In this Book

summary
The first issue of Hollywood Quarterly, in October 1945, marked the appearance of the most significant, successful, and regularly published journal of its kind in the United States. For its entire life, the Quarterly held to the leftist utopianism of its founders, several of whom would later be blacklisted. The journal attracted a collection of writers unmatched in North American film studies for the heterogeneity of their intellectual and practical concerns: from film, radio, and television industry workers to academics; from Sam Goldwyn, Edith Head, and Chuck Jones to Theodor Adorno and Siegfried Kracauer. For this volume, Eric Smoodin and Ann Martin have selected essays that reflect the astonishing eclecticism of the journal, with sections on animation, the avant-garde, and documentary to go along with a representative sampling of articles about feature-length narrative films. They have also included articles on radio and television, reflecting the contents of just about every issue of the journal and exemplifying the extraordinary moment in film and media studies that Hollywood Quarterly captured and helped to create.

In 1951, Hollywood Quarterly was renamed the Quarterly of Film, Radio, and Television, and in 1958 it was replaced by Film Quarterly, which is still published by the University of California Press. During those first twelve years, the Quarterly maintained an intelligent, sophisticated, and critical interest in all the major entertainment media, not just film, and in issue after issue insisted on the importance of both aesthetic and sociological methodologies for studying popular culture, and on the political significance of the mass media.

Table of Contents

  1. Cover
  2. pp. 1-1
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  1. Title Page, Copyright
  2. pp. 2-5
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  1. Contents
  2. pp. v-vii
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  1. Acknowledgments
  2. pp. ix-11
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  1. Introduction: The Hollywood Quarterly, 1945–1957
  2. pp. xi-xxiii
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  1. 1945: Editorial Statement
  2. pp. 1-29
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  1. 1. THE AVANT-GARDE
  2. pp. 3-31
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  1. 1947–48: Experimental Cinema in America, Part One: 1921–1941
  2. pp. 5-27
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  1. 1948: Experimental Cinema in America, Part Two: The Postwar Revival
  2. pp. 28-50
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  1. 1949: The Avant-Garde Film Seen from Within
  2. pp. 51-56
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  1. 1950: Cinema 16: A Showcase for the Nonfiction Film
  2. pp. 57-59
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  1. 2. ANIMATION
  2. pp. 61-89
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  1. 1946: Animation Learns a New Language
  2. pp. 63-68
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  1. 1946: Music and the Animated Cartoon
  2. pp. 69-76
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  1. 1953: Notes on Animated Sound
  2. pp. 77-83
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  1. 1957: Mr. Magoo as Public Dream
  2. pp. 84-88
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  1. 3. DOCUMENTARY
  2. pp. 89-117
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  1. 1946: Postwar Patterns
  2. pp. 91-99
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  1. 1946: The Documentary and Hollywood
  2. pp. 100-108
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  1. 1957: Time Flickers Out: Notes on the Passing of the March of Time
  2. pp. 109-115
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  1. 4. RADIO
  2. pp. 117-145
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  1. 1946: The Case of David Smith: A Script, with Commentary by Sam Moore, Franklin Fearing, and Cal Kuhl
  2. pp. 119-138
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  1. 1948: Radio’s Attraction for Housewives
  2. pp. 139-151
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  1. 1955: A New Kind of Diplomacy
  2. pp. 152-157
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  1. 5. PRACTICE
  2. pp. 159-187
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  1. 1946: A Costume Problem: From Shot to Stage to Screen
  2. pp. 161-165
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  1. 1947–48: Performance under Pressure
  2. pp. 166-179
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  1. 1950: Designing The Heiress
  2. pp. 180-185
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  1. 1951: The Limitations of Television
  2. pp. 186-196
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  1. 6. TELEVISION
  2. pp. 197-225
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  1. 1949: Hollywood in the Television Age
  2. pp. 199-204
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  1. 1949: You and Television
  2. pp. 205-208
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  1. 1951: Children’s Television Habits and Preferences
  2. pp. 209-221
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  1. 1952: How to Look at Television
  2. pp. 222-240
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  1. 7. THE HOLLYWOOD PICTURE
  2. pp. 241-269
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  1. 1946: Why Wait for Posterity?
  2. pp. 243-252
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  1. 1946: Hollywood—Illusion and Reality
  2. pp. 253-255
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  1. 1946: Negro Stereotypes on the Screen
  2. pp. 256-258
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  1. 1947: Today’s Hero: A Review
  2. pp. 259-262
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  1. 1947–48: An Exhibitor Begs for “B’s”
  2. pp. 263-270
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  1. 1951: A Word of Caution for the Intelligent Consumer of Motion Pictures
  2. pp. 271-282
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  1. 1951: There’s Really No Business Like Show Business
  2. pp. 283-292
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  1. 1952: There’s Still No Business Like It
  2. pp. 293-299
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  1. 1952: Hollywood’s Foreign Correspondents
  2. pp. 300-307
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  1. 8. SCENES FROM ABROAD
  2. pp. 309-337
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  1. 1946: Advanced Training for Film Workers: Russia
  2. pp. 311-321
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  1. 1946: Advanced Training for Film Workers: France
  2. pp. 322-326
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  1. 1947: The Global Film
  2. pp. 327-333
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  1. 1950: The Postwar French Cinema
  2. pp. 334-344
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  1. 1956: When in Rome . . .
  2. pp. 345-353
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  1. 9. NOTES AND COMMUNICATIONS
  2. pp. 355-383
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  1. 1946: J’Accuse
  2. pp. 357-359
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  1. 1947: Je Confirme
  2. pp. 360-361
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  1. 1947: The Cinémathèque Française
  2. pp. 362-365
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  1. 1947: Jean Vigo
  2. pp. 366-369
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  1. 1952: Two Views of a Director—Billy Wilder
  2. pp. 370-380
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  1. 1955: Dialogue between the Moviegoing Public and a Witness for Jean Cocteau
  2. pp. 381-386
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  1. Selected Names Index
  2. pp. 387-390
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  1. Selected Titles Index
  2. pp. 391-394
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Additional Information

ISBN
9780520936324
Related ISBN
9780520232747
MARC Record
OCLC
56025097
Pages
417
Launched on MUSE
2014-01-01
Language
English
Open Access
No
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