From the yankee underground movie to the blockbuster superhero, this authoritative selection of introductory and really expert readings explores the center matters and advancements in American cinematic heritage through the moment half the twentieth-century throughout the contemporary.
Considers crucial topics that experience formed the yank movie industry--from the impression of tv and CGI to the increase of self sufficient and underground movie; from the influence of the civil rights, feminist and LGBT activities to that of Sep 11. contains a student-friendly constitution dividing assurance into the classes 1960-1975, 1976-1990, and 1991 to the current day, each one of which opens with an old review
Brings jointly a wealthy and sundry number of contributions by way of verified movie students, combining extensive ancient, social, and political contexts with distinctive research of person motion pictures, together with: "Midnight Cowboy," " Nashville, Cat Ballou," "Chicago," " again to the Future," "Killer of Sheep," "Daughters of the airborne dirt and dust, not anything yet a Man," "Ali," " effortless Rider, The dialog, The Texas Chain observed bloodbath, " "Longtime Companion," "The Matrix, The warfare Tapes, "the "Batman "films, and chosen avant-garde and documentary motion pictures, between many others. extra on-line assets, akin to pattern syllabi, which come with steered readings and filmographies, for either basic and really expert classes, might be to be had on-line. can be utilized along "American movie heritage: chosen Readings, Origins to 1960" to supply an authoritative learn of yank cinema from its earliest days during the new millennium
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Additional resources for American Film History: Selected Readings, 1960 to the Present
But to grant Cassavetes pioneer status is to ignore that the very concept of independent film significantly predates him, going back to the birth of the Hollywood industry, which itself had been founded as a confederacy of former outsiders, and against which the early indies would come to define themselves. Whether defined institutionally or in artistic-aesthetic terms, a history of independent film must begin, at the very latest, with such historic figures as Oscar Micheaux and other makers of so called “race films” in the 1910s and 1920s, as Paula Massood outlines in Volume I of this series, and must continue with a consideration of the New York Shtetl films of the 1930s, before arriving at such landmark films as Salt of the Earth (1950), whose independent status is defined not merely by creative sensibility, but also, and most centrally, in starkly political terms.
New York: Doubleday. Maltby, Richard. (2003). Hollywood Cinema. 2nd edn. Malden, MA: Blackwell Publishing. Modleski, Tania. (1988). The Women Who Knew Too Much: Hitchcock and Feminist Theory. New York: Routledge. Rabinovitz, Lauren. (1991). Points of Resistance: Women, Power and Politics in the New York Avant-garde Cinema, 1943–71. Urbana: University of Illinois Press. Reid, Mark A. (1993). Redefining Black Film. Berkeley: University of California Press. Renov, Michael. (1987). 1 (Autumn), 20–33.
1 Made on shoestring budgets far lower than even those of “B” movies, and usually dealing with controversial or taboo subjects, they were created on the fringes of the mainstream film industry but played in regular theaters that were unaffiliated with the majors – often to sell-out crowds. ), and other vices. Representative titles include The Road to Ruin (1928, remade in 1933), Reefer Madness (1936), The Pace That Kills (1928, remade in 1935), Slaves in Bondage (1937), and The Devil’s Sleep (1949).
American Film History: Selected Readings, 1960 to the Present