{"product_id":"america-on-film-isbn-9781118743652","title":"America on Film","description":"\u003cp\u003e\u003cb\u003eA comprehensive and insightful examination of the representation of diverse viewpoints and perspectives in American cinema throughout the 20th and 21st centuries\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eAmerica on Film: Representing Race, Class, Gender and Sexuality at the Movies,\u003c\/i\u003e 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.\u003c\/p\u003e \u003cp\u003eThe 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.\u003c\/p\u003e \u003cp\u003e\u003ci\u003eAmerica on Film\u003c\/i\u003e 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:\u003c\/p\u003e \u003cul\u003e \u003cli\u003eThe structure and history of American filmmaking, including a discussion of the evolution of the business of Hollywood cinema\u003c\/li\u003e \u003cli\u003eAfrican Americans and American film, with a discussion of \u003ci\u003eBlacKkKlansman\u003c\/i\u003e informing its examination of broader issues\u003c\/li\u003e \u003cli\u003eAsian, Latin\/x, and Native Americans on film\u003c\/li\u003e \u003cli\u003eClassical Hollywood cinema and class, with an in-depth examination of \u003ci\u003eThe Florida Project\u003c\/i\u003e\n\u003c\/li\u003e \u003cli\u003eWomen in classical Hollywood filmmaking, including a discussion of the 1955 film, \u003ci\u003eAll that Heaven Allows\u003c\/i\u003e\n\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003ePerfect 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.\u003c\/p\u003e \u003cp\u003ePreface to the Third Edition xi\u003c\/p\u003e \u003cp\u003eAcknowledgments xiv\u003c\/p\u003e \u003cp\u003eHow to Use This Book xvi\u003c\/p\u003e \u003cp\u003eAbout the Companion Website xviii\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I Culture and American Film 1\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e1 Introduction to the Study of Film Form and Representation 3\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eFilm Form 3\u003c\/p\u003e \u003cp\u003eAmerican Ideologies: Discrimination and Resistance 6\u003c\/p\u003e \u003cp\u003eCulture and Cultural Studies 12\u003c\/p\u003e \u003cp\u003eCase Study: Two \u003ci\u003eLion Kings \u003c\/i\u003e(1994 and 2019) 17\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 21\u003c\/p\u003e \u003cp\u003eFurther Reading 21\u003c\/p\u003e \u003cp\u003e\u003cb\u003e2 The Structure and History of Hollywood Filmmaking 22\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eHollywood vs. Independent Film 22\u003c\/p\u003e \u003cp\u003eThe Style of Hollywood Cinema 24\u003c\/p\u003e \u003cp\u003eThe Business of Hollywood 29\u003c\/p\u003e \u003cp\u003eThe History of Hollywood: The Movies Begin 31\u003c\/p\u003e \u003cp\u003eThe Classical Hollywood Cinema 35\u003c\/p\u003e \u003cp\u003eWorld War II and Postwar Film 37\u003c\/p\u003e \u003cp\u003e“New” Hollywood and the Blockbuster Mentality 40\u003c\/p\u003e \u003cp\u003eBox: A Brief History of Television in the United States 42\u003c\/p\u003e \u003cp\u003e21st‐Century Convergence Culture 44\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 47\u003c\/p\u003e \u003cp\u003eFurther Reading 47\u003c\/p\u003e \u003cp\u003eFurther Screening 48\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II Race and Ethnicity and American Film 49\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction to Part II: What is Race?\u003c\/p\u003e \u003cp\u003e\u003cb\u003e3 The Concept of Whiteness and American Film 55\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSeeing White 56\u003c\/p\u003e \u003cp\u003eBleaching the Green: The Irish in American Cinema 60\u003c\/p\u003e \u003cp\u003eLooking for Respect: Italians in American Cinema 64\u003c\/p\u003e \u003cp\u003eA Special Case: Jews and Hollywood 69\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eThe Jazz Singer \u003c\/i\u003e(1927) 74\u003c\/p\u003e \u003cp\u003eVeiled and Reviled: Arabs on Film in America 74\u003c\/p\u003e \u003cp\u003eConclusion: Whiteness and American Film Today 80\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 81\u003c\/p\u003e \u003cp\u003eFurther Reading 81\u003c\/p\u003e \u003cp\u003eFurther Screening 82\u003c\/p\u003e \u003cp\u003e\u003cb\u003e4 African Americans and American Film 83\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAfrican Americans in Early Film 83\u003c\/p\u003e \u003cp\u003eBlacks in Classical Hollywood Cinema 87\u003c\/p\u003e \u003cp\u003eWorld War II and the Postwar Social Problem Film 89\u003c\/p\u003e \u003cp\u003eThe Rise and Fall of Blaxploitation Filmmaking 92\u003c\/p\u003e \u003cp\u003eBox: Blacks on TV 94\u003c\/p\u003e \u003cp\u003eHollywood in the 1980s and the Arrival of Spike Lee 96\u003c\/p\u003e \u003cp\u003eBlack Independent vs. “Neo‐Blaxploitation” Filmmaking in the 1990s 98\u003c\/p\u003e \u003cp\u003eAfrican Americans and the Oscars 100\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eBlacKkKlansman \u003c\/i\u003e(2018) 103\u003c\/p\u003e \u003cp\u003eThe Twenty‐first Century: Smaller Films, Bigger Profits? 