Blue-Collar Hollywood: Liberalism, Democracy, and Working People in American Film

Notes

INTRODUCTION: MASS CULTURE AND POLITICAL TRADITIONS 1. Anthony Giddens, Beyond Left and Right: The Future of Radical Politics (Stanford, Calif.: Stanford University Press, 1994), 4–8. 2. John R. Hall, “The Reworking of Class Analysis,” 1–37, and Margaret A. Sommers, “Deconstructing and Reconstructing Class Formation Theory: Narrativity, Relational Analysis and Social Theory,” 82–90, in Reworking Class, edited by John R. Hall (Ithaca, N.Y.: Cornell University Press, 1997). 3. Steve Ross, Working-Class Hollywood: Silent Film and the Shaping of Class in America (Princeton, N.J.: Princeton University Press, 1998), 111–33. For a summary of many of the labor vs. capital and social problem films of the silent era, see Kevin Brownlow, Behind the Mask of Innocence (New York: Knopf, 1990), especially 463–500. See also Lewis Jacobs, The Rise of the American Film: A Critical History (New York: Harcourt, Brace, 1939), 149. Jacobs detects sympathy for working people in silent film but not much support for their rights as workers. Michael S. Roth, “Hiroshima Mon Amour: You Must Remember This,” in Revisioning History: Film and the Construction of the Past, edited by Robert A. Rosenstone (Princeton, N.J.: Princeton University Press, 1995), 84–91. 4. Tony Bennett, The Birth of the Museum: History, Theory, Politics (London : Routledge, 1995), 17–56; Geoff Eley, “The Family Is a Dangerous Place,” in Revisioning History, 17–43; Melissa Dabakis, Visualizing Labor in American Sculpture: Monuments, Manliness, and the Work Ethic, 1880–1935 (Cambridge , UK: Cambridge University Press, 1999), 83–89. 5. Ruth McKenney, Industrial Valley (Boston: Houghton-Mifflin, 1939), 96, 100, 150; Barbara Foley, Radical Representations: Politics and Form in U.S. Proletarian Fiction, 1929–1941 (Durham, N.C.: Duke University Press, 1993), x, 3. 229 NOTES 6. Erin A. Smith, Hard-Boiled: Working-Class Readers and Pulp Magazines (Philadelphia: Temple University Press, 2000), 5–18. 7. Lary May, The Big Tomorrow: Hollywood and the Politics of the American Way (Chicago: University of Chicago Press, 2000), 1–5, 31–60, 273. 8. Michael Denning, The Cultural Front: The Laboring of American Culture in the Twentieth Century (London: Verso, 1996), 9, 102–3, 125. 9. May, Big Tomorrow, 175–209; Denning, Cultural Front, 152–54, 464; Stephen Vaughn, Ronald Reagan in Hollywood: Movies and Politics (Cambridge , UK: Cambridge University Press, 1994), 191–218; Robert Sklar, Movie Made America: A Cultural History of American Movies (New York: Vintage Books, 1994), 267. 10. Robert B. Ray, A Certain Tendency of the Hollywood Cinema, 1930– 1980 (Princeton, N.J.: Princeton University Press, 1985), 25–27, 31–32. 11. Ibid., 35. 12. Garth Jowett, Film: The Democratic Art (Boston: Little, Brown, 1976). See Jeanine Basinger, A Woman’s View: How Hollywood Spoke to Women, 1930–1960 (New York: Alfred Knopf, 1993), 6–7. 13. Paul R. Corman, Left Intellectuals and Popular Culture in TwentiethCentury America (Chapel Hill: University of North Carolina Press, 1996), 8; John Howard Lawson, Film in the Battle of Ideas (New York: Masses and Mainstream, 1953); Jackson Lears, Fables of Abundance (New York: Basic Books, 1994), 138–39. 14. Norman Cantor, The American Century: Varieties of Culture in Modern Times (New York: HarperCollins, 1997), 7, 49, 53. On the rising cultural power of melodrama, see Christine Gledhill, “The Melodramatic Field: An Investigation,” in Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film, edited by Gledhill (London: British Film Institute, 1987), 5–39. 15. Eric Lott, Love and Theft: Blackface Minstrelsy and the American Working Class (New York: Oxford University Press, 1997), 80–81; Jim Cullen, The Art of Democracy: A Concise History of Popular Culture in the United States (New York: Monthly Review Press, 1996), 67–69; 89–90; Michael Denning , Mechanic Accents: Dime Novels and Working-Class Culture in America (London: Verso, 1987). See also Lawrence Levine, Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America (Cambridge, Mass.: Harvard University Press, 1989), 57, 177. 16. Andrew Bunstein, The Language of Democracy: Political Rhetoric in the United States and Britain, 1790–1900 (Ithaca, N.Y.: Cornell University Press, 1995), 12–17; Michael McGerr, The Decline of Popular Politics: The American South, 1865–1928 (New York: Oxford University Press, 1986), 148. 17. David Nasaw, Going Out: The Rise and Fall of Public Amusements (New York: Basic Books, 1993); Peter N. Stearns and Carol Z. Stearns, “Emo230 NOTES TO PAGES xix–xxv tionology: Clarifying the History of Emotions and Emotional Standards,” American Historical Review 90 (October...