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Cinema Memories brings together and analyses the memories of almost
a thousand people of going to the cinema in Britain during the
1960s. It offers a fresh perspective on the social, cultural and
film history of what has come to be seen as an iconic decade, with
the release of films such as A Taste of Honey, The Sound of Music,
Darling, Blow-Up, Alfie, The Graduate, and Bonnie and Clyde.
Drawing on first-hand accounts, authors Melvyn Stokes, Matthew
Jones and Emma Pett explore how cinema-goers constructed meanings
from the films they watched - through a complex process of
negotiation between the films concerned, their own social and
cultural identities, and their awareness of changes in British
society. Their analysis helps the reader see what light the
cultural memory of 1960s cinema-going sheds on how the Sixties in
Britain is remembered and interpreted. Positioning their study
within debates about memory, 1960s cinema, and the seemingly
transformative nature of this decade of British history, the
authors reflect on the methodologies deployed, the use of memories
as historical sources, and the various ways in which cinema and
cinema-going came to mean something to their audiences.
Cinema Memories brings together and analyses the memories of almost
a thousand people of going to the cinema in Britain during the
1960s. It offers a fresh perspective on the social, cultural and
film history of what has come to be seen as an iconic decade, with
the release of films such as A Taste of Honey, The Sound of Music,
Darling, Blow-Up, Alfie, The Graduate, and Bonnie and Clyde.
Drawing on first-hand accounts, authors Melvyn Stokes, Matthew
Jones and Emma Pett explore how cinema-goers constructed meanings
from the films they watched - through a complex process of
negotiation between the films concerned, their own social and
cultural identities, and their awareness of changes in British
society. Their analysis helps the reader see what light the
cultural memory of 1960s cinema-going sheds on how the Sixties in
Britain is remembered and interpreted. Positioning their study
within debates about memory, 1960s cinema, and the seemingly
transformative nature of this decade of British history, the
authors reflect on the methodologies deployed, the use of memories
as historical sources, and the various ways in which cinema and
cinema-going came to mean something to their audiences.
This collection brings together many of the world’s leading
scholars on race and film to re-consider the legacy and impact of
D.W. Griffith’s deeply racist 1915 epic The Birth of a Nation.
While this film is often cited, there is a considerable dearth of
substantial research on its initial impact and global reach. These
essays fill important gaps in the history of the film, including
essential work on its sources, international reception, and African
American responses. This book is a key text in the history of the
most infamous and controversial film ever made and offers crucial
new insights to scholars and students working in film history,
African American history and the history of race relations.
American History through Hollywood Film offers a new perspective on
major issues in American history from the 1770s to the end of the
twentieth century and explores how they have been represented in
film. Melvyn Stokes examines how and why representation has changed
over time, looking at the origins, underlying assumptions,
production, and reception of an important cross-section of
historical films. Chapters deal with key events in American history
including the American Revolution, the Civil War and its legacy,
the Great Depression, and the anti-communism of the Cold War era.
Major themes such as ethnicity, slavery, Native Americans and
Jewish immigrants are covered and a final chapter looks at the way
the 1960s and 70s have been dealt with by Hollywood. This book is
essential reading for anyone studying American history and the
relationship between history and film.
American History through Hollywood Film offers a new perspective on
major issues in American history from the 1770s to the end of the
twentieth century and explores how they have been represented in
film. Melvyn Stokes examines how and why representation has changed
over time, looking at the origins, underlying assumptions,
production, and reception of an important cross-section of
historical films. Chapters deal with key events in American history
including the American Revolution, the Civil War and its legacy,
the Great Depression, and the anti-communism of the Cold War era.
Major themes such as ethnicity, slavery, Native Americans and
Jewish immigrants are covered and a final chapter looks at the way
the 1960s and 70s have been dealt with by Hollywood. This book is
essential reading for anyone studying American history and the
relationship between history and film.
A nickelodeon screening a Charlie Chaplin silent classic, the
downtown arthouse cinemas that made Antonioni and Cassavetes
household names, the modern suburban megaplex and its sold-out
Friday night blockbuster: "how" American and global audiences have
viewed movies is as rich a part of cinematic history as "what"
we've seen on the silver screen. "Going to the Movies" considers
the implications of this social and cultural history through an
analysis of the diverse historical and geographical circumstances
in which audiences have viewed American cinema. Featuring a
distinguished group of film scholars--including Richard Abel,
Annette Kuhn, Jane Gaines, and Thomas Doherty--whose interests
range broadly across time and place, this volume analyzes the role
of movie theatres in local communities, the links between film and
other entertainment media, non-theatrical exhibition, and trends
arising from the globalization of audiences. Emphasizing moviegoing
outside of the northeastern United States, as well as the
complexities of race in relation to cinema attendance, "Going to
the Movies "appeals to the global citizen of cinema--locating the
moviegoing experience in its appeal to the heart and mind of the
audience, whether it's located in a South African shanty town or
the screening room of a Hollywood production lot.