106\u003c\/p\u003e \u003cp\u003eConclusion 108\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 109\u003c\/p\u003e \u003cp\u003eFurther Reading 109\u003c\/p\u003e \u003cp\u003eFurther Screening 110\u003c\/p\u003e \u003cp\u003e\u003cb\u003e5 Native Americans and American Film 111\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe American “Indian” Before Film 112\u003c\/p\u003e \u003cp\u003eEthnographic Films and the Rise of the Hollywood Western 114\u003c\/p\u003e \u003cp\u003eThe Evolving Western 118\u003c\/p\u003e \u003cp\u003eA Kinder, Gentler America? 121\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eSmoke Signals \u003c\/i\u003e(1998) 124\u003c\/p\u003e \u003cp\u003eConclusion: Twenty‐first Century Indians? 125\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 129\u003c\/p\u003e \u003cp\u003eFurther Reading 129\u003c\/p\u003e \u003cp\u003eFurther Screening 129\u003c\/p\u003e \u003cp\u003e\u003cb\u003e6 Asian Americans and American Film 130\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSilent Film and Asian Images 131\u003c\/p\u003e \u003cp\u003eAsians in Classical Hollywood Cinema 133\u003c\/p\u003e \u003cp\u003eWorld War II and After: War Films, Miscegenation\u003c\/p\u003e \u003cp\u003eMelodramas, Kung Fu, and the Start of Asian American\u003c\/p\u003e \u003cp\u003eIndependent Filmmaking 136\u003c\/p\u003e \u003cp\u003eTowards a Global Hollywood: Asian American Actors\u003c\/p\u003e \u003cp\u003eand Filmmakers of the Last Thirty Years 141\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eCrazy Rich Asians \u003c\/i\u003e(2018) 146\u003c\/p\u003e \u003cp\u003eConclusion 148\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 148\u003c\/p\u003e \u003cp\u003eFurther Reading 148\u003c\/p\u003e \u003cp\u003eFurther Screening 149\u003c\/p\u003e \u003cp\u003e\u003cb\u003e7 Latinos and American Film 150\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Greaser and the Latin Lover: Alternating Stereotypes 152\u003c\/p\u003e \u003cp\u003eWorld War II and After: The Good Neighbor Policy 155\u003c\/p\u003e \u003cp\u003eThe 1950s to the 1970s: Back to Business as Usual? 159\u003c\/p\u003e \u003cp\u003eExpanding Opportunities in the 1980s and 1990s 161\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eMy Family\/Mi Familia \u003c\/i\u003e(1995) 164\u003c\/p\u003e \u003cp\u003eLatino Film in the 21st Century 166\u003c\/p\u003e \u003cp\u003eConclusion: Which Way Forward? 169\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 171\u003c\/p\u003e \u003cp\u003eFurther Reading 172\u003c\/p\u003e \u003cp\u003eFurther Screening 172\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III Class and American Film 173\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction to Part III: What is Class?\u003c\/p\u003e \u003cp\u003e\u003cb\u003e8 Classical Hollywood Cinema and Class 179\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSetting the Stage: The Industrial Revolution 179\u003c\/p\u003e \u003cp\u003eEarly Cinema: The Rise of the Horatio\u003c\/p\u003e \u003cp\u003eAlger Myth 181\u003c\/p\u003e \u003cp\u003eHollywood and Unionization 185\u003c\/p\u003e \u003cp\u003eClass in the Classical Hollywood Cinema 188\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eThe Grapes of Wrath \u003c\/i\u003e(1940) 190\u003c\/p\u003e \u003cp\u003eConclusion: Recloaking Class Consciousness 192\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 192\u003c\/p\u003e \u003cp\u003eFurther Reading 193\u003c\/p\u003e \u003cp\u003eFurther Screening 193\u003c\/p\u003e \u003cp\u003e\u003cb\u003e9 Cinematic Class Struggle After the Depression 194\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eFrom World War II to the Red Scare 194\u003c\/p\u003e \u003cp\u003eFrom Opulence to Counterculture 197\u003c\/p\u003e \u003cp\u003eBox: Class on Television 202\u003c\/p\u003e \u003cp\u003eNew Hollywood and the Resurrection of the Horatio Alger Myth 202\u003c\/p\u003e \u003cp\u003eCorporate Hollywood and Labor in the 21st Century 208\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eThe Florida Project \u003c\/i\u003e(2017) 213\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 215\u003c\/p\u003e \u003cp\u003eFurther Reading 215\u003c\/p\u003e \u003cp\u003eFurther Screening 215\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV Gender and American Film 217\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction to Part IV: What is Gender?