America On Film

Book Description :

America on Film: Representing Race, Class, Gender, and Sexuality in the Movies, 2nd Edition is a lively introduction to issues of diversity as represented within the American cinema. Provides a comprehensive overview of the industrial, socio-cultural, and aesthetic factors that contribute to cinematic representations of race, class, gender, and sexuality Includes over 100 illustrations, glossary of key terms, questions for discussion, and lists for further reading/viewing Includes new case studies of a number of films, including Crash, Brokeback Mountain, and Quinceañera

Book Description :

America on Film: Representing Race, Class, Gender, and Sexuality in the Movies is a lively introduction to issues of diversity as represented within the American cinema. Introduces issues of diversity as represented within the American cinema in a lively and accessible manner. Provides a comprehensive overview of the industrial, socio-cultural, and aesthetic factors that contribute to cinematic representations of race, class, gender, and sexuality. Is designed specifically for students and includes 101 illustrations, a glossary of key terms, questions for discussion, and lists for futher reading and further viewing. Includes case studies of a number of films, including The Lion King, The Jazz Singer, Smoke Signals, The Grapes of Wrath, and The Celluloid Closet. Each chapter features a concise overview of the topic at hand, a discussion of representative films, figures, and movements, and an in-depth analysis of a single film.

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Looks at the movies of Native American filmmakers and explores how they have used their works to leave behind the stereotypical Native American characters of old.

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Showdown is a study of America's oldest, most representative film genre, the Western movie from the perspective of social allegory. It assesses scores of major and minor films to show how Westerns function as vehicles for contemporary social and political critiques of American life.

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Fully revised, updated, and extended, this compilation of interpretive essays and primary documents teaches students to read films as cultural artifacts within the contexts of actual past events. A new edition of this classic textbook, which ties movies into the broader narrative of US and film history Ten new articles which consider recently released films, as well as issues of gender and ethnicity Well-organized within a chronological framework with thematic treatments to provide a valuable resource for students of the history of American film Fourth edition includes completely new images throughout

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Cynthia Weber presents a stimulating new study of how Americans construct their identity and the moral values that inform their foreign policy. She details how films released between 9/11 and Gulf War II reflect raging debates about US foreign policy and fundamental debates about what it means to be an American.

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This book makes a powerful case that film can be as valuable a tool as primary documents for improving our understanding of the causes and consequences of war. Why We Fought: America's Wars in Film and History is a comprehensive look at war films, from depictions of the American Revolution to portrayals of September 11 and its aftermath. The volume contrasts recognized history and historical fiction with the versions appearing on the big screen. The text considers a selection of the pivotal war films of all time, including All Quiet on the Western Front (1930), Sands of Iwo Jima (1949), Apocalypse Now (1979), Platoon (1986), and Saving Private Ryan (1998). Why We Fought reveals how film depictions of the country's wars have shaped our values, politics, and culture, and it offers a unique understanding of American history.

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Queer Images chronicles representations of lesbian, gay, bisexual, and queer sexualities over one hundred years of American film. The most up-to-date and comprehensive book of its kind, it explores the ever-changing images of queer characters onscreen as well as the work of queer filmmakers and the cultural histories of queer audiences--from the works of discreetly homosexual filmmakers during Hollywood''s Golden Age and classical Hollywood''s attempt to purge sex perversion from films, to queer exploitation and physique films, cinematic responses to AIDS, and how contemporary Hollywood deals with queer issues. An essential volume for film buffs and anyone interested in sexuality and culture. Visit our website for sample chapter!

Book Description :

Numerous contemporary televisual productions revisit the past but direct their energies towards history's non-events and anti-heroic subjectivities. Debarchana Baruah offers a vocabulary to discuss these, using Mad Men as a primary case study and supplementing the analysis with other examples from the US and around the world. She takes a fundamentally interdisciplinary approach to studying film and television, drawing from history, memory, and nostalgia discourses, and layering them with theories of intertextuality, paratexts, and actor-networks. The book's compositions style invites discussions from scholars of various fields, as well as those who are simply fans of history or of Mad Men.

