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Table of Contents

  1. Politics, Authorship and History: the Production, Reception and Marginalization of Street Scenes 1970
  2. Marc Raymond
  3. pp. 133-147
  4. DOI: https://doi.org/10.2979/fil.2010.22.2.133
  5. restricted access
  1. “In the Interest of the Moral Life of Our City”: The Beginning of Motion Picture Censorship in Portland, Oregon
  2. Mary P. Erickson
  3. pp. 148-169
  4. DOI: https://doi.org/10.2979/fil.2010.22.2.148
  5. restricted access
  1. Dissent and Consent in the “Good War”: Hedda Hopper, Hollywood Gossip, and World War II Isolationism
  2. Jennifer Frost
  3. pp. 170-181
  4. DOI: https://doi.org/10.2979/fil.2010.22.2.170
  5. restricted access
  1. Cutting Koerners: Floyd Odlum, the Atlas Corporation and the Dismissal of Orson Welles from RKO
  2. Vincent L. Barnett
  3. pp. 182-198
  4. DOI: https://doi.org/10.2979/fil.2010.22.2.182
  5. restricted access
  1. “Seventeen Happy Days” in Hollywood: Selig Polyscope’s Promotional Campaign for the Movie Special of July 1915
  2. Kia Afra
  3. pp. 199-218
  4. DOI: https://doi.org/10.2979/fil.2010.22.2.199
  5. restricted access
  1. Subversion, Desperation and Captivity: Pre-film Advertising in American Film Exhibition Since 1977
  2. Deron Overpeck
  3. pp. 219-234
  4. DOI: https://doi.org/10.2979/fil.2010.22.2.219
  5. restricted access
  1. The Russians Are Coming The Russians Are Coming (1966): Reconsidering Hollywood’s Cold War “Turn” of the 1960s
  2. Tony Shaw
  3. pp. 235-250
  4. DOI: https://doi.org/10.2979/fil.2010.22.2.235
  5. restricted access
  1. Introduction: Movies in America
  2. Richard Koszarski
  3. pp. 131-132
  4. restricted access