\u003c\/p\u003e \u003cp\u003e\u003cb\u003e10 Women in Classical Hollywood Filmmaking 223\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eImages of Women in Early Cinema 224\u003c\/p\u003e \u003cp\u003eEarly Female Filmmakers 228\u003c\/p\u003e \u003cp\u003eImages of Women in 1930s Classical Hollywood 231\u003c\/p\u003e \u003cp\u003eWorld War II and After 235\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eAll that Heaven Allows \u003c\/i\u003e(1955) 238\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 240\u003c\/p\u003e \u003cp\u003eFurther Reading 240\u003c\/p\u003e \u003cp\u003eFurther Screening 241\u003c\/p\u003e \u003cp\u003e\u003cb\u003e11 Exploring the Visual Parameters of Women in Film 242\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eWays of Seeing \u003c\/i\u003e242\u003c\/p\u003e \u003cp\u003e“Visual Pleasure and Narrative Cinema” 245\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eGilda \u003c\/i\u003e(1946) 254\u003c\/p\u003e \u003cp\u003eConclusion: Complicating Mulvey’s Arguments 255\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 258\u003c\/p\u003e \u003cp\u003eFurther Reading 258\u003c\/p\u003e \u003cp\u003eFurther Screening 258\u003c\/p\u003e \u003cp\u003e\u003cb\u003e12 Masculinity in Classical Hollywood Filmmaking 259\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eMasculinity and Early Cinema 262\u003c\/p\u003e \u003cp\u003eMasculinity and the Male Movie Star 263\u003c\/p\u003e \u003cp\u003eWorld War II and Film Noir 268\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eDead Reckoning \u003c\/i\u003e(1947) 273\u003c\/p\u003e \u003cp\u003eMasculinity in 1950s American Film 274\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 277\u003c\/p\u003e \u003cp\u003eFurther Reading 277\u003c\/p\u003e \u003cp\u003eFurther Screening 277\u003c\/p\u003e \u003cp\u003e\u003cb\u003e13 Gender in American Film Since the 1960s 278\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSecond Wave Feminism and Hollywood 278\u003c\/p\u003e \u003cp\u003eBox: Women and American Television 282\u003c\/p\u003e \u003cp\u003eInto the 1980s: A Backlash against Women? 285\u003c\/p\u003e \u003cp\u003eA New Generation of Female Filmmakers 288\u003c\/p\u003e \u003cp\u003eGender at the Turn of the Century 292\u003c\/p\u003e \u003cp\u003eGender Politics after 9\/11 294\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eWonder Woman \u003c\/i\u003e(2017) 297\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 299\u003c\/p\u003e \u003cp\u003eFurther Reading 300\u003c\/p\u003e \u003cp\u003eFurther Screening 300\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V Sexuality and American Film 301\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction to Part V: What is Sexuality?\u003c\/p\u003e \u003cp\u003e\u003cb\u003e14 Heterosexuality, Homosexuality, and Classical Hollywood 307\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e(Hetero)Sexuality on Screen 307\u003c\/p\u003e \u003cp\u003e(Homo)Sexuality in Early Film 309\u003c\/p\u003e \u003cp\u003eCensoring Sexuality during the Classical Hollywood Era 311\u003c\/p\u003e \u003cp\u003ePostwar Sexualities and the Weakening of the Production Code 316\u003c\/p\u003e \u003cp\u003eCamp and the Underground Cinema 320\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eThe Celluloid Closet \u003c\/i\u003e(1995) 322\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 323\u003c\/p\u003e \u003cp\u003eFurther Reading 324\u003c\/p\u003e \u003cp\u003eFurther Screening 324\u003c\/p\u003e \u003cp\u003e\u003cb\u003e15 Sexualities on Film Since the Sexual Revolution 325\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eHollywood and the Sexual Revolution 325\u003c\/p\u003e \u003cp\u003eFilm and Gay Culture from Stonewall to AIDS 327\u003c\/p\u003e \u003cp\u003eThe AIDS Crisis 332\u003c\/p\u003e \u003cp\u003eQueer Theory and New Queer Cinema 334\u003c\/p\u003e \u003cp\u003eBox: Queer TV 338\u003c\/p\u003e \u003cp\u003eHollywood Responds to New Queer Cinema 340\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eLove, Simon \u003c\/i\u003e(2018) 344\u003c\/p\u003e \u003cp\u003e(Hetero)Sexualities in Contemporary American Cinema 346\u003c\/p\u003e \u003cp\u003eConclusion: The Power Dynamics of Sexuality 349\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 351\u003c\/p\u003e \u003cp\u003eFurther Reading 351\u003c\/p\u003e \u003cp\u003eFurther Screening 352\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VI Ability and American Film 353\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction to Part VI: What is Ability?