More than a century after its emergence, classical Hollywood cinema remains popular today with cinephiles and scholars alike. Resetting the Scene: Classical Hollywood Revisited, edited by Philippa Gates and Katherine Spring, showcases cutting-edge work by renowned researchers of Hollywood filmmaking of the studio era and proposes new directions for classical Hollywood studies in the twenty-first century. Resetting the Scene includes twenty-six accessible chapters and an extensive bibliography. In Part 1, Katherine Spring's introduction and David Bordwell's chapter reflect on the newest methods, technological resources, and archival discoveries that have galvanized recent research of studio filmmaking. Part 2 brings together close analyses of film style both visual and sonic with case studies of shot composition, cinematography, and film music. Part 3 offers new approaches to genre, specifically the film musical, the backstudio picture, and the B-film. Part 4 focuses on industry operations, including the origins of Hollywood, cross-promotion, production planning, and talent management. Part 5 offers novel perspectives on the representation of race, in regard to censorship, musicals, film noir, and science fiction. Part 6 illuminates forgotten histories of women's labor in terms of wartime propaganda, below-the-line work, and the evolution of star persona. Part 7 explores the demise of the studio system but also the endurance of classical norms in auteur cinema and screenwriting in the post-classical era. Part 8 highlights new methods for studying Hollywood cinema, including digital resources as tools for writing history and analyzing films, and the intersection of film studies with emergent fields like media industry studies. Intended for scholars and students of Hollywood film history, Resetting the Scene intersects with numerous fields consonant with film studies, including star studies, media industry studies, and critical race theory.

Business Principles for Landscape Contracting, fully revised and updated in its third edition, is an introduction to the application of business principles of financial management involved in setting up your own landscape contracting business and beginning your professional career. Appealing to students and professionals alike, it will build your knowledge of financial management tools and enable you to relate their applications to real-life business scenarios. Focusing on the importance of proactive financial management, the book serves as a primer for students in landscape architecture, contracting, and management courses and entrepreneurs within the landscape industry preparing to use business principles in practice. Topics covered include: Financial management and accountability Budget development Profitable pricing and estimating Project management Creating a lean culture Personnel management and employee productivity Professional development Economic sustainability.

First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

This volume overturns traditional definitions of narrative by arguing that any story, whether a Bette Davis film, a jeans ad, a Jane Austen novel of a "Cathy" comic, must be related to larger cultural networks. The authors show how meanings and subjectivity do not exist in isolation, but are manufactured by the narratives our culture reads and watches every day. They call for a critical practice that, through the fracturing of texts, can alter the grounds of knowledge and interpretation. This study should interest critics of narrative and culture, as well as students wanting to extend post-Saussurean theories to popular and canonical cultures, and to the dynamics of story-telling itself.

Originally compiled and published in 1980, this volume contains the plays of James Broaden. Although not many critics of eighteenth-century drama mention Broaden, he loved the theatre and its world, and this love comes across in everything he wrote. This volume contains plays including the songs and chorusses of his first, Ozmynn and Daraxa, from 1793, Fountainville Forest, from 1794, and The Secret Tribunal, from 1795, as well as many others.

Originally compiled and published in 1980, this volume contains the plays of James Broaden. Although not many critics of eighteenth-century drama mention Broaden, he loved the theatre and its world, and this love comes across in everything he wrote. This volume contains plays including the songs and chorusses of his first, Ozmynn and Daraxa, from 1793, Fountainville Forest, from 1794, and The Secret Tribunal, from 1795, as well as many others.

Transnational Cinema: The Film Reader provides an overview of the key concepts and debates within the developing field of transnational cinema.

Bringing together seminal essays from a wide range of sources, this volume engages with films that fashion their narrative and aesthetic dynamics in relation to more than one national or cultural community. The reader is divided into four sections:

• From National to Transnational Cinema
• Global Cinema in the Digital Age
• Motion Pictures: Film, Migration and Diaspora
• Tourists and Terrorists.

Articles examine the musical in relation to its generic form and conventions, the relationship between narrative and spectacle, gender and feminist analysis, camp production and reception, stardom, and the representation of race and ethnicity.
Includes essays by: Rick Altman, Lucie Arbuthnot and Gail Seneca, Carol Clover, Steven Cohan, Richard Dyer, Jane Feuer, Patricia Mellencamp, Linda Mizejewski, Shari Roberts, Pamela Robertson, Michael Rogin, Martin Rubin and Matthew Tinkcom.

