{"product_id":"hollywoods-america-isbn-9781118976494","title":"Hollywood's America","description":"\u003cp\u003eFully revised, updated, and extended, the fifth edition of \u003ci\u003eHollywood’s America\u003c\/i\u003e provides an important compilation of interpretive essays and primary documents that allows students to read films as cultural artifacts within the contexts of actual past events.\u003c\/p\u003e \u003cul\u003e \u003cli\u003eA new edition of this classic textbook, which ties movies into the broader narrative of US and film history\u003c\/li\u003e \u003cli\u003eThis fifth edition contains nine new chapters, with a greater overall emphasis on recent film history, and new primary source documents which are unavailable online\u003c\/li\u003e \u003cli\u003eEntries range from the first experiments with motion pictures all the way to the present day\u003c\/li\u003e \u003cli\u003eWell-organized within a chronological framework with thematic treatments to provide a valuable resource for students of the history of American film\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003eList of Illustrations ix\u003c\/p\u003e \u003cp\u003ePreface xi\u003c\/p\u003e \u003cp\u003eIntroduction: The Social and Cultural History of American Film 1\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I The Silent Era 31\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction: Intolerance and the Rise of the Feature Film 31\u003c\/p\u003e \u003cp\u003e1 Workers in Early Film 33\u003cbr\u003e \u003ci\u003eMichael Shull\u003c\/i\u003e, “Silent Agitators: Militant Labor in the Movies, 1909–1919”\u003c\/p\u003e \u003cp\u003e2 Silent Cinema as Historical Mythmaker 42\u003cbr\u003e \u003ci\u003eEric Niderost\u003c\/i\u003e, “The Birth of a Nation”\u003c\/p\u003e \u003cp\u003e3 The Revolt Against Victorianism 51\u003cbr\u003e \u003ci\u003eLary May\u003c\/i\u003e, “Douglas Fairbanks, Mary Pickford, and the New Personality”\u003c\/p\u003e \u003cp\u003e4 Primary Sources 63\u003c\/p\u003e \u003cp\u003e\u003ci\u003eEdison\u003c\/i\u003e v. American Mutoscope Company 63\u003c\/p\u003e \u003cp\u003e“The Nickel Madness” 65\u003c\/p\u003e \u003cp\u003eMutual Film Corp. v. Industrial Commission of Ohio 68\u003c\/p\u003e \u003cp\u003eFighting a Vicious Film: Protest Against The Birth of a Nation 69\u003c\/p\u003e \u003cp\u003eBoston Branch of the National Association for the Advancement of Colored People, 1915 69\u003c\/p\u003e \u003cp\u003eAnalysis by Francis Hackett 69\u003c\/p\u003e \u003cp\u003e“Seeing Our Boys ‘Over There’” 71\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II Hollywood’s Golden Age 75\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction: Backstage During the Great Depression: 42nd Street, Gold Diggers of 1933, and Footlight Parade 75\u003c\/p\u003e \u003cp\u003e5 Depression America and its Films 79\u003cbr\u003e \u003ci\u003eMaury Klein\u003c\/i\u003e, “Laughing Through Tears”\u003c\/p\u003e \u003cp\u003e6 The Depression’s Human Toll 86\u003cbr\u003e \u003ci\u003ePeter Roffman and Jim Purdy\u003c\/i\u003e, “Gangsters and Fallen Women”\u003c\/p\u003e \u003cp\u003e7 Depression Allegories 95\u003cbr\u003e \u003ci\u003eThomas H. Pauly\u003c\/i\u003e, “Gone with the Wind and The Grapes of Wrath as Hollywood Histories of the Great