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ln this award-winning book, illustrator Robert Nippoldt and film critic Daniel Kothenschulte team up to pay homage to the golden era of Tinseltown, when silent films became talking pictures, stars got even more glamorous, directors more megalomaniac, and politicians and the mob hankered after a piece of the dazzling action.
Examines how Hollywood responded to and reflected the political and social changes that America experienced during the 1930sIn the popular imagination, 1930s Hollywood was a dream factory producing escapist movies to distract the American people from the greatest economic crisis in their nations history. But while many films of the period conform to this stereotype, there were a significant number that promoted a message, either explicitly or implicitly, in support of the political, social and economic change broadly associated with President Franklin D. Roosevelts New Deal programme. At the same time, Hollywood was in the forefront of challenging traditional gender roles, both in terms of movie representations of women and the role of women within the studio system. With case studies of actors like Shirley Temple, Cary Grant and Fred Astaire, as well as a selection of films that reflect politics and society in the Depression decade, this fascinating book examines how the challenges of the Great Depression impacted on Hollywood and how it responded to them.Topics covered include:How Hollywood offered positive representations of working womenCongressional investigations of big-studio monopolization over movie distributionHow three different types of musical genres related in different ways to the Great Depression the Warner Bros Great Depression Musicals of 1933, the Astaire/Rogers movies, and the MGM akids musicals of the late 1930sThe problems of independent production exemplified in King Vidors Our Daily BreadCary Grants success in developing a debonair screen persona amid Depression conditionsContributors Harvey G. Cohen, King's College LondonPhilip John Davies, British LibraryDavid Eldridge, University of HullPeter William Evans, Queen Mary, University of LondonMark Glancy, Queen Mary University of LondonIna Rae Hark, University of South CarolinaIwan Morgan, University College LondonBrian Neve, University of BathIan Scott, University of ManchesterAnna Siomopoulos, Bentley UniversityJ. E. Smyth, University of WarwickMelvyn Stokes, University College LondonMark Wheeler, London Metropolitan University
This engrossing tale of intrigue, passion, betrayal, and violence uncovers the true face of communism in Southern California, and names writers and actresses who were seduced by the party's philosophy.
The 1930s represented the strongest and most significant decade in Clark Gable's career. Later known as The King of Hollywood, Gable started out as a journeyman actor who quickly rose to the level of star, and then icon. With his ruggedly attractive looks and effortless charisma, Gable was the sort of manly romantic lead that bolstered features alongside the likes of Jean Harlow, Joan Crawford, and Spencer Tracy. The decade culminated with Gable's most noted movie, Gone With the Wind. This book traces Gable's early career, film-by-film, offering background information and a critical assessment of each of his movies released during the 1930s.
This book “decodes” 1930s Hollywood movies and explains why they looked and behaved in the way they did. Organized through a series of related case studies, the book exposes Classical Hollywood movies to a detailed analysis of their historical, industrial and cultural contexts. In the process it utilizes industry data, aesthetic analysis and the insights of New Cinema History to explain why and how these movies assumed their familiar forms. The book represents the summation of Richard Maltby’s four decades of scholarship in the field of Hollywood cinema. The essays presented here share an assumption that has increasingly informed the author’s critical method over the years: that any historical understanding of the films of this period requires a deep contextualization in the social circumstances surrounding both their production and consumption. In this way, the book introduces an innovative, overarching research methodology that synthesizes branches of research that are typically employed in isolation, including production, distribution, reception, film aesthetics, and cultural and historical context. Of the book’s nine chapters, three are presented here for the first time, and four have been substantially revised and extended from their original publication.