"Hollywood Abroad "is the first book to examine the reception of
Hollywood movies by non-American audiences. Although numerous books
on film history have analyzed the ways in which American films came
to dominate world markets, there has so far been very little
published work on how audiences outside the United States have
responded to Hollywood-produced films. "Hollywood Abroad "explores
the reception of U.S. films in Britain, France, Belgium, Turkey,
Australia, India, Japan, and Central Africa. The book covers topics
from the first major penetration of American films into France,
Britain, and Australia to the impact of such films as "The Best
Years of Our Lives "to the response of Belgian young people in the
age of the multiplex. It demonstrates that the story of the
reception of American films overseas is less one of domination than
of a complex adoption of Hollywood into various cultures.
Historians are very much aware of the variety of national and
international trends that have shaped historical inquiry in recent
decades. Americanists, in particular, have been conscious of the
growing importance of gender issues, the 'turn' to questions of
language and meaning, the increasing significance of cultural
matters, and a new emphasis on regional history. The 1990s,
moreover, saw a major movement to internationalize approaches to
American history by emphasizing comparisons with other countries
and cultures. By the end of the twentieth century it was by no
means clear whether there was any distinctive 'American' history
or, if it did exist, what its main contours were.This book brings
together a distinguished international group of scholars in an
effort to answer this key question through a sustained
interrogation of the periods, themes, fields, problems and
perspectives in historical writing on the United States. How have
the intricate issues surrounding gender, race, slavery and civil
rights been resolved and interpreted in recent American history?
How have historians dealt with the complexities of events such as
the American Revolution, the Civil War, Reconstruction and the New
Deal in developing their historical narratives? In what ways have
technological developments in industry, print and film influenced
the questions historians ask?"The State of U.S. History" offers an
exciting introduction to the debates surrounding the major trends
in American historical debates and the crucial events and
influences that have helped define the American experience.
Historians are very much aware of the variety of national and
international trends that have shaped historical inquiry in recent
decades. Americanists, in particular, have been conscious of the
growing importance of gender issues, the 'turn' to questions of
language and meaning, the increasing significance of cultural
matters, and a new emphasis on regional history. The 1990s,
moreover, saw a major movement to internationalize approaches to
American history by emphasizing comparisons with other countries
and cultures. By the end of the twentieth century it was by no
means clear whether there was any distinctive 'American' history
or, if it did exist, what its main contours were.
This book brings together a distinguished international group of
scholars in an effort to answer this key question through a
sustained interrogation of the periods, themes, fields, problems
and perspectives in historical writing on the United States. How
have the intricate issues surrounding gender, race, slavery and
civil rights been resolved and interpreted in recent American
history? How have historians dealt with the complexities of events
such as the American Revolution, the Civil War, Reconstruction and
the New Deal in developing their historical narratives? In what
ways have technological developments in industry, print and film
influenced the questions historians ask?
"The State of U.S. History" offers an exciting introduction to the
debates surrounding the major trends in American historical debates
and the crucial events and influences that have helped define the
American experience.
Most historical writing on the relations between the United States
and its European allies in the post-war period has concentrated on
the development of the Cold War and the beginnings of European
integration. An equally significant question is how relations
between an increasingly self-confident Europe and a United States
used to its leadership role developed after this period. This book
investigates the successes and failures, as well as the diversity,
that constituted both the strength and weakness of the
transatlantic alliance. It looks at crucial areas of conflict, such
as economics and trade, nuclear weapons, the language of power, and
key personalities, as well as the very concept of a special
relationship. How did Europe and the United States respond to
economic emergencies such as the 1973-4 oil crisis and how were
issues of power and control reflected in the language used by
officials to describe foreign nations and statesmen? Who controlled
the nuclear button and how did fears and feelings of inferiority
influence European-American nuclear interdependence in NATO? How
did American officials attempt to walk successfully in European
corridors of power and how did Europeans network in Washington?
What are the qualities that make relationships such as the
Anglo-American or the German-American one special and what strains
do they place on other members of the alliance?
Internationally renowned experts in their fields illuminate the
most exciting and important research currently available on the
European-American relationship and shed new light on the way the
western alliance has functioned. This important book will have wide
appeal for specialists in a number of fields: international
relations, politics, economics, and history.