\u003c\/p\u003e \u003cp\u003e\u003cb\u003e16 Cinematic Images of (Dis)Ability 359\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDisabled People in Early American Film: Curiosities and Freaks 360\u003c\/p\u003e \u003cp\u003eRomanticizing Disability in Classical Hollywood Melodramas 364\u003c\/p\u003e \u003cp\u003eDisability in War Movies and Social Problem Films 366\u003c\/p\u003e \u003cp\u003eDisability and the Counterculture 369\u003c\/p\u003e \u003cp\u003eCase Study: \u003ci\u003eChildren of a Lesser God \u003c\/i\u003e(1986) 373\u003c\/p\u003e \u003cp\u003eAfter the 1980s: A More Enlightened Hollywood? 374\u003c\/p\u003e \u003cp\u003eFar From Hollywood: Documentary, Activism,\u003c\/p\u003e \u003cp\u003eand New Modes of Television 377\u003c\/p\u003e \u003cp\u003eQuestions for Discussion 380\u003c\/p\u003e \u003cp\u003eFurther Reading 380\u003c\/p\u003e \u003cp\u003eFurther Screening 381\u003c\/p\u003e \u003cp\u003eGlossary 382\u003c\/p\u003e \u003cp\u003eIndex 404\u003c\/p\u003e \u003cp\u003e\u003cb\u003eHARRY M. BENSHOFF, PhD,\u003c\/b\u003e is Professor of Media Arts at the University of North Texas. He received his PhD in Critical Studies at the University of Southern California’s School of Cinema-Television. His research focuses include the representation of African Americans and queer people in film and television, particularly within the horror genre.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSEAN GRIFFIN, PhD,\u003c\/b\u003e is Professor of Film and Media Arts, Southern Methodist University. He received his doctorate from the University of Southern California in 1997. He has written and studied extensively in the area of queer representation in film, as well as the history of the American musical film.\u003c\/p\u003e  \u003cp\u003e\u003cb\u003eA comprehensive and insightful examination of the representation of diverse viewpoints and perspectives in American cinema throughout the 20th and 21st Centuries\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eAmerica on Film: Representing Race, Class, Gender and Sexuality at the Movies\u003c\/i\u003e, 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.\u003c\/p\u003e\u003cp\u003eThe book incorporates several different theoretical perspectives, including film genre, auteurism, cultural studies, Orientalism, whiteness, 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.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eAmerica on Film\u003c\/i\u003e 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:\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eThe structure and history of American filmmaking, including a discussion of the evolution of the business of Hollywood cinema\u003c\/li\u003e\n\u003cli\u003eAfrican Americans and American film, with a discussion of \u003ci\u003eBlacKkKlansman\u003c\/i\u003e informing its examination of broader issues\u003c\/li\u003e\n\u003cli\u003eAsian, Latin\/x, and Native Americans on film\u003c\/li\u003e\n\u003cli\u003eClassical Hollywood cinema and class, with an in-depth examination of \u003ci\u003eThe Florida Project\u003c\/i\u003e\n\u003c\/li\u003e\n\u003cli\u003eWomen in classical Hollywood filmmaking, including a discussion of the 1955 film, \u003ci\u003eAll That Heaven Allows\u003c\/i\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003ePerfect for undergraduate and graduate students in film, media, and diversity-related courses, this 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 is ideal for use within corporate diversity training curricula and human relations training within the entertainment industry.\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47988718305509,"sku":"NP9781118743652","price":42.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781118743652.jpg?v=1761781317","url":"https:\/\/k12savings.com\/products\/america-on-film-isbn-9781118743652","provider":"K12savings","version":"1.0","type":"link"}