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Download Small town America in Film book written by Emanuel Levy, available in PDF, EPUB, and Kindle, or read full book online anywhere and anytime. Compatible with any devices.

Book Description :

In Black City Cinema, Paula Massood shows how popular films reflected the massive social changes that resulted from the Great Migration of African Americans from the rural South to cities in the North, West, and Mid-West during the first three decades of the twentieth century. By the onset of the Depression, the Black population had become primarily urban, transforming individual lives as well as urban experience and culture.Massood probes into the relationship of place and time, showing how urban settings became an intrinsic element of African American film as Black people became more firmly rooted in urban spaces and more visible as historical and political subjects. Illuminating the intersections of film, history, politics, and urban discourse, she considers the chief genres of African American and Hollywood narrative film: the black cast musicals of the 1920s and the "race" films of the early sound era to blaxploitation and hood films, as well as the work of Spike Lee toward the end of the century. As it examines such a wide range of films over much of the twentieth century, this book offers a unique map of Black representations in film.

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In America on Film, first published in 2002, Sam Girgus examines a selection of films made in the last quarter of the twentieth century in an effort to trace how the notion of 'American' has changed drastically from that portrayed in American cinema up to the 1950s. In works such as Mississippi Masala, Lone Star, Malcolm X, Raging Bull, When We Were Kings, and Bugsy he finds a new and ethnically varied array of characters that embody American values, ideals, and conflicts; and a transformation in the relationship of American identity and culture to race and ethnicity, as well as to sexuality, gender, and the body. America on Film charts these changes through analysis of cinematic tensions between fiction, documentary, and modernism. An art form that combines fragments of reality with imagination, film, Girgus maintains, connects the documentary realism of the photographic image to the abstraction and non-representation of modernism.

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Over the past forty years, American film has entered into a formal interaction with the comic book. Such comic book adaptations as Sin City, 300, and Scott Pilgrim vs. the World have adopted components of their source materials' visual style. The screen has been fractured into panels, the photographic has given way to the graphic, and the steady rhythm of cinematic time has evolved into a far more malleable element. In other words, films have begun to look like comics. Yet, this interplay also occurs in the other direction. In order to retain cultural relevancy, comic books have begun to look like films. Frank Miller's original Sin City comics are indebted to film noir while Stephen King's The Dark Tower series could be a Sergio Leone spaghetti western translated onto paper. Film and comic books continuously lean on one another to reimagine their formal attributes and stylistic possibilities. In Panel to the Screen, Drew Morton examines this dialogue in its intersecting and rapidly changing cultural, technological, and industrial contexts. Early on, many questioned the prospect of a "low" art form suited for children translating into "high" art material capable of drawing colossal box office takes. Now the naysayers are as quiet as the queued crowds at Comic-Cons are massive. Morton provides a nuanced account of this phenomenon by using formal analysis of the texts in a real-world context of studio budgets, grosses, and audience reception.

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The new edition of this influential work updates and expands the scope of the original, including more sustained analyses of individual films, from The Birth of a Nation to The Wolf of Wall Street. An interdisciplinary exploration of the relationship between American politics and popular films of all kinds—including comedy, science fiction, melodrama, and action-adventure—Projecting Politics offers original approaches to determining the political contours of films, and to connecting cinematic language to political messaging. A new chapter covering 2000 to 2013 updates the decade-by-decade look at the Washington-Hollywood nexus, with special areas of focus including the post-9/11 increase in political films, the rise of political war films, and films about the 2008 economic recession. The new edition also considers recent developments such as the Citizens United Supreme Court decision, the controversy sparked by the film Zero Dark Thirty, newer generation actor-activists, and the effects of shifting industrial financing structures on political content. A new chapter addresses the resurgence of the disaster-apocalyptic film genre with particular attention paid to its themes of political nostalgia and the turn to global settings and audiences. Updated and expanded chapters on nonfiction film and advocacy documentaries, the politics of race and African-American film, and women and gender in political films round out this expansive, timely new work. A companion website offers two additional appendices and further materials for those using the book in class.

