Film scholarship has long been dominated by textual interpretations
of specific films. Looking Past the Screen advances a more
expansive American film studies in which cinema is understood to be
a social, political, and cultural phenomenon extending far beyond
the screen. Presenting a model of film studies in which films
themselves are only one source of information among many, this
volume brings together film histories that draw on primary sources
including collections of personal papers, popular and trade
journalism, fan magazines, studio publications, and industry
records.Focusing on Hollywood cinema from the teens to the 1970s,
these case studies show the value of this extraordinary range of
historical materials in developing interdisciplinary approaches to
film stardom, regulation, reception, and production. The
contributors examine State Department negotiations over the content
of American films shown abroad; analyze the star image of Clara
Smith Hamon, who was notorious for having murdered her lover; and
consider film journalists' understanding of the arrival of
auteurist cinema in Hollywood as it was happening during the early
1970s. One contributor chronicles the development of film studies
as a scholarly discipline; another offers a sociopolitical
interpretation of the origins of film noir. Still another brings to
light Depression-era film reviews and Production Code memos so
sophisticated in their readings of representations of sexuality
that they undermine the perception that queer interpretations of
film are a recent development. Looking Past the Screen suggests
methods of historical research, and it encourages further thought
about the modes of inquiry that structure the discipline of film
studies. Contributors. Mark Lynn Anderson, Janet Bergstrom, Richard
deCordova, Kathryn Fuller-Seeley, Sumiko Higashi, Jon Lewis, David
M. Lugowski, Dana Polan, Eric Schaefer, Andrea Slane, Eric Smoodin,
Shelley Stamp
General
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