{"product_id":"hollywood-cinema-isbn-9780631216155","title":"Hollywood Cinema","description":"This extensively revised second edition offers a comprehensive introduction to Hollywood cinema, providing a fascinating account of the cultural and aesthetic significance of the world’s most powerful film industry. \u003cbr\u003e \u003cul\u003e \u003cli style=\"list-style: none\"\u003e\n\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eProvides a fascinating account of Hollywood history.\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eExamines the cultural and aesthetic significance of the world's most powerful film industry.\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eExplores and interprets Hollywood cinema in history and in the present, in theory and in practice.\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eExtensively revised and updated with new chapter features including box sections, further reading lists, Notes and Queries, and chapter summaries.\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003eAcknowledgments xii\u003c\/p\u003e \u003cp\u003eList of Boxes xiv\u003c\/p\u003e \u003cp\u003eIntroduction 1\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I The Commercial Aesthetic\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e1 Taking Hollywood Seriously 5\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e“Metropolis of Make-Believe” 5\u003c\/p\u003e \u003cp\u003eArt and Business 7\u003c\/p\u003e \u003cp\u003eThe Commercial Aesthetic of Titanic 10\u003c\/p\u003e \u003cp\u003eA Classical Cinema? 14\u003c\/p\u003e \u003cp\u003eHollywood and its Audiences 19\u003c\/p\u003e \u003cp\u003eRatings and Franchises 22\u003c\/p\u003e \u003cp\u003eHollywood’s World 28\u003c\/p\u003e \u003cp\u003eSummary 30\u003c\/p\u003e \u003cp\u003eFurther Reading 31\u003c\/p\u003e \u003cp\u003e\u003cb\u003e2 Entertainment 1 33\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eEscape 33\u003c\/p\u003e \u003cp\u003eMoney on the Screen 40\u003c\/p\u003e \u003cp\u003eThe Multiple Logics of Hollywood Cinema 46\u003c\/p\u003e \u003cp\u003eSummary 52\u003c\/p\u003e \u003cp\u003eFurther Reading 53\u003c\/p\u003e \u003cp\u003e\u003cb\u003e3 Entertainment 2 54\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Play of Emotions 54\u003c\/p\u003e \u003cp\u003eRegulated Difference 59\u003c\/p\u003e \u003cp\u003e\u003ci\u003eSingin’ in the Rain: How to Take Gene Kelly Seriously 66\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eSummary 71\u003c\/p\u003e \u003cp\u003eFurther Reading 72\u003c\/p\u003e \u003cp\u003e\u003cb\u003e4 Genre 74\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eGenre Criticism 83\u003c\/p\u003e \u003cp\u003eGenre Recognition 86\u003c\/p\u003e \u003cp\u003eThe Empire of Genres: Pat Garrett and Billy the Kid 93\u003c\/p\u003e \u003cp\u003eGenre and Gender 101\u003c\/p\u003e \u003cp\u003eSummary 107\u003c\/p\u003e \u003cp\u003eFurther Reading 108\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II Histories\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e5 Industry 1: To 1948 113\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIndustry 113\u003c\/p\u003e \u003cp\u003eDistribution and Exhibition 114\u003c\/p\u003e \u003cp\u003eExporting America 126\u003c\/p\u003e \u003cp\u003eDivorcement 128\u003c\/p\u003e \u003cp\u003eThe Studio System 130\u003c\/p\u003e \u003cp\u003eThe Star System 141\u003c\/p\u003e \u003cp\u003eHow Stars are Made: A Star is Born 146\u003c\/p\u003e \u003cp\u003eSummary 154\u003c\/p\u003e \u003cp\u003eFurther Reading 156\u003c\/p\u003e \u003cp\u003e\u003cb\u003e6 Industry 2: From 1948 to 1980 159\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Effects of Divorcement 161\u003c\/p\u003e \u003cp\u003eRoadshows and Teenpix 165\u003c\/p\u003e \u003cp\u003eIndependents, Agents, and Television 170\u003c\/p\u003e \u003cp\u003eCorporate Consolidation and the “New Hollywood” 173\u003c\/p\u003e \u003cp\u003eRatings 177\u003c\/p\u003e \u003cp\u003eHollywood in the Multiplex 181\u003c\/p\u003e \u003cp\u003eSummary 186\u003c\/p\u003e \u003cp\u003eFurther Reading 187\u003c\/p\u003e \u003cp\u003e\u003cb\u003e7 Industry 3: Since 1980 189\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eVideo and New Markets 191\u003c\/p\u003e \u003cp\u003eThe Pursuit of Synergy 205\u003c\/p\u003e \u003cp\u003eGlobalization 212\u003c\/p\u003e \u003cp\u003eIndependence 217\u003c\/p\u003e \u003cp\u003eSummary 224\u003c\/p\u003e \u003cp\u003eFurther Reading 225\u003c\/p\u003e \u003cp\u003e\u003cb\u003e8 Technology 227\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eRealism and the Myth of Total Cinema 229\u003c\/p\u003e \u003cp\u003eSound 238\u003c\/p\u003e \u003cp\u003e\u003ci\u003eSunny Side Up 241\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eColor 248\u003c\/p\u003e \u003cp\u003eWidescreen 251\u003c\/p\u003e \u003cp\u003eTechnology and Power 255\u003c\/p\u003e \u003cp\u003eThe Triumph of the Digital 259\u003c\/p\u003e \u003cp\u003eSummary 264\u003c\/p\u003e \u003cp\u003eFurther Reading 265\u003c\/p\u003e \u003cp\u003e\u003cb\u003e9 Politics 268\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Politics of Regulation 270\u003c\/p\u003e \u003cp\u003eHollywood Goes to Washington 276\u003c\/p\u003e \u003cp\u003eWashington Goes to Hollywood 280\u003c\/p\u003e \u003cp\u003eRepresenting the Political Machine 287\u003c\/p\u003e \u003cp\u003eControversy with Class: The Social Problem Movie 292\u003c\/p\u003e \u003cp\u003eIdeology 300\u003c\/p\u003e \u003cp\u003eSummary 306\u003c\/p\u003e \u003cp\u003eFurther Reading 307\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III Conventions\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e10 Space 1 311\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Best View 312\u003c\/p\u003e \u003cp\u003eMaking the Picture Speak: Representation and Expression 313\u003c\/p\u003e \u003cp\u003eThe Optics of Expressive Space 319\u003c\/p\u003e \u003cp\u003eDeep Space: Three-Dimensionality on a Flat Screen 326\u003c\/p\u003e \u003cp\u003eMise-en-Scène 328\u003c\/p\u003e \u003cp\u003eEditing 332\u003c\/p\u003e \u003cp\u003eSummary 339\u003c\/p\u003e \u003cp\u003eFurther Reading 340\u003c\/p\u003e \u003cp\u003e\u003cb\u003e11 Space 2 343\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Three “Looks” of Cinema 343\u003c\/p\u003e \u003cp\u003ePoints of View 346\u003c\/p\u003e \u003cp\u003eSafe and Unsafe Space 353\u003c\/p\u003e \u003cp\u003e\u003ci\u003eOrdinary People 358\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eSummary 365\u003c\/p\u003e \u003cp\u003eFurther Reading 365\u003c\/p\u003e \u003cp\u003e\u003cb\u003e12 Performance 1 368\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Spectacle of Movement 372\u003c\/p\u003e \u003cp\u003eThe Movement of Narrative 375\u003c\/p\u003e \u003cp\u003eActing as Impersonation 377\u003c\/p\u003e \u003cp\u003eThe Actor’s Two Bodies 380\u003c\/p\u003e \u003cp\u003eStar Performance 