'Hollywood' as a concept applies variously to a particular film style, a factory-based mode of film production, a cartel of powerful media institutions and a national (and increasingly global) 'way of seeing'. It is a complex social, cultural and industrial phenomenon and is arguably the single most important site of cultural production over the past century.
This collection brings together journal articles, published essays, book chapters and excerpts which explore Hollywood as a social, economic, industrial, aesthetic and political force, and as a complex historical entity.

At a time when the Hollywood studios are stronger than they have ever been during their 80-year history, film historian Thomas Schatz provides an indispensable account of Hollywood's traditional blend of business and art. The book lays to rest the persistent myth that studio executives and producers stifle artistic talent and reveals instead the genius of a system of collaboration and conflict. Working from industry documents, Schatz traces the development of house styles, the rise and fall of careers, and the making (and unmaking) of movies: from Frankenstein to Casablanca to Hitchcock's Notorious - and how it all collapsed in the face of television. The Genius of the System gives the definitive view of the workings of the Old Hollywood and the foundation of the New.

The decade from 2000 to 2009 is framed, at one end, by the traumatic catastrophe of the 9/11 attacks on the World Trade Center and, at the other, by the election of the first African American president of the United States. In between, the United States and the world witnessed the rapid expansion of new media and the Internet, such natural disasters as Hurricane Katrina, political uprisings around the world, and a massive meltdown of world economies. Amid these crises and revolutions, American films responded in multiple ways, sometimes directly reflecting these turbulent times, and sometimes indirectly couching history in traditional genres and stories. In American Cinema of the 2000s, essays from ten top film scholars examine such popular series as the groundbreaking Matrix films and the gripping adventures of former CIA covert operative Jason Bourne; new, offbeat films like Juno; and the resurgence of documentaries like Michael Moore's Fahrenheit 9/11. Each essay demonstrates the complex ways in which American culture and American cinema are bound together in subtle and challenging ways.

The industry's only director-cinematographer-screenwriter-producer-actor-editor, Steven Soderbergh is contemporary Hollywood's most innovative and prolific filmmaker. A Palme d'or and Academy Award-winner, Soderbergh has directed nearly thirty films, including political provocations, digital experiments, esoteric documentaries, global blockbusters, and a series of atypical genre films. This volume considers its slippery subject from several perspectives, analyzing Soderbergh as an expressive auteur of art cinema and genre fare, as a politically-motivated guerrilla filmmaker, and as a Hollywood insider. Combining a detective's approach to investigating the truth with a criminal's alternative value system, Soderbergh's films tackle social justice in a corporate world, embodying dozens of cinematic trends and forms advanced in the past twenty-five years. His career demonstrates the richness of contemporary American cinema, and this study gives his complex oeuvre the in-depth analysis it deserves.

Gone with the Wind has generated interest in every aspect of its production. Yet one crucial aspect has never been fully understood or appreciated--the vital shaping role played by executive producer David O. Selznick.

In this book, Alan David Vertrees challenges the popular image of Selznick as a megalomaniacal meddler whose hiring and firing of directors and screenwriters created a patchwork film that succeeded despite his interference. Drawing on ten years of research in the Selznick archives, and examining the screenplay's successive drafts, dramatic continuity designs and "storyboard" sketches (many of which are reproduced here), and production correspondence and memoranda, Vertrees interprets the producer's actions as manipulation, not indecision, establishing Selznick's "vision" as the guiding intelligence behind the film's success.

In his drive to create a cinematic monument, Selznick also reformed many key facets of studio filmmaking, inventing jobs such as "production designer" (inaugurated by William Cameron Menzies), which persist today. This book thus adds an important chapter to the story of classical Hollywood cinema and the making of the film that has been lauded variously as the "Sistine Chapel of movies" and the "single most beloved entertainment ever produced."

"This book represents some of the finest scholarship in the field. . . . Schatz draws on a broad range of archival and trade press sources, and organizes his findings to highlight the dynamics of studio house styles, executive management and the production strategies of the major studios as the studio system coped with an array of 'momentous reversals.'"--Matthew Bernstein, author of "Walter Wanger, Hollywood Independent

The industry's only director-cinematographer-screenwriter-producer-actor-editor, Steven Soderbergh is contemporary Hollywood's most innovative and prolific filmmaker. A Palme d'or and Academy Award-winner, Soderbergh has directed nearly thirty films, including political provocations, digital experiments, esoteric documentaries, global blockbusters, and a series of atypical genre films. This volume considers its slippery subject from several perspectives, analyzing Soderbergh as an expressive auteur of art cinema and genre fare, as a politically-motivated guerrilla filmmaker, and as a Hollywood insider. Combining a detective's approach to investigating the truth with a criminal's alternative value system, Soderbergh's films tackle social justice in a corporate world, embodying dozens of cinematic trends and forms advanced in the past twenty-five years. His career demonstrates the richness of contemporary American cinema, and this study gives his complex oeuvre the in-depth analysis it deserves.

Edna Ferber's Hollywood reveals one of the most influential artistic relationships of the twentieth century--the four-decade partnership between historical novelist Edna Ferber and the Hollywood studios. Ferber was one of America's most controversial popular historians, a writer whose uniquely feminist, multiracial view of the national past deliberately clashed with traditional narratives of white masculine power. Hollywood paid premium sums to adapt her novels, creating some of the most memorable films of the studio era--among them Show Boat, Cimarron, and Giant. Her historical fiction resonated with Hollywood's interest in prestigious historical filmmaking aimed principally, but not exclusively, at female audiences.

In Edna Ferber's Hollywood, J. E. Smyth explores the research, writing, marketing, reception, and production histories of Hollywood's Ferber franchise. Smyth tracks Ferber's working relationships with Samuel Goldwyn, Leland Hayward, George Stevens, and James Dean; her landmark contract negotiations with Warner Bros.; and the controversies surrounding Giant's critique of Jim-Crow Texas. But Edna Ferber's Hollywood is also the study of the historical vision of an American outsider--a woman, a Jew, a novelist with few literary pretensions, an unashamed middlebrow who challenged the prescribed boundaries among gender, race, history, and fiction. In a masterful film and literary history, Smyth explores how Ferber's work helped shape Hollywood's attitude toward the American past.