{"product_id":"postwar-hollywood-isbn-9781405150750","title":"Postwar Hollywood","description":"\u003cp\u003e\u003cb\u003e\u003ci\u003ePostwar Hollywood\u003c\/i\u003e is a comprehensive history of the American film industry, from 1946-1962.\u003c\/b\u003e\u003c\/p\u003e \u003cul\u003e \u003cli\u003eA comprehensive introductory textbook exploring the unique period in the history of the film industry after World War II\u003c\/li\u003e \u003cli\u003eExamines the cultural history, business practices, new technologies, censorship standards, emerging genres, and styles of post-war cinema\u003c\/li\u003e \u003cli\u003eChronicles the restructuring of Hollywood cinema against the backdrop of the major political, economic, and social changes taking place after World War II\u003c\/li\u003e \u003cli\u003eFeatures in-depth discussions of important films from \u003ci\u003ePicnic, The Heiress,\u003c\/i\u003e and \u003ci\u003eFrom Here to Eternity\u003c\/i\u003e, to \u003ci\u003eCat On A Hot Tin Roof\u003c\/i\u003e and \u003ci\u003eLove Me or Leave Me\u003c\/i\u003e\n\u003c\/li\u003e \u003cli\u003eIllustrates the culture\/filmmaking interface, and demonstrates the triumphs and failures of Hollywood's new methods of business\u003c\/li\u003e \u003c\/ul\u003e  Introduction. \u003cp\u003e\u003cb\u003ePart I: Cultural Overview:The Years of Change in America, 1946--1962:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e1. Major Historical Events.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e1.1 The Cold War.\u003c\/p\u003e \u003cp\u003e1.2 Civil Rights.\u003c\/p\u003e \u003cp\u003eConclusion.\u003c\/p\u003e \u003cp\u003e2. Economic Situation.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e1.1 Economic Resurgence.\u003c\/p\u003e \u003cp\u003e1.2 Post-Industrial Society.\u003c\/p\u003e \u003cp\u003eConclusion.\u003c\/p\u003e \u003cp\u003e3. Societal Issues.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e3.1 Consumer Culture and Middle-Classness.\u003c\/p\u003e \u003cp\u003e3.2 The American Male.\u003c\/p\u003e \u003cp\u003e3.3 The American Female.\u003c\/p\u003e \u003cp\u003e3.4 The American Family.\u003c\/p\u003e \u003cp\u003e3.5 Juvenile Delinquency.\u003c\/p\u003e \u003cp\u003e3.6 Sensuality, Sex, and Violence.\u003c\/p\u003e \u003cp\u003e3.7 Social Morality.\u003c\/p\u003e \u003cp\u003e3.8 Crime.\u003c\/p\u003e \u003cp\u003e3.9 Religion.\u003c\/p\u003e \u003cp\u003eConclusion.\u003c\/p\u003e \u003cp\u003e4. Other Popular Leisure Activities.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e4.1 Television.\u003c\/p\u003e \u003cp\u003e4.2 Recordings and Radio.\u003c\/p\u003e \u003cp\u003e4.3 Theater.\u003c\/p\u003e \u003cp\u003e4.4 Adult Popular Fiction.\u003c\/p\u003e \u003cp\u003e4.5 Sports, Travel, and Home Improvement.\u003c\/p\u003e \u003cp\u003eConclusion.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II: Business:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e5. Production and Distribution.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e5.1 The Antitrust Suit Wrap-up and Fallout.\u003c\/p\u003e \u003cp\u003e5.2 The Loss of the Audience.\u003c\/p\u003e \u003cp\u003e5.3 The Decline and Shift in Product.\u003c\/p\u003e \u003cp\u003e5.4 Consolidation.\u003c\/p\u003e \u003cp\u003e5.5 The Mode of Independent Production.\u003c\/p\u003e \u003cp\u003e5.6 Runaway Production.\u003c\/p\u003e \u003cp\u003e5.7 Diversification.\u003c\/p\u003e \u003cp\u003e5.8 Company Profiles: The Administrative and Financial Picture.\u003c\/p\u003e \u003cp\u003e5.9 The Industry and HUAC.\u003c\/p\u003e \u003cp\u003e5.10 Distribution Practices.\u003c\/p\u003e \u003cp\u003e6. Exhibition.