Location shooting has always been a vital counterpart to soundstage production, and at times, the primary form of Hollywood filmmaking. But until now, the industrial and artistic development of this production practice has been scattered across the margins of larger American film histories. Hollywood on Location is the first comprehensive history of location shooting in the American film industry, showing how this mode of filmmaking changed Hollywood business practices, production strategies, and visual style from the silent era to the present. The contributors explore how location filmmaking supplemented and  later, supplanted production on the studio lots. Drawing on archival research and in-depth case studies, the seven contributors show how location shooting expanded the geography of American film production, from city streets and rural landscapes to far-flung territories overseas, invoking a new set of creative, financial, technical, and logistical challenges. Whereas studio filmmaking sought to recreate nature, location shooting sought to master it, finding new production values and production economies that reshaped Hollywood’s modus operandi. 

One of the country's most picturesque cities and conveniently located just a few hours' drive from Hollywood, San Francisco became the most frequently and extensively filmed American city beyond the production hubs of Los Angeles and New York in the three decades after World War II. During those years, the cinematic image of the city morphed from the dreamy beauty of Vertigo to the nightmarish wasteland of Dirty Harry, although San Francisco itself experienced no such decline. This intriguing disconnect gives impetus to Hollywood in San Francisco, the most comprehensive study to date of Hollywood's move from studio to location production in the postwar era. In this thirty-year history of feature filmmaking in San Francisco, Joshua Gleich tracks a sea change in Hollywood production practices, as location shooting overtook studio-based filming as the dominant production method by the early 1970s. He shows how this transformation intersected with a precipitous decline in public perceptions of the American city, to which filmmakers responded by developing a stark, realist aesthetic that suited America's growing urban pessimism and superseded a fidelity to local realities. Analyzing major films set in San Francisco, ranging from Dark Passage and Vertigo to The Conversation, The Towering Inferno, and Bullitt, as well as the TV show The Streets of San Francisco, Gleich demonstrates that the city is a physical environment used to stage urban fantasies that reveal far more about Hollywood filmmaking and American culture than they do about San Francisco.

One of the country's most picturesque cities and conveniently located just a few hours' drive from Hollywood, San Francisco became the most frequently and extensively filmed American city beyond the production hubs of Los Angeles and New York in the three decades after World War II. During those years, the cinematic image of the city morphed from the dreamy beauty of Vertigo to the nightmarish wasteland of Dirty Harry, although San Francisco itself experienced no such decline. This intriguing disconnect gives impetus to Hollywood in San Francisco, the most comprehensive study to date of Hollywood's move from studio to location production in the postwar era. In this thirty-year history of feature filmmaking in San Francisco, Joshua Gleich tracks a sea change in Hollywood production practices, as location shooting overtook studio-based filming as the dominant production method by the early 1970s. He shows how this transformation intersected with a precipitous decline in public perceptions of the American city, to which filmmakers responded by developing a stark, realist aesthetic that suited America's growing urban pessimism and superseded a fidelity to local realities. Analyzing major films set in San Francisco, ranging from Dark Passage and Vertigo to The Conversation, The Towering Inferno, and Bullitt, as well as the TV show The Streets of San Francisco, Gleich demonstrates that the city is a physical environment used to stage urban fantasies that reveal far more about Hollywood filmmaking and American culture than they do about San Francisco.

Location shooting has always been a vital counterpart to soundstage production, and at times, the primary form of Hollywood filmmaking. But until now, the industrial and artistic development of this production practice has been scattered across the margins of larger American film histories. Hollywood on Location is the first comprehensive history of location shooting in the American film industry, showing how this mode of filmmaking changed Hollywood business practices, production strategies, and visual style from the silent era to the present. The contributors explore how location filmmaking supplemented and later, supplanted production on the studio lots. Drawing on archival research and in-depth case studies, the seven contributors show how location shooting expanded the geography of American film production, from city streets and rural landscapes to far-flung territories overseas, invoking a new set of creative, financial, technical, and logistical challenges. Whereas studio filmmaking sought to recreate nature, location shooting sought to master it, finding new production values and production economies that reshaped Hollywood's modus operandi.