The road is an enduring theme in American culture; from "The Wizard of Oz" to "Thelma and Louise," and from "Bonnie and Clyde" to "Natural Born Killers," cinematic portrayals of road journeys continually captivate the American imagination. But what is so American about the genre and why does it translate well to some countries but not others?
In "The Road Movie Book," Steven Cohan and Ina Rae Hark collect essays that attempt to answer these, as well as other questions, about one of the key genres of modern cinema. Organized into three sections, the first, "Mapping Boundaries," contains essays that sketch broad themes and ideological tropes of the genre. The following section, "American Roads," further historicizes the issues raised in section one and traces the continual reinvention of the genre in Hollywood film from the early 1940s to the end of the 1980s. "Alternate Routes," the final section of essays, concentrates on road films that depart from the American landscape or that travel on its cultural margins to explore why the road movie is so pertinent to those who are alienated or marginalized by society. The essays discuss a broad range of films, including "Easy Rider, Thelma and Louise, The Grapes of Wrath, It Happened One Night, Faster Pussycay! Kill! Kill!, The Adventures of Priscilla, Queen of the Desert," and "My Own Private Idaho." With 44 stills from the movies discussed, this fascinating collection is the most comprehensive volume devoted solely to the genre of the road movie.

The Road Movie Book is the first comprehensive study of an enduring but ever-changing Hollywood genre, its place in American culture, and its legacy to world cinema. The road and the cinema both flourished in the twentieth century, as technological advances brought motion pictures to a mass audience and the mass produced automobile opened up the road to the ordinary American. When Jean Baudrillard equated modern American culture with 'space, speed, cinema, technology' he could just as easily have added that the road movie is it's supreme emblem.
The contributors explore how the road movie has confronted and represented issues of nationhood, sexuality, gender, class and race. They map the generic terrain of the road movie, trace its evolution on American television as well as on the big screen from the 1930s through the 1980s and, finally, consider road movies that go off the road, departing from the US landscape or travelling on the margins of contemporary American culture.
Movies discussed include:
* Road classics such as It Happened One Night, The Grapes of Wrath, The Wizard of Oz and the Bob Hope-Bing Crosby Road to films
* 1960s reworkings of the road movie in Easy Rider and Bonnie and Clyde
* Russ Meyer's road movies: from Motorpsycho! to Faster Pussycat! Kill! Kill! * Contemporary hits such as Paris Texas, Rain Man, Natural Born Killers and Thelma and Louise
* The road movie, Australian style, from Mad Max to the Adventures of Priscilla, Queen of the Desert.

Telling Stories overturns traditional definitions of narrative by arguing that any story, whether a Bette Davis film, a jeans ad, a Jane Austen novel of a 'Cathy' comic, must be related to larger cultural networks. The authors show how meanings and subjectivity do not exist in isolation, but are manufactured by the narratives our culture reads and watches every day. They call for a critical practice that, through the fracturing of texts, can alter the grounds of knowledge and interpretation. This timely study will interest critics of narrative and culture, as well as students wanting to extend post-Saussurean theories to popular and canonical cultures, and to the dynamics of story-telling itself.

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

The backstudio picture, or the movie about movie-making, is a staple of Hollywood film production harking back to the silent era and extending to the present day. What gives backstudios their coherence as a distinctive genre, Steven Cohan argues in Hollywood by Hollywood, is their fascination with the mystique of Hollywood as a geographic place, a self-contained industry, and a fantasy of fame, leisure, sexual freedom, and modernity. Yet by the same token, if backstudio pictures have rarely achieved blockbuster box-office success, what accounts for the film industry's interest in continuing to produce them? The backstudio picture has been an enduring genre because, aside from offering a director or writer a chance to settle old scores, in branding filmmaking with the Hollywood mystique, the genre solicits consumers' strong investment in the movies. Whether inspiring the "movie crazy" fan girls of the early teens and twenties or the wannabe filmmakers of this century heading to the West Coast after their college graduations, backstudios have given emotional weight and cultural heft to filmmaking as the quintessential American success story. But more than that, a backstudio picture is concerned with shaping perceptions of how the film industry works, with masking how its product depends upon an industrial labor force, including stardom, and with determining how that work's value accrues from the Hollywood brand stamped onto the product. Cohan supports his well theorized and well researched claims with nuanced discussions of over fifty backstudios, some canonical and well-known, and others obscure and rarely seen. Covering the hundred-year timespan of feature length film production, Hollywood by Hollywood offers an illuminating perspective for considering anew the history of American movies.