\u003c\/p\u003e \u003cp\u003eConclusion.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III: Technology:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e7. Color.\u003c\/p\u003e \u003cp\u003e7.1 Ansco Color and Metrocolor.\u003c\/p\u003e \u003cp\u003e7.2 Eastman Color, Warnercolor, Color By Deluxe, Columbia Color.\u003c\/p\u003e \u003cp\u003e7.3 Trucolor by Consolidated and Cinecolor\/Natural Color\/Super Cinecolor.\u003c\/p\u003e \u003cp\u003e8. Screen Shapes and Accompanying Sound Systems.\u003c\/p\u003e \u003cp\u003e8.1 Multi-Camera Systems.\u003c\/p\u003e \u003cp\u003e8.2 Anamorphic Systems.\u003c\/p\u003e \u003cp\u003e8.3 Widescreen.\u003c\/p\u003e \u003cp\u003e8.4 Wide-Frame Systems.\u003c\/p\u003e \u003cp\u003e8.5 The 70mm\/Wide-Gauge Processes.\u003c\/p\u003e \u003cp\u003e9. Three-Dimension, Special Effects, and Film Production Refinements.\u003c\/p\u003e \u003cp\u003e9.1 3-D.\u003c\/p\u003e \u003cp\u003e9.2 Special Effects.\u003c\/p\u003e \u003cp\u003e9.3 Film Production Refinements.\u003c\/p\u003e \u003cp\u003eConclusion.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV: Censorship:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e10. Test Cases.\u003c\/p\u003e \u003cp\u003e10.1 \u003ci\u003eThe Outlaw\u003c\/i\u003e (UA, 1946\/RKO, 1950).\u003c\/p\u003e \u003cp\u003e10.2 The Jane Russell Syndrome: Rita Hayworth, Marilyn Monroe, Cyd Charisse, Sophia Loren, and Gina Lollobrigida.\u003c\/p\u003e \u003cp\u003e10.3 The Adaptation of Controversial and Sensational Novels: \u003ci\u003eDouble Indemnity\u003c\/i\u003e (P, 1944), \u003ci\u003eLeave Her To Heaven\u003c\/i\u003e (TCF, 1945), \u003ci\u003eThe Postman Always Rings Twice\u003c\/i\u003e (MGM, 1946), \u003ci\u003eDuel In the Sun\u003c\/i\u003e (SRO, 1946), \u003ci\u003eForever Amber\u003c\/i\u003e (TCF, 1947), and \u003ci\u003eFlamingo Road\u003c\/i\u003e (WB, 1949).\u003c\/p\u003e \u003cp\u003e10. 4 Racism: \u003ci\u003ePinky\u003c\/i\u003e (TCF, 1949) and \u003ci\u003eCurley\u003c\/i\u003e (UA, 1947).\u003c\/p\u003e \u003cp\u003e10.5 \u003ci\u003eThe Bicycle Thief\u003c\/i\u003e (1949).\u003c\/p\u003e \u003cp\u003e10.6 \u003ci\u003eStromboli\u003c\/i\u003e (1950).\u003c\/p\u003e \u003cp\u003e10.7 \u003ci\u003eThe Miracle\u003c\/i\u003e (1950) and the US Supreme Court Decision of 1952.\u003c\/p\u003e \u003cp\u003e10.8 \u003ci\u003eDetective Story\u003c\/i\u003e (P, 1951), \u003ci\u003eBeyond the Forest\u003c\/i\u003e (WB, 1949), \u003ci\u003eThe Doctor and the Girl\u003c\/i\u003e (MGM, 1949), \u003ci\u003eA Place In the Sun\u003c\/i\u003e (P, 1951), \u003ci\u003ePeople Will Talk\u003c\/i\u003e (TCF, 1952), and Code Amendments of 1951.\u003c\/p\u003e \u003cp\u003e10.9 \u003ci\u003eThe Moon Is Blue\u003c\/i\u003e (UA, 1953).\u003c\/p\u003e \u003cp\u003e10.10 \u003ci\u003eThe French Line\u003c\/i\u003e (RKO, 1953).\u003c\/p\u003e \u003cp\u003e10.11 \u003ci\u003eFrom Here To Eternity\u003c\/i\u003e (C, 1953).\u003c\/p\u003e \u003cp\u003e10.12 Shurlock’s Reign and Code Readjustments of 1954; \u003ci\u003eLa Ronde\u003c\/i\u003e (1950, 1951) and \u003ci\u003eM\u003c\/i\u003e (C, 1951).\u003c\/p\u003e \u003cp\u003e10.13 Backlash; \u003ci\u003eThe Man With the Golden Arm\u003c\/i\u003e (UA, 1955) and \u003ci\u003ePicnic\u003c\/i\u003e (C, 1955).\u003c\/p\u003e \u003cp\u003e10.14 The Code Revision of 1956.\u003c\/p\u003e \u003cp\u003e10.15 \u003ci\u003eBaby Doll\u003c\/i\u003e (WB, 1956), \u003ci\u003eTea and Sympathy\u003c\/i\u003e (MGM, 1956), and \u003ci\u003eThe Bad Seed\u003c\/i\u003e (WB, 1956).