Depression”\u003c\/p\u003e \u003cp\u003e8 African Americans on the Silver Screen 104\u003cbr\u003e \u003ci\u003eThomas R. Cripps\u003c\/i\u003e, “The Evolution of Black Film”\u003c\/p\u003e \u003cp\u003e9 Primary Sources 116\u003c\/p\u003e \u003cp\u003eThe Introduction of Sound 116\u003c\/p\u003e \u003cp\u003e“Pictures That Talk” 116\u003c\/p\u003e \u003cp\u003eReview of Don Juan 117\u003c\/p\u003e \u003cp\u003e“Silence is Golden” 118\u003c\/p\u003e \u003cp\u003eFilm Censorship 120\u003c\/p\u003e \u003cp\u003eThe Sins of Hollywood, 1922 120\u003c\/p\u003e \u003cp\u003e“The Don’ts and Be Carefuls” 122\u003c\/p\u003e \u003cp\u003eThe Motion Picture Production Code of 1930 123\u003c\/p\u003e \u003cp\u003eThe State Department on Hollywood in Germany, 1934 133\u003c\/p\u003e \u003cp\u003eThe State Department on Hollywood in Latin America, 1934 134\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III Hollywood in the World War II Era 137\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction: Hollywood’s World War II Combat Films 137\u003c\/p\u003e \u003cp\u003e10 Movies and Great Britain 141\u003cbr\u003e \u003ci\u003eMichael Todd Bennett\u003c\/i\u003e, “Anglophilia on Film: Creating an Atmosphere for Alliance, 1935–1941”\u003c\/p\u003e \u003cp\u003e11 Blockbuster as Propaganda 156\u003cbr\u003e \u003ci\u003eRandy Roberts\u003c\/i\u003e, “You Must Remember This: The Case of Hal Wallis’s Casablanca”\u003c\/p\u003e \u003cp\u003e12 John Wayne and Wartime Hollywood 166\u003cbr\u003e \u003ci\u003eRandy Roberts\u003c\/i\u003e, “John Wayne Goes to War”\u003c\/p\u003e \u003cp\u003e13 The Woman’s Film 184\u003cbr\u003e \u003ci\u003eJeanine Basinger\u003c\/i\u003e, “When Women Wept”\u003c\/p\u003e \u003cp\u003e14 Primary Sources 191\u003c\/p\u003e \u003cp\u003eSumner Welles to \u003ci\u003eFranklin Roosevelt\u003c\/i\u003e, 1941 191\u003c\/p\u003e \u003cp\u003eThe 1941 Academy Awards: Hollywood and the President 192\u003c\/p\u003e \u003cp\u003eCorrespondence between \u003ci\u003eWalter Wanger and Stephen Early\u003c\/i\u003e 192\u003c\/p\u003e \u003cp\u003e\u003ci\u003eFranklin D. Roosevelt\u003c\/i\u003e to the Academy Awards Dinner 195\u003c\/p\u003e \u003cp\u003e\u003ci\u003eWalter Wanger\u003c\/i\u003e to \u003ci\u003eStephen\u003c\/i\u003e \u003ci\u003eEarly\u003c\/i\u003e 196\u003c\/p\u003e \u003cp\u003e\u003ci\u003eMadeleine Carroll\u003c\/i\u003e to \u003ci\u003eFranklin Roosevelt\u003c\/i\u003e 196\u003c\/p\u003e \u003cp\u003eU.S. Senate Subcommittee Hearings on Motion Picture and Radio Propaganda, 1941 196\u003c\/p\u003e \u003cp\u003eExcerpts from The Government Information Manual for the Motion Picture Industry, 1942 200\u003c\/p\u003e \u003cp\u003eBureau of Motion Pictures Report: Casablanca 204\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV Postwar Hollywood 207\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction: Double Indemnity and Film Noir 207\u003c\/p\u003e \u003cp\u003e15 The Red Scare in Hollywood 211\u003cbr\u003e \u003ci\u003ePeter Roffman\u003c\/i\u003e \u003ci\u003eand Jim Purdy\u003c\/i\u003e, “HUAC and the End of an Era”\u003c\/p\u003e \u003cp\u003e16 Movies Grow Up 219\u003cbr\u003e \u003ci\u003eJennifer Holt\u003c\/i\u003e, “Hollywood and Politics Caught in the Cold War Crossfire”\u003c\/p\u003e \u003cp\u003e17 