time 413 Time Out 414 Film Time 419 Movie Time 423 Deadlines and Coincidences: Madigan 426 Mise-en-Temps 429 Tense 432 Back to the Present: History as a Production Value 436 The Politics of History: Forrest Gump 440 The Lessons of History: Juárez 443 Summary 449 Further Reading 450 15 Narrative 1 452 Narrative and Other Pleasures 452 Show and Tell 454 Theories of Narration 458 Plot, Story, Narration 462 Clarity: Transparency and Motivation 465 Summary 469 Further Reading 470 16 Narrative 2 471 Regulating Meaning: The Production Code 471 Clarity and Ambiguity in Casablanca 475 Narrative Pressure 484 Summary 488 Further Reading 489 Part IV Approaches 17 Criticism 493 From Reviewing to Criticism 494 Early Theory and Criticism in America 496 From Criticism to Theory 501 Criticism in Practice: Only Angels Have Wings 511 Summary 521 Further Reading 523 18 Theories 526 Entering the Academy 526 Structuralism and Semiology 528 Cinema, Ideology, Apparatus 531 Psychoanalysis and Cinema 535 The Spectator 537 Feminist Theory 540 Poststructuralism and Cultural Studies 542 Neoformalism and Cognitivism 546 From Reception to History 549 Summary 553 Further Reading 555 Chronology 557 Glossary 578 Appendices 593 1 The Motion Picture Production Code 593 2 The Code and Rating System, 1968 598 3 The Classification and Rating System: “What the Ratings Mean” 601 Notes 603 Bibliography 644 Index 666
Subject Areas: Society & culture: general [JF]