Business Principles for Landscape Contracting, fully revised and updated in its third edition, is an introduction to the application of business principles of financial management involved in setting up your own landscape contracting business and beginning your professional career. Appealing to students and professionals alike, it will build your knowledge of financial management tools and enable you to relate their applications to real-life business scenarios. Focusing on the importance of proactive financial management, the book serves as a primer for students in landscape architecture, contracting, and management courses and entrepreneurs within the landscape industry preparing to use business principles in practice. Topics covered include: Financial management and accountability Budget development Profitable pricing and estimating Project management Creating a lean culture Personnel management and employee productivity Professional development Economic sustainability.

Hollywood Musicals offers an insightful account of a genre that was once a mainstay of twentieth-century film production and continues to draw audiences today. What is a film musical? How do musicals work, formally and culturally? Why have they endured since the introduction of sound in the late 1920s? What makes them more than glittery surfaces or escapist fare? In answering such questions, this guidebook by Steven Cohan takes new and familiar viewers on a tour of Hollywood musicals. Chapters discuss definitions of the genre, its long history, different modes of analyzing it, the great stars of the classic era, and auteur directors. Highlights include extended discussions of such celebrated musicals from the studio era as The Love Parade, Top Hat, Holiday Inn, Stormy Weather, The Gang's All Here, Meet Me in St. Louis, Cover Girl, Mother Wore Tights, Singin' in the Rain, Gentlemen Prefer Blondes, The Band Wagon, Seven Brides for Seven Brothers, and Jailhouse Rock as well as later films such as Cabaret, All that Jazz, Beauty and the Beast, and La La Land. Cohan brings in numerous other examples that amplify and extend to the present day his claims about the musical, its generic coherence and flexibility, its long and distinguished history, its special appeal, and its cultural significance. Clear and accessible, this guide provides students of film and culture with a succinct but substantial overview that provides both analysis and intersectional context to one of Hollywood's most beloved genres.

Articles examine the musical in relation to its generic form and conventions, the relationship between narrative and spectacle, gender and feminist analysis, camp production and reception, stardom, and the representation of race and ethnicity.
Includes essays by: Rick Altman, Lucie Arbuthnot and Gail Seneca, Carol Clover, Steven Cohan, Richard Dyer, Jane Feuer, Patricia Mellencamp, Linda Mizejewski, Shari Roberts, Pamela Robertson, Michael Rogin, Martin Rubin and Matthew Tinkcom.

Hollywood Musicals offers an insightful account of a genre that was once a mainstay of twentieth-century film production and continues to draw audiences today. What is a film musical? How do musicals work, formally and culturally? Why have they endured since the introduction of sound in the late 1920s? What makes them more than glittery surfaces or escapist fare? In answering such questions, this guidebook by Steven Cohan takes new and familiar viewers on a tour of Hollywood musicals. Chapters discuss definitions of the genre, its long history, different modes of analyzing it, the great stars of the classic era, and auteur directors. Highlights include extended discussions of such celebrated musicals from the studio era as The Love Parade, Top Hat, Holiday Inn, Stormy Weather, The Gang's All Here, Meet Me in St. Louis, Cover Girl, Mother Wore Tights, Singin' in the Rain, Gentlemen Prefer Blondes, The Band Wagon, Seven Brides for Seven Brothers, and Jailhouse Rock as well as later films such as Cabaret, All that Jazz, Beauty and the Beast, and La La Land. Cohan brings in numerous other examples that amplify and extend to the present day his claims about the musical, its generic coherence and flexibility, its long and distinguished history, its special appeal, and its cultural significance. Clear and accessible, this guide provides students of film and culture with a succinct but substantial overview that provides both analysis and intersectional context to one of Hollywood's most beloved genres.

From successful, published editors, Transnational Cinema: The Film Reader provides an overview of the key concepts and debates within the developing field of transnational cinema. Bringing together seminal essays from a wide range of sources, this volume engages with films that fashion their narrative and aesthetic dynamics in relation to more than one national or cultural community, demonstrating that, in an era no longer marked by the sharp divisions between communist and capitalist nation states, or even 'first' and 'third' worlds, Europe and the U.S. must be factored into the increasingly hybrid notion of 'world cinema'. The reader is divided into four sections: From National to Transnational Cinema; Global Cinema in the Digital Age; Motion Pictures: Film, Migration and Diaspora; and Tourists and Terrorists. Examining how the significance of crossing borders varies according to the ethnic and/or gendered identity of the traveller the editors suggest that the crossing of certain lines generates fundamental shifts in both the aesthetics and the ethics of cinema as a representational art. studies students have a one-stop reference for all their transnational cinema needs.