\u003c\/p\u003e \u003cp\u003e10.16 \u003ci\u003eGiant\u003c\/i\u003e (WB, 1956), \u003ci\u003eSerenade\u003c\/i\u003e (WB, 1956), \u003ci\u003eIsland In the Sun\u003c\/i\u003e (TCF, 1957), and \u003ci\u003eSayonara\u003c\/i\u003e (WB, 1957).\u003c\/p\u003e \u003cp\u003e10.17 Legion Expansion: \u003ci\u003ePeyton Place\u003c\/i\u003e (TCF, 1957).\u003c\/p\u003e \u003cp\u003e10.18 Roth vs. US and \u003ci\u003eThe Game of Love\u003c\/i\u003e (1954); \u003ci\u003eThe Garden of Eden\u003c\/i\u003e (Excelsior Pictures, 1957).\u003c\/p\u003e \u003cp\u003e10.19 \u003ci\u003eVertigo\u003c\/i\u003e (P, 1958), \u003ci\u003eBonjour Tristesse\u003c\/i\u003e (C, 1958), and \u003ci\u003eCat On A Hot Tin Roof\u003c\/i\u003e (MGM, 1958).\u003c\/p\u003e \u003cp\u003e10.20 \u003ci\u003eLady Chatterley's Lover\u003c\/i\u003e (1957), \u003ci\u003eAnd God Created Woman\u003c\/i\u003e (1958), \u003ci\u003eRoom At the Top\u003c\/i\u003e (1959), and \u003ci\u003eNever On Sunday\u003c\/i\u003e (1960).\u003c\/p\u003e \u003cp\u003e10.21 \u003ci\u003eAnatomy of a Murder\u003c\/i\u003e (C, 1959).\u003c\/p\u003e \u003cp\u003e10.22 \u003ci\u003eSuddenly Last Summer\u003c\/i\u003e (C, 1959), \u003ci\u003eSome Like It Hot\u003c\/i\u003e (UA, 1959), and \u003ci\u003ePillow Talk\u003c\/i\u003e (U, 1959).\u003c\/p\u003e \u003cp\u003e10.23 \u003ci\u003eBlue Denim\u003c\/i\u003e (TCF, 1959) and \u003ci\u003eA Summer Place\u003c\/i\u003e (WB, 1959).\u003c\/p\u003e \u003cp\u003e10.24 \u003ci\u003eHappy Anniversary\u003c\/i\u003e (UA, 1959).\u003c\/p\u003e \u003cp\u003e10.25 \u003ci\u003eElmer Gantry\u003c\/i\u003e (UA, 1960).\u003c\/p\u003e \u003cp\u003e10.27 \u003ci\u003eSanctuary\u003c\/i\u003e (TCF, 1961) and \u003ci\u003eSplendor In the Grass\u003c\/i\u003e (WB, 1961).\u003c\/p\u003e \u003cp\u003e10.28 \u003ci\u003eLolita\u003c\/i\u003e (MGM, 1962) and the Code Amendment of 1961.\u003c\/p\u003e \u003cp\u003e10.29 \u003ci\u003eDon Juan\u003c\/i\u003e (1959).\u003c\/p\u003e \u003cp\u003eConclusion.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V: Genre:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e11. Adventure.\u003c\/p\u003e \u003cp\u003e12. Biography.\u003c\/p\u003e \u003cp\u003e13. Historical Spectacle.\u003c\/p\u003e \u003cp\u003e14. Comedy.\u003c\/p\u003e \u003cp\u003e14.1 Social Satire.\u003c\/p\u003e \u003cp\u003e14.2 Farce.\u003c\/p\u003e \u003cp\u003e14.3 Romantic Comedy.\u003c\/p\u003e \u003cp\u003e14.4 Family Comedy.\u003c\/p\u003e \u003cp\u003e14.5 Fantasy Comedy.\u003c\/p\u003e \u003cp\u003e14.6 Comedian Comedy.\u003c\/p\u003e \u003cp\u003e14.7 Black Comedy.\u003c\/p\u003e \u003cp\u003e14.8 Parody.\u003c\/p\u003e \u003cp\u003e15. Horror, Science Fiction, and Fantasy.\u003c\/p\u003e \u003cp\u003e15.1 Horror--Science Fiction.\u003c\/p\u003e \u003cp\u003e15.2 AIP Teenage Horror.\u003c\/p\u003e \u003cp\u003e15.3 Modern Horror.\u003c\/p\u003e \u003cp\u003e15.4 Science Fiction.\u003c\/p\u003e \u003cp\u003e15.5 Fantasy.\u003c\/p\u003e \u003cp\u003e16. Melodrama.\u003c\/p\u003e \u003cp\u003e16.1 Family Melodrama.\u003c\/p\u003e \u003cp\u003e16.2 Female Melodrama.\u003c\/p\u003e \u003cp\u003e16.3 Male Melodrama.\u003c\/p\u003e \u003cp\u003e16.4 Romance Melodrama.\u003c\/p\u003e \u003cp\u003e17. Musical.\u003c\/p\u003e \u003cp\u003e17.1 Musical Comedy and Musical Drama.\u003c\/p\u003e \u003cp\u003e17.2 Musical Biography.\u003c\/p\u003e \u003cp\u003e18. Social Problem Film and Courtroom Drama.\u003c\/p\u003e \u003cp\u003e18.1 Social Problem Film.\u003c\/p\u003e \u003cp\u003e18.2 Courtroom Drama.\u003c\/p\u003e \u003cp\u003e19. Suspense Thriller.\u003c\/p\u003e \u003cp\u003e19.1 World War II and Cold War Thriller.\u003c\/p\u003e \u003cp\u003e19.2 Crime Thriller: Lawmen and Criminals.