Filled with rare images and untold stories from filmmakers, exhibitors, and moviegoers, Forbidden Hollywood is the ultimate guide to a gloriously entertaining era when a lax code of censorship let sin rule the movies. Forbidden Hollywood is a history of "pre-Code" like none otherA name=_Hlk518256457: you will eavesdrop on production conferences, read nervous telegrams from executives to censors, and hear Americans argue about "immoral" movies. /aYou will see decisions artfully wrought, so as to fool some of the people long enough to get films into theaters. You will read what theater managers thought of such craftiness, and hear from fans as they applauded creativity or condemned crassness. You will see how these films caused a grass-roots movement to gain control of Hollywood-and why they were "forbidden" for fifty years. The book spotlights the twenty-two films that led to the strict new Code of 1934, including Red-Headed Woman, Call Her Savage, and She Done Him Wrong. You'll see Paul Muni shoot a path to power in the original Scarface; Barbara Stanwyck climb the corporate ladder on her own terms in Baby Face; and misfits seek revenge in Freaks. More than 200 newly restored (and some never-before-published) photographs illustrate pivotal moments in the careers of Clara Bow, Joan Crawford, Norma Shearer, and Greta Garbo; and the pre-Code stardom of Claudette Colbert, Cary Grant, Marlene Dietrich, James Cagney, and Mae West. This is the definitive portrait of an unforgettable era in filmmaking.
The American West is a complex region that has inspired generations of writers and artists. Often portrayed as a quintessential landscape that symbolizes promise and progress for a developing nation, the American West is also a diverse space that has experienced conflicting and competing hopes and expectations. While it is frequently imagined as a place enabling dreams of new beginnings for settler communities, it is likewise home to long-standing indigenous populations as well as many other ethnic and racial groups who have often produced different visions of the land. This History encompasses the intricacy of Western American literature by exploring myriad genres and cultural movements, from ecocriticism, settler colonial studies and transnational theory, to race, ethnic, gender and sexuality studies. Written by a host of leading historians and literary critics, this book offers readers insight into the West as a site that sustains canonical and emerging authors alike, and as a region that exceeds national boundaries in addressing long-standing global concerns and developments.
Pre-Code Hollywood explores the fascinating period in American motion picture history from 1930 to 1934 when the commandments of the Production Code Administration were violated with impunity in a series of wildly unconventional films—a time when censorship was lax and Hollywood made the most of it. Though more unbridled, salacious, subversive, and just plain bizarre than what came afterwards, the films of the period do indeed have the look of Hollywood cinema—but the moral terrain is so off-kilter that they seem imported from a parallel universe. In a sense, Doherty avers, the films of pre-Code Hollywood are from another universe. They lay bare what Hollywood under the Production Code attempted to cover up and push offscreen: sexual liaisons unsanctified by the laws of God or man, marriage ridiculed and redefined, ethnic lines crossed and racial barriers ignored, economic injustice exposed and political corruption assumed, vice unpunished and virtue unrewarded—in sum, pretty much the raw stuff of American culture, unvarnished and unveiled. No other book has yet sought to interpret the films and film-related meanings of the pre-Code era—what defined the period, why it ended, and what its relationship was to the country as a whole during the darkest years of the Great Depression... and afterward.
This companion volume to Mystery Movie Series of 1940s Hollywood (McFarland, 2010) focuses on 22 series and 167 individual films, primarily released during the 1930s. It was a decade that featured some of the most famous cinema detectives of all time, among them Charlie Chan, Nick and Nora Charles, Philo Vance, Nancy Drew, and such lesser known but equally entertaining figures as Hildegarde Withers, Torchy Blane, Mr. Moto, Mr. Wong, and Brass Bancroft. Each mystery movie series is placed within its historical context, with emphasis on its source material and the changes or developments within the series over time. Also included are reviews of all the series' films, analyzing the quality and cohesiveness of the mystery plotlines. For titles based on literary sources, a comparison between the film and the written work is provided.
Robert B. Ray examines the ideology of the most enduringly popular cinema in the world--the Hollywood movie. Aided by 364 frame enlargements, he describes the development of that historically overdetermined form, giving close readings of five typical instances: Casablanca, It's a Wonderful Life, The Man Who Shot Liberty Valance, The Godfather, and Taxi Driver. Like the heroes of these movies, American filmmaking has avoided commitment, in both plot and technique. Instead of choosing left or right, avant-garde or tradition, American cinema tries to have it both ways. Although Hollywood's commercial success has led the world audience to equate the American cinema with film itself, Hollywood filmmaking is a particular strategy designed to respond to specific historical situations. As an art restricted in theoretical scope but rich in individual variations, the American cinema poses the most interesting question of popular culture: Do dissident forms have any chance of remaining free of a mass medium seeking to co-opt them?