Billy Wilder's Sunset Boulevard was a critical and commercial success on its release in 1950 and remains a classic of film noir and one of the best-known Hollywood films about Hollywood. Both its opening, with William Holden as the screenwriter Joe Gillis floating facedown in ageing star Norma Desmond's (Gloria Swanson) pool, and lines such as 'I am big, it's the pictures that got small' are some of the most memorable in Classical Hollywood cinema. Steven Cohan's study of the film draws on original archival research to shed new light on the film's production history, and the contribution to the film's success and meanings of director Wilder, stars Holden and Swanson but also supporting actors Erich von Stroheim, Nancy Olson (who plays Betty Schaefer), Cecil B. DeMille, and Hedda Hopper, as well as costumier Edith Head, and composer Franz Waxman. Cohan considers the film both as a 'backstudio' picture (a movie about Hollywood) and as a film noir, and in the context of McCarthyism, blacklisting and the Hollywood Ten. Cohan explores how the film was marketed, its reception and afterlife, tracing how the film is at once a product of its own particular historical moment as the movie industry was transitioning out of the studio era, yet one that still speaks powerfully to contemporary audiences, and speculates on the reasons for its enduring appeal.

D?espite having had its obituary written many times, the movie musical remains a flourishing twenty-first century form, and as this volume demonstrates, one that exists far beyond the confines of Broadway and Hollywood. The Sound of Musicals examines the films, stars, issues and traditions of the genre from the 1930s to the present day. Featuring sixteen original essays by leading international scholars, this illuminating collection addresses the complex history and global variety of the movie musical, and considers the delight and passionate engagement that musicals continue to inspire in audiences around the world. The contributors address key issues for understanding the movie musical: questions of genre and generic traditions; questions of history, bringing fresh perspectives to a consideration of Classical Hollywood musicals; and the musical beyond Hollywood, looking at alternatives to the Hollywood model from the 'New Hollywood' and American independent cinema to Bollywood and other national musical traditions. Individual chapters consider key musical stars such as Frank Sinatra, Julie Andrews and Barbra Streisand; film-makers including Robert Altman and Christophe Honore, and classic musicals such as South Pacific (1958) and Hairspray (1988). In his introduction to the volume, Steven Cohan addresses the significance and enduring appeal of this multi-faceted genre, and considers its recent renaissance with movies such as the High School Musical franchise, and the success of the television series Glee.

The backstudio picture, or the movie about movie-making, is a staple of Hollywood film production harking back to the silent era and extending to the present day. What gives backstudios their coherence as a distinctive genre, Steven Cohan argues in Hollywood by Hollywood, is their fascination with the mystique of Hollywood as a geographic place, a self-contained industry, and a fantasy of fame, leisure, sexual freedom, and modernity. Yet by the same token, if backstudio pictures have rarely achieved blockbuster box-office success, what accounts for the film industry's interest in continuing to produce them? The backstudio picture has been an enduring genre because, aside from offering a director or writer a chance to settle old scores, in branding filmmaking with the Hollywood mystique, the genre solicits consumers' strong investment in the movies. Whether inspiring the "movie crazy" fan girls of the early teens and twenties or the wannabe filmmakers of this century heading to the West Coast after their college graduations, backstudios have given emotional weight and cultural heft to filmmaking as the quintessential American success story. But more than that, a backstudio picture is concerned with shaping perceptions of how the film industry works, with masking how its product depends upon an industrial labor force, including stardom, and with determining how that work's value accrues from the Hollywood brand stamped onto the product. Cohan supports his well theorized and well researched claims with nuanced discussions of over fifty backstudios, some canonical and well-known, and others obscure and rarely seen. Covering the hundred-year timespan of feature length film production, Hollywood by Hollywood offers an illuminating perspective for considering anew the history of American movies.

More than a century after its emergence, classical Hollywood cinema remains popular today with cinephiles and scholars alike. Resetting the Scene: Classical Hollywood Revisited, edited by Philippa Gates and Katherine Spring, showcases cutting-edge work by renowned researchers of Hollywood filmmaking of the studio era and proposes new directions for classical Hollywood studies in the twenty-first century. Resetting the Scene includes twenty-six accessible chapters and an extensive bibliography. In Part 1, Katherine Spring's introduction and David Bordwell's chapter reflect on the newest methods, technological resources, and archival discoveries that have galvanized recent research of studio filmmaking. Part 2 brings together close analyses of film style both visual and sonic with case studies of shot composition, cinematography, and film music. Part 3 offers new approaches to genre, specifically the film musical, the backstudio picture, and the B-film. Part 4 focuses on industry operations, including the origins of Hollywood, cross-promotion, production planning, and talent management. Part 5 offers novel perspectives on the representation of race, in regard to censorship, musicals, film noir, and science fiction. Part 6 illuminates forgotten histories of women's labor in terms of wartime propaganda, below-the-line work, and the evolution of star persona. Part 7 explores the demise of the studio system but also the endurance of classical norms in auteur cinema and screenwriting in the post-classical era. Part 8 highlights new methods for studying Hollywood cinema, including digital resources as tools for writing history and analyzing films, and the intersection of film studies with emergent fields like media industry studies. Intended for scholars and students of Hollywood film history, Resetting the Scene intersects with numerous fields consonant with film studies, including star studies, media industry studies, and critical race theory.

