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Film, Theater, and Performing Arts > Film and Media Studies
At the start of hostilities in World War I, when the United States was still neutral, American newsreel companies and newspapers sent a new kind of journalist, the film correspondent, to Europe to record the Great War. These pioneering cameramen, accustomed to carrying the Kodaks and Graflexes of still photography, had to lug cumbersome equipment into the trenches. Facing dangerous conditions on the front, they also risked summary execution as supposed spies while navigating military red tape, censorship, and the business interests of the film and newspaper companies they represented. Based on extensive research in European and American archives, American Cinematographers in the Great War, 1914–1918 follows the adventures of these cameramen as they managed to document and film the atrocities around them in spite of enormous difficulties.
The Cambridge Turn
American Ethnographic Film and Personal Documentary is a critical history of American filmmakers crucial to the development of ethnographic film and personal documentary. The Boston and Cambridge area is notable for nurturing these approaches to documentary film via institutions such as the MIT Film Section and the Film Study Center, the Carpenter Center and the Visual and Environmental Studies Department at Harvard. Scott MacDonald uses pragmatism’s focus on empirical experience as a basis for measuring the groundbreaking achievements of such influential filmmakers as John Marshall, Robert Gardner, Timothy Asch, Ed Pincus, Miriam Weinstein, Alfred Guzzetti, Ross McElwee, Robb Moss, Nina Davenport, Steve Ascher and Jeanne Jordan, Michel Negroponte, John Gianvito, Alexander Olch, Amie Siegel, Ilisa Barbash, and Lucien Castaing-Taylor. By exploring the cinematic, personal, and professional relationships between these accomplished filmmakers, MacDonald shows how a pioneering, engaged, and uniquely cosmopolitan approach to documentary developed over the past half century.
Upon its original publication in 1976, The American Film Industry was welcomed by film students, scholars, and fans as the first systematic and unified history of the American movie industry. Now this indispensible anthology has been expanded and revised to include a fresh introductory overview by editor Tino Balio and ten new chapters that explore such topics as the growth of exhibition as big business, the mode of production for feature films, the star as market strategy, and the changing economics and structure of contemporary entertainment companies. The result is a unique collection of essays, more comprehensive and current than ever, that reveals how the American movie industry really worked in a century of constant change-from kinetoscopes and the coming of sound to the star system, 1950s blacklisting, and today's corporate empires.
While the anti-establishment rebels of 1969’s Easy Rider were morphing into the nostalgic yuppies of 1983’s The Big Chill, Seventies movies brought us everything from killer sharks, blaxploitation, and teen comedies to haunting views of a divided America at war. Indeed, as Peter Lev persuasively argues in this book, the films of the 1970s constitute a kind of conversation about what American society is and should be—open, diverse, and egalitarian, or stubbornly resistant to change. Examining forty films thematically, Lev explores the conflicting visions presented within ten different film genres or subjects: o Hippies (Easy Rider, Alice’s Restaurant) o Cops (The French Connection, Dirty Harry) o Disasters and Conspiracies (Jaws, Chinatown) o End of the Sixties (Nashville, The Big Chill) o Art, Sex, and Hollywood (Last Tango in Paris) o Teens (American Graffiti, Animal House) o War (Patton, Apocalypse Now) o African-Americans (Shaft, Superfly) o Feminisms (An Unmarried Woman, The China Syndrome) o Future Visions (Star Wars, Blade Runner) As accessible to ordinary moviegoers as to film scholars, Lev’s book is an essential companion to these familiar, well-loved movies.
The Genre at the Turn of the Millennium
Creatively spent and politically irrelevant, the American horror film is a mere ghost of its former self-or so goes the old saw from fans and scholars alike. Taking on this undeserved reputation, the contributors to this collection provide a comprehensive look at a decade of cinematic production, covering a wide variety of material from the last ten years with a clear critical eye. Individual essays profile the work of up-and-coming director Alexandre Aja and reassess William Malone's muchmalignedFeardotcom in the light of the torture debate at the end of President George W. Bush's administration. Other essays look at the economic, social, and formal aspects of the genre; the globalization of the U.S. film industry; the alleged escalation of cinematic violence; and the massive commercial popularity of the remake. Some essays examine specific subgenres-from the teenage horror flick to the serial killer film and the spiritual horror film-as well as the continuing relevance of classic directors such as George A. Romero, David Cronenberg, John Landis, and Stuart Gordon.Essays deliberate on the marketing of nostalgia and its concomitant aesthetic, and the curiously schizophrenic perspective of fans who happen to be scholars as well. Taken together, the contributors to this collection make a compelling case that American horror cinema is as vital, creative, and thought-provoking as it ever was.
This engaging, deeply researched study provides the richest and most nuanced picture we have to date of cinema—both movies and movie-going—in the early 1910s. At the same time, it makes clear the profound relationship between early cinema and the construction of a national identity in this important transitional period in the United States. Richard Abel looks closely at sensational melodramas, including westerns (cowboy, cowboy-girl, and Indian pictures), Civil War films (especially girl-spy films), detective films, and animal pictures—all popular genres of the day that have received little critical attention. He simultaneously analyzes film distribution and exhibition practices in order to reconstruct a context for understanding moviegoing at a time when American cities were coming to grips with new groups of immigrants and women working outside the home. Drawing from a wealth of research in archive prints, the trade press, fan magazines, newspaper advertising, reviews, and syndicated columns—the latter of which highlight the importance of the emerging star system—Abel sheds new light on the history of the film industry, on working-class and immigrant culture at the turn of the century, and on the process of imaging a national community.
Norman Corwin and Media Authorship
This collection of essays examines one of the most important, yet understudied, media authors of all time—Norman Corwin—using him as a critical lens to consider the history of multimedia authorship, particularly in the realm of sound. Known for seven decades as the “poet laureate” of radio, Corwin is most famous for his radio dramas, which reached tens of millions of listeners around the world and contributed to radio drama’s success as a mass media form in the 1930s and 1940s. But Corwin was a pioneer in multiple media, including cinema, theater, TV, public service broadcasting, journalism, and even cantata. In each of these areas, Corwin had a distinctive approach to sonic aesthetics and mastery of multiple aspects of media production, relying in part on his inventive atmospheric effects in the studio both prerecorded, and, more impressively, live in real time. From the front lines of World War II to his role as Chief of Special Projects for United Nations Radio and his influence on media today, the political and social aspect of Corwin’s work is woven into these essays. With a foreword by Michele Hilmes and contributions from Thomas Doherty, Mary Ann Watson, Shawn VanCour, David Ossman and others, this volume cements Corwin’s reputation as perhaps the greatest writer in the history of radio, while also showing that his long career is a neglected model of multimedia authorship.