384\u003c\/p\u003e \u003cp\u003eSummary 390\u003c\/p\u003e \u003cp\u003eFurther Reading 391\u003c\/p\u003e \u003cp\u003e\u003cb\u003e13 Performance 2 393\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Method 393\u003c\/p\u003e \u003cp\u003eActing as a Signifying System 398\u003c\/p\u003e \u003cp\u003eValentino 401\u003c\/p\u003e \u003cp\u003e\u003ci\u003eThe Son of the Sheik 406\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eSummary 410\u003c\/p\u003e \u003cp\u003eFurther Reading 411\u003c\/p\u003e \u003cp\u003e\u003cb\u003e14 Time 413\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eTime Out 414\u003c\/p\u003e \u003cp\u003eFilm Time 419\u003c\/p\u003e \u003cp\u003eMovie Time 423\u003c\/p\u003e \u003cp\u003eDeadlines and Coincidences: Madigan 426\u003c\/p\u003e \u003cp\u003eMise-en-Temps 429\u003c\/p\u003e \u003cp\u003eTense 432\u003c\/p\u003e \u003cp\u003eBack to the Present: History as a Production Value 436\u003c\/p\u003e \u003cp\u003eThe Politics of History: Forrest Gump 440\u003c\/p\u003e \u003cp\u003eThe Lessons of History: Juárez 443\u003c\/p\u003e \u003cp\u003eSummary 449\u003c\/p\u003e \u003cp\u003eFurther Reading 450\u003c\/p\u003e \u003cp\u003e\u003cb\u003e15 Narrative 1 452\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eNarrative and Other Pleasures 452\u003c\/p\u003e \u003cp\u003eShow and Tell 454\u003c\/p\u003e \u003cp\u003eTheories of Narration 458\u003c\/p\u003e \u003cp\u003ePlot, Story, Narration 462\u003c\/p\u003e \u003cp\u003eClarity: Transparency and Motivation 465\u003c\/p\u003e \u003cp\u003eSummary 469\u003c\/p\u003e \u003cp\u003eFurther Reading 470\u003c\/p\u003e \u003cp\u003e\u003cb\u003e16 Narrative 2 471\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eRegulating Meaning: The Production Code 471\u003c\/p\u003e \u003cp\u003eClarity and Ambiguity in Casablanca 475\u003c\/p\u003e \u003cp\u003eNarrative Pressure 484\u003c\/p\u003e \u003cp\u003eSummary 488\u003c\/p\u003e \u003cp\u003eFurther Reading 489\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV Approaches\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e17 Criticism 493\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eFrom Reviewing to Criticism 494\u003c\/p\u003e \u003cp\u003eEarly Theory and Criticism in America 496\u003c\/p\u003e \u003cp\u003eFrom Criticism to Theory 501\u003c\/p\u003e \u003cp\u003eCriticism in Practice: Only Angels Have Wings 511\u003c\/p\u003e \u003cp\u003eSummary 521\u003c\/p\u003e \u003cp\u003eFurther Reading 523\u003c\/p\u003e \u003cp\u003e\u003cb\u003e18 Theories 526\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eEntering the Academy 526\u003c\/p\u003e \u003cp\u003eStructuralism and Semiology 528\u003c\/p\u003e \u003cp\u003eCinema, Ideology, Apparatus 531\u003c\/p\u003e \u003cp\u003ePsychoanalysis and Cinema 535\u003c\/p\u003e \u003cp\u003eThe Spectator 537\u003c\/p\u003e \u003cp\u003eFeminist Theory 540\u003c\/p\u003e \u003cp\u003ePoststructuralism and Cultural Studies 542\u003c\/p\u003e \u003cp\u003eNeoformalism and Cognitivism 546\u003c\/p\u003e \u003cp\u003eFrom Reception to History 549\u003c\/p\u003e \u003cp\u003eSummary 553\u003c\/p\u003e \u003cp\u003eFurther Reading 555\u003c\/p\u003e \u003cp\u003eChronology 557\u003c\/p\u003e \u003cp\u003eGlossary 578\u003c\/p\u003e \u003cp\u003eAppendices 593\u003c\/p\u003e \u003cp\u003e1 The Motion Picture Production Code 593\u003c\/p\u003e \u003cp\u003e2 The Code and Rating System, 1968 598\u003c\/p\u003e \u003cp\u003e3 The Classification and Rating System: “What the Ratings Mean” 601\u003c\/p\u003e \u003cp\u003eNotes 603\u003c\/p\u003e \u003cp\u003eBibliography 644\u003c\/p\u003e \u003cp\u003eIndex 666\u003c\/p\u003e  \"\u003ci\u003eHollywood Cinema\u003c\/i\u003e is an important book, one to be included in any consideration of American film and its influence in world cinema.