\u003c\/p\u003e \u003cp\u003e19.3 Social Problem Thriller.\u003c\/p\u003e \u003cp\u003e20. War.\u003c\/p\u003e \u003cp\u003e21. Western.\u003c\/p\u003e \u003cp\u003eConclusion.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VI: Style:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e22. Noir.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e22.1 Determinations and Practitioners.\u003c\/p\u003e \u003cp\u003e22.2 Noir and Genre.\u003c\/p\u003e \u003cp\u003e22.3 Mode of Representation and Attitude of Mind.\u003c\/p\u003e \u003cp\u003e23. Documentary Realism and Psychological-Sociological Realism.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e23.1 Determinations of a Deeper Realism.\u003c\/p\u003e \u003cp\u003e23.2 Documentary Realism: Determinations and Practitioners.\u003c\/p\u003e \u003cp\u003e23.3 Psychological-Sociological Realism: Determinations and Practitioners.\u003c\/p\u003e \u003cp\u003e23.4 Mode of Representation and Attitude of Mind.\u003c\/p\u003e \u003cp\u003e24. Other Stylistic Devices.\u003c\/p\u003e \u003cp\u003eConclusion.\u003c\/p\u003e \u003cp\u003e25. Coda.\u003c\/p\u003e \u003cp\u003eSelect Bibliography.\u003c\/p\u003e \u003cp\u003eAppendix: Hierarchical Order of Postwar Hollywood’s Top Ten Box-Office Stars (1946—62).\u003c\/p\u003e \u003cp\u003eIndex\u003c\/p\u003e  “Drew Casper’s volume is a stunning achievement in American film history. Combining love for the films themselves and the creative talent behind them with a sharp attention to contexts – cultural, social, and industrial – Casper offers a comprehensive, sharply argued look at Hollywood cinema in a complex, even vexed, historical moment.”\u003cbr\u003e \u003ci\u003eDana Polan, New York University\u003c\/i\u003e \u003cb\u003eDrew Casper\u003c\/b\u003e is the Alma and Alfred Hitchcock Professor of American Film at the University of Southern California’s School of Cinematic Arts. His books include: \u003ci\u003eVincente Minnelli and the Film Musical\u003c\/i\u003e, \u003ci\u003eThe Style of Stanley Donen\u003c\/i\u003e, and \u003ci\u003eAn Introduction to Film Reader\u003c\/i\u003e. He is a DVD commentator on innumerable American films of the classical and postwar periods.  \u003ci\u003ePost-War Hollywood Cinema\u003c\/i\u003e is an accessible and comprehensive history of the American film industry, from 1946 to 1962. Drew Casper chronicles the restructuring of Hollywood cinema against the backdrop of the major political, economic, and social changes taking place after World War II.  \u003cp\u003eThe most complete of its kind, this innovative book looks at a broad range of topics as it examines the cultural history, business practices, new technologies, censorship standards, emerging genres, and styles of postwar cinema. In-depth discussions of important and often-neglected films illustrate the culture\/filmmaking interface, and demonstrate the triumphs and failures of Hollywood’s new methods. Casper also includes valuable footnotes and a select bibliography.\u003c\/p\u003e \u003cp\u003eAn ideal text for students of time-specific and broad survey courses, as well as for the home viewer devotee, \u003ci\u003ePost-War Hollywood\u003c\/i\u003e is an entertaining resource for readers studying this unique period of the American film industry.\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47989823766757,"sku":"NP9781405150750","price":43.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781405150750.jpg?v=1761785582","url":"https:\/\/k12savings.com\/es\/products\/postwar-hollywood-isbn-9781405150750","provider":"K12savings","version":"1.0","type":"link"}