D?espite having had its obituary written many times, the movie musical remains a flourishing twenty-first century form, and as this volume demonstrates, one that exists far beyond the confines of Broadway and Hollywood. The Sound of Musicals examines the films, stars, issues and traditions of the genre from the 1930s to the present day. Featuring sixteen original essays by leading international scholars, this illuminating collection addresses the complex history and global variety of the movie musical, and considers the delight and passionate engagement that musicals continue to inspire in audiences around the world. The contributors address key issues for understanding the movie musical: questions of genre and generic traditions; questions of history, bringing fresh perspectives to a consideration of Classical Hollywood musicals; and the musical beyond Hollywood, looking at alternatives to the Hollywood model from the 'New Hollywood' and American independent cinema to Bollywood and other national musical traditions. Individual chapters consider key musical stars such as Frank Sinatra, Julie Andrews and Barbra Streisand; film-makers including Robert Altman and Christophe Honore, and classic musicals such as South Pacific (1958) and Hairspray (1988). In his introduction to the volume, Steven Cohan addresses the significance and enduring appeal of this multi-faceted genre, and considers its recent renaissance with movies such as the High School Musical franchise, and the success of the television series Glee.

Since its debut in 2000, "CSI: Crime ""Scene Investigation, "which depicts the crime-solving work of Gil Grissom (William Petersen) and his team of smart criminalists in modern-day Las Vegas, ""has inspired a loyal fan following and won critical acclaim and ratings success. Steven Cohan's insightful study of "CSI" introduces the show, its main characters and stand-out features, such as the role of science, and the use of unexpected and often bizarre episode openings and plot resolutions. Cohan makes a case for the series' classic status, arguing that it has been responsible for the twenty-first century reinvention of the cop show in a fresh, more suburban and also a more intellectual model which has spawned both the spin-offs of "CSI: Miami "and "New York" and numerous imitations.

Cohan addresses the series' visual style, its attention to both cutting-edge forensic technology, the often grotesque condition and dissection of corpses and CGI close ups to represent the effects of weapons on the human body, and goes on to consider the series' setting, in which the theme-park delights of the new "Las Vegas" exist alongside echoes of its gangster-ridden past, and the contrast drawn between the flashy spectacle of the Strip, suburban Clark County and the arid landscapes of the Mojave desert. Cohan analyses "CSI's "consistent questioning of identity and the status of 'normality', from its theme song - The Who's "Who Are You?, "to numerous episodes that feature subcultural groups such as the deaf, 'plushies', vampires, scrabble players, dwarves, fat people, transsexuals and, in a story arc featuring the series' most popular character, Lady Heather - the s/m scene.

Finally, Cohan questions how mainstream success and imitation has affected "CSI"'s edginess, and speculates on a future for the show post-Grissom.

This remarkable collection uses genre as a fresh way to analyze the issues of gender representation in film theory, film production, spectatorship, and the contexts of reception. With a uniquely global perspective, these essays examine the intersection of gender and genre in not only Hollywood films but also in independent, European, Indian, and Hong Kong cinemas. Working in the area of postcolonial cinema, contributors raise issues dealing with indigenous and global cinemas and argue that contemporary genres have shifted considerably as both notions of gender and forms of genre have changed. The volume addresses topics such as the history of feminist approaches to the study of genre in film, issues of female agency in postmodernity, changes taking place in supposedly male-dominated genres, concepts of genre and its use of gender in global cinema, and the relationship between gender and sexuality in film. Contributors are Ira Bhaskar, Steven Cohan, Luke Collins, Pam Cook, Lucy Fischer, Jane Gaines, Christine Gledhill, Derek Kane-Meddock, E. Ann Kaplan, Samiha Matin, Katie Model, E. Deidre Pribram, Vicente Rodriguez Ortega, Adam Segal, Chris Straayer, Yvonne Tasker, Deborah Thomas, and Xiangyang Chen.