The last decade has seen a major shift in the way
nineteenth-century American history is interpreted, and increasing
attention is being paid to the market revolution occurring between
1815 and the Civil War. This collection of twelve essays by
preeminent scholars in nineteenth-century history aims to respond
to Charles Sellers's The Market Revolution, reflecting upon the
historiographic accomplishments initiated by his work, while at the
same time advancing the argument across a range of fields.
The nine chapters in this volume provide a clear and accessible
overview of the 20th-century history of the American South. Topics
covered include labour, intellectual and women's history as well as
an analysis of the impact of Federal government policy on economic
and social affairs. While embracing several fields, the authors all
address the same theme: the slow loss of Southern distinctiveness
and the effect this process has had on issues of race and class.
The nine chapters in this volume provide a clear and accessible
overview of the 20th-century history of the American South. Topics
covered include labour, intellectual and women's history as well as
an analysis of the impact of Federal government policy on economic
and social affairs. While embracing several fields, the authors all
address the same theme: the slow loss of Southern distinctiveness
and the effect this process has had on issues of race and class.
A nickelodeon screening a Charlie Chaplin silent classic, the
downtown arthouse cinemas that made Antonioni and Cassavetes
household names, the modern suburban megaplex and its sold-out
Friday night blockbuster: "how" American and global audiences have
viewed movies is as rich a part of cinematic history as "what"
we've seen on the silver screen. "Going to the Movies" considers
the implications of this social and cultural history through an
analysis of the diverse historical and geographical circumstances
in which audiences have viewed American cinema. Featuring a
distinguished group of film scholars--including Richard Abel,
Annette Kuhn, Jane Gaines, and Thomas Doherty--whose interests
range broadly across time and place, this volume analyzes the role
of movie theatres in local communities, the links between film and
other entertainment media, non-theatrical exhibition, and trends
arising from the globalization of audiences. Emphasizing moviegoing
outside of the northeastern United States, as well as the
complexities of race in relation to cinema attendance, "Going to
the Movies "appeals to the global citizen of cinema--locating the
moviegoing experience in its appeal to the heart and mind of the
audience, whether it's located in a South African shanty town or
the screening room of a Hollywood production lot.
In this deeply researched and vividly written volume, Melvyn Stokes
illuminates the origins, production, reception and continuing
history of this ground-breaking, aesthetically brilliant, and yet
highly controversial movie landmark. By going back to the original
archives, particularly the NAACP and D. W. Griffith Papers, Stokes
explodes many of the myths surrounding The Birth of a Nation
(1915). Yet the story that remains is fascinating: the longest
American film of its time, Griffith's film incorporated many new
features, including the first full musical score compiled for an
American film. It was distributed and advertised by pioneering
methods that would quickly become standard. Through the high prices
charged for admission and the fact that it was shown, at first,
only in "live" theaters with orchestral accompaniment, Birth played
a major role in reconfiguring the American movie audience by
attracting more middle-class patrons. But if the film was a
milestone in the history of cinema, it was also undeniably racist.
Stokes shows that the darker side of this classic movie has its
origins in the racist ideas of Thomas Dixon, Jr. and Griffith's own
Kentuckian background and earlier film career. The book reveals
how, as the years went by, the campaign against the film became
increasingly successful. In the 1920s, for example, the NAACP
exploited the fact that the new Ku Klux Klan, which used Griffith's
film as a recruiting and retention tool, was not just anti-black,
but also anti-Catholic and anti-Jewish, as a way to mobilize new
allies in opposition to the film. This crisply written book sheds
light on both the film's racism and the aesthetic brilliance of
Griffith's filmmaking. It is a must-read for anyone interested in
the cinema.
Hollywood Abroad is the first book to examine the reception of
Hollywood movies by non-American audiences. Although numerous books
on film history have analysed the ways in which American films came
to dominate world markets, there has so far been very little
published work on how audiences outside the United States have
responded to Hollywood-produced films. Hollywood Abroad is a
pioneering attempt to examine this issue. It unites the work of a
number of scholars exploring the reception of U.S. films in
Britain, France, Belgium, Turkey, Australia, India, Japan and
Central Africa. The book covers topics from the first major
penetration of American films into France, Britain and Australia
through to the impact of such films as The Best Years of Our Lives
and the response of Belgian young people in the age of the
multiplex. The book demonstrates that the story of the reception of
American films overseas is less one of domination than a complex
adoption of Hollywood into their own 'host' cultures.
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