\" \u003ci\u003eJournal of Film and Video\u003c\/i\u003e\u003cbr\u003e \u003cp\u003e“This updated and enhanced edition of Richard Maltby's \u003ci\u003eHollywood Cinema\u003c\/i\u003e is quite simply \u003ci\u003ethe best single textbook\u003c\/i\u003e on the subject. In clear, user-friendly fashion, Maltby provides an astonishing amount of basic information about Hollywood while explaining how both the movies and the critical\/theoretical discourse of film study have evolved over time. The book is not only an extremely useful overview but also an important intervention in current debates. An intelligent blending of formal and historical analysis, it should become essential reading for every serious student of film, whether beginner or advanced.” \u003ci\u003eJames Naremore, Indiana University\u003c\/i\u003e\u003cbr\u003e \u003c\/p\u003e \u003cp\u003e\"In its first edition, \u003ci\u003eHollywood Cinema\u003c\/i\u003e quickly became a ‘must-have’ volume for anyone interested in film. Beautifully reorganized, expanded, and updated with features that enhance its usefulness for research and teaching, this revised edition shows how truly indispensable Maltby’s work on Hollywood is to media studies.\" \u003ci\u003eBarbara Klinger, Indiana University\u003c\/i\u003e\u003c\/p\u003e \u003cb\u003eRichard Maltby\u003c\/b\u003e is Professor of Screen Studies and Head of the School of Humanities at Flinders University. At the University of Exeter he established the Bill Douglas Centre for the History of Cinema and Popular Culture. He is the author of \u003ci\u003eHarmless Entertainment: Hollywood and the Ideology of Consensus \u003c\/i\u003e(1983), and editor of \u003ci\u003eIdentifying Hollywood's Audiences: Cultural Identity and the Movies\u003c\/i\u003e (with Melvyn Stokes, 1999) and \u003ci\u003eHollywood Spectatorship: Changing Perceptions of Cinema Audiences\u003c\/i\u003e (2001).  This comprehensive introduction to Hollywood cinema provides a fascinating account of the world's most powerful film industry and examines its cultural and aesthetic significance. Taking a wide-ranging approach, and spotlighting such films as \u003ci\u003eA Star is Born, Singing\u003c\/i\u003e \u003ci\u003ein the Rain, Forrest Gump\u003c\/i\u003e, and \u003ci\u003eTitanic\u003c\/i\u003e, it explores and interprets Hollywood cinema in history and in the present, in theory and in practice.\u003cbr\u003e \u003cp\u003eFor this new edition, the book has been extensively revised, with the historical material updated, and including references to Hollywood movies after 1990. New features include box sections, further reading lists, and chapter summaries. Well illustrated and clearly written, this is an indispensable text for students and readers of Hollywood history and culture.\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47989367406821,"sku":"NP9780631216155","price":68.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780631216155.jpg?v=1761783839","url":"https:\/\/k12savings.com\/es\/products\/hollywood-cinema-isbn-9780631216155","provider":"K12savings","version":"1.0","type":"link"}