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The inspiration for Chloé Zhao's 2020 Golden Lion award-winning film starring Frances McDormand. "People who thought the 2008 financial collapse was over a long time ago need to meet the people Jessica Bruder got to know in this scorching, beautifully written, vivid, disturbing (and occasionally wryly funny) book." —Rebecca Solnit From the beet fields of North Dakota to the campgrounds of California to Amazon’s CamperForce program in Texas, employers have discovered a new, low-cost labor pool, made up largely of transient older adults. These invisible casualties of the Great Recession have taken to the road by the tens of thousands in RVs and modified vans, forming a growing community of nomads. Nomadland tells a revelatory tale of the dark underbelly of the American economy—one which foreshadows the precarious future that may await many more of us. At the same time, it celebrates the exceptional resilience and creativity of these Americans who have given up ordinary rootedness to survive, but have not given up hope.

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First Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

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A comprehensive and insightful examination of the representation of diverse viewpoints and perspectives in American cinema throughout the 20th and 21st centuries America on Film: Representing Race, Class, Gender and Sexuality at the Movies, now in its third edition, is an authoritative and lively examination of diversity issues within American cinema. Celebrated authors and academics Harry M. Benshoff and Sean Griffin provide readers with a comprehensive discussion and overview of the industrial, socio-cultural, and aesthetic factors that contribute to cinematic representations of race, class, gender, sexuality, and ability. The book incorporates several different theoretical perspectives, including film genre, auteurism, cultural studies, Orientalism, the "male gaze," feminism, and queer theory. The authors examine each selected subject via representative films, figures, and movements. Each chapter also includes an in-depth analysis of a single film to illuminate and inform its discussion of the chosen topic. America on Film fearlessly approaches and tackles several controversial areas of representation in film, including the portrayal of both masculinity and femininity in film and African- and Asian-Americans in film. It devotes the entirety of Part V to an analysis of the depiction of sex and sexuality in American film, with a particular emphasis on the portrayal of homosexuality. Topics covered include: The structure and history of American filmmaking, including a discussion of the evolution of the business of Hollywood cinema African Americans and American film, with a discussion of BlacKkKlansman informing its examination of broader issues Asian, Latin/x, and Native Americans on film Classical Hollywood cinema and class, with an in-depth examination of The Florida Project Women in classical Hollywood filmmaking, including a discussion of the 1955 film, All that Heaven Allows Perfect for undergraduate and graduate students in film, media, and diversity-related courses, the book also belongs on the shelves of anyone interested in diversity issues in the context of American studies, communications, history, or gender studies. Lastly, it's ideal for use within corporate diversity training curricula and human relations training within the entertainment industry.

Book Description :

The early history of American settlement, pioneering, and independence is marked by fascinating characters and events often shrouded in legend. Filmmakers have sought to capture these characters, as diverse as Daniel Boone, Francis Marion and Pocahontas, and events, as disparate as the Lost Colony, the Boston Tea Party and the French and Indian War. This comprehensive filmography provides production information and commentary on all films and television episodes set during the years between the first settlements in the future United States and the fledgling country's War of 1812 with Britain. Films are arranged alphabetically, and a detailed introduction provides a thorough overview of the period, with references to films chronicling specific events.

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The idea of "The Green Book" is to give the Motorist and Tourist a Guide not only of the Hotels and Tourist Homes in all of the large cities, but other classifications that will be found useful wherever he may be. Also facts and information that the Negro Motorist can use and depend upon. There are thousands of places that the public doesn't know about and aren't listed. Perhaps you know of some? If so send in their names and addresses and the kind of business, so that we might pass it along to the rest of your fellow Motorists. You will find it handy on your travels, whether at home or in some other state, and is up to date. Each year we are compiling new lists as some of these places move, or go out of business and new business places are started giving added employment to members of our race.

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Pairing significant research with primary documents, Moviegoing in America charts the evolution of film exhibition and reception as a function of changing patterns of American community, identity, consumption, and the fabric of everyday life. "Moviegoing in America is an important, groundbreaking book." -- The Moving Image "Waller assembles an impressive collection that should become a key resource in the teaching of film exhibition history." -- Screen