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