The Morality of Informing 229\u003cbr\u003e \u003ci\u003eKenneth R. Hey\u003c\/i\u003e, “Ambivalence and On the Waterfront”\u003c\/p\u003e \u003cp\u003e18 Science Fiction as Social Commentary 240\u003cbr\u003e \u003ci\u003eStuart Samuels\u003c\/i\u003e, “The Age of Conspiracy and Conformity: Invasion of the Body Snatchers (1956)”\u003c\/p\u003e \u003cp\u003e19 Primary Sources 250\u003c\/p\u003e \u003cp\u003eUnited States v. Paramount Pictures, Inc. (1947) 250\u003c\/p\u003e \u003cp\u003eHearings Regarding the Communist Infiltration of the Motion Picture Industry 251\u003c\/p\u003e \u003cp\u003eU.S. House of Representatives Committee on Un-American Activities, 1947 251\u003c\/p\u003e \u003cp\u003eU.S. House of Representatives Committee on Un-American Activities, 1951 251\u003c\/p\u003e \u003cp\u003eThe Waldorf Statement, 1947 254\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V Hollywood in an Age of Turmoil 257\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction: \u003ci\u003eBonnie and Clyde\u003c\/i\u003e 257\u003c\/p\u003e \u003cp\u003e20 The Dark Side of the 1960s 259\u003cbr\u003e \u003ci\u003eCharles Bane\u003c\/i\u003e, “Worrying about the Bomb: Stanley Kubrick and the Nuclear War Film”\u003c\/p\u003e \u003cp\u003e21 Films of the Late 1960s and Early 1970s 270\u003cbr\u003e \u003ci\u003eMichael Ryan and Douglas Kelner\u003c\/i\u003e, “From Counterculture to Counterrevolution, 1967–1971”\u003c\/p\u003e \u003cp\u003e22 Film Capital and National Capital 279\u003cbr\u003e \u003ci\u003eKathryn Cramer Brownell\u003c\/i\u003e, “‘Politics is Show Business’: Hollywood and the New Politics”\u003c\/p\u003e \u003cp\u003e23 Reaffirming Traditional Values 288\u003cbr\u003e \u003ci\u003eDaniel J. Leab\u003c\/i\u003e, “The Blue Collar Ethnic in Bicentennial America: Rocky”\u003c\/p\u003e \u003cp\u003e24 Presenting African Americans on Film 297\u003cbr\u003e \u003ci\u003eAram Goudsouzian\u003c\/i\u003e, “The Rise and Fall of Sidney Poitier”\u003c\/p\u003e \u003cp\u003e25 Coming to Terms with the Vietnam War 306\u003cbr\u003e \u003ci\u003eRandy Roberts and David Welky\u003c\/i\u003e, “A Sacred Mission: Oliver Stone and Vietnam”\u003c\/p\u003e \u003cp\u003e26 Primary Sources 324\u003cbr\u003e \u003ci\u003eRaymond Caldiero\u003c\/i\u003e to \u003ci\u003eHerbert L. Porter\u003c\/i\u003e, 1972\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VI Hollywood in the Post-studio Era 329\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction: A Changing Hollywood 329\u003c\/p\u003e \u003cp\u003e27 Feminism and Recent American Film 331\u003cbr\u003e \u003ci\u003eAspasia Kotsopoulos\u003c\/i\u003e, “Gendering Expectations: Genre and Allegory in Readings of Thelma and Louise”\u003c\/p\u003e \u003cp\u003e28 The Screen and the Cross 349\u003cbr\u003e \u003ci\u003eDonna Bowman\u003c\/i\u003e, “Christianity, Hollywood, and the Culture Wars”\u003c\/p\u003e \u003cp\u003e29 Social Revolution on Screen 357\u003cbr\u003e \u003ci\u003eThomas Piontek\u003c\/i\u003e, “Tears for Queers: Ang Lee’s Brokeback Mountain, Hollywood, and American Attitudes toward Homosexuality”\u003c\/p\u003e \u003cp\u003e30 Encountering Distant Lands 369\u003cbr\u003e Mark Graham, “The New Great Game: Rambo III, The Beast, and \u003ci\u003eCharlie Wilson’s \u003c\/i\u003eWar”\u003c\/p\u003e \u003cp\u003e31 Superheroes for the Twenty-First Century 384\u003cbr\u003e \u003ci\u003eNoel Murray\u003c\/i\u003e, “Assembling Joss Whedon’s Avengers: The Modern Business of Blockbusters”\u003c\/p\u003e \u003cp\u003e32 Movies and the Construction of Historical Memory 392\u003cbr\u003e \u003ci\u003eSteven Mintz\u003c\/i\u003e, “Movies, History, and the Disneyfication of the Past: The Case of Pocahontas”\u003c\/p\u003e \u003cp\u003eBibliography of Recent Books in American Film History 399\u003c\/p\u003e \u003cp\u003eIndex 425\u003c\/p\u003e \u003cp\u003e\u003cb\u003eSteven Mintz \u003c\/b\u003eis Professor of History at the University of Texas at Austin and Executive director of the University of Texas System’s Institute for Transformational Learning. He is the author and editor of fourteen books, including T\u003ci\u003ehe Prime of Life: A History of Modern Adulthood\u003c\/i\u003e, \u003ci\u003eHuck’s Raft: A History of American Childhood\u003c\/i\u003e, and \u003ci\u003eDomestic Revolutions: A Social History of American Family Life\u003c\/i\u003e. He is the editor of \u003ci\u003eAfrican American\u003c\/i\u003e \u003ci\u003eVoices\u003c\/i\u003e (4th edition, Wiley-Blackwell, 2009), \u003ci\u003eMexican American Voices\u003c\/i\u003e (2nd edition, Wiley-Blackwell, 2009), and \u003ci\u003eNative American Voices\u003c\/i\u003e (2nd edition, Wiley-Blackwell, 2000).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eRandy Roberts\u003c\/b\u003e is Distinguished Professor of History at Purdue University. His publications include \u003ci\u003eJohn Wayne American \u003c\/i\u003e(with James S. Olson, 1995)\u003ci\u003e, \u003c\/i\u003eA\u003ci\u003e Line in the Sand: The Alamo in Blood and Memory \u003c\/i\u003e(with James S. Olson,2000), \u003ci\u003eJoe Louis: Hard Times Man\u003c\/i\u003e (2010), \u003ci\u003eA Team for America: The Army-Navy Game That Rallied a Nation\u003c\/i\u003e (2011) and \u003ci\u003eRising Tide: Bear Bryant, Joe Namath and Dixie’s Last Quarter \u003c\/i\u003e(with Ed Krzemienski, 2014). Roberts has served frequently as a consultant and on-camera commentator for PBS, HBO, and the History Channel. \u003c\/p\u003e \u003cb\u003eDavid Welky\u003c\/b\u003e is a Professor of History at the University of Central Arkansas. Among his most recent publications are \u003ci\u003eThe Moguls and the Dictators: Hollywood and the Coming of World War II\u003c\/i\u003e (2008), \u003ci\u003eEverything was Better in America: Mainstream Print Culture and the Great Depression \u003c\/i\u003e(2008), \u003ci\u003eThe Thousand-Year Flood: The Ohio-Mississippi Disaster of 1937\u003c\/i\u003e (2011), \u003ci\u003eAmerica Between the Wars, 1919–1941: A Documentary Reader\u003c\/i\u003e (Wiley-Blackwell, 2011), \u003ci\u003eJohn Wayne\u003c\/i\u003e (with Randy Roberts, 2012), and \u003ci\u003eMarching Across the Color Line: A. Philip Randolph and Civil Rights in the World War II Era\u003c\/i\u003e (2013).","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47989367505125,"sku":"NP9781118976494","price":40.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781118976494.jpg?v=1761783839","url":"https:\/\/k12savings.com\/es\/products\/hollywoods-america-isbn-9781118976494","provider":"K12savings","version":"1.0","type":"link"}