free ebooks ==> www.ebook777.com www.ebook777.com free ebooks ==> www.ebook777.com free ebooks ==> www.ebook777.com American Film History www.ebook777.com free ebooks ==> www.ebook777.com The Editors Cynthia Lucia is Professor of English and Director of Film and Media Studies at Rider University She is author of Framing Female Lawyers: Women on Trial in Film (2005) and writes for Cineaste film magazine, where she has served on the editorial board for more than two decades Her most recent research includes essays that appear in A Companion to Woody Allen (Wiley-Blackwell, 2013), Modern British Drama on Screen (2014), and Law, Culture and Visual Studies (2014) Roy Grundmann is Associate Professor of Film Studies at Boston University He is the author of Andy Warhol’s Blow Job (2003) and the editor of A Companion to Michael Haneke (Wiley-Blackwell, 2010) He is Contributing Editor of Cineaste and has published essays in a range of prestigious anthologies and journals, including GLQ, Cineaste, Continuum, The Velvet Light Trap, and Millennium Film Journal He has curated retrospectives on Michael Haneke, Andy Warhol, and Matthias Măuller Art Simon is Professor of Film Studies at Montclair State University He is the author of Dangerous Knowledge: The JFK Assassination in Art and Film (2nd edition, 2013) He has curated two film exhibitions for the Solomon Guggenheim Museum in New York City and his work has been published in the edited collection “Un-American” Hollywood: Politics and Film in the Blacklist Era (2007) and in the journal American Jewish History Together they are the editors of the four-volume collection The Wiley-Blackwell History of American Film (2012) and American Film History: Selected Readings, 1960 to the Present (2016), both published by Wiley-Blackwell free ebooks ==> www.ebook777.com American Film History Selected Readings, Origins to 1960 Edited by Cynthia Lucia, Roy Grundmann, and Art Simon www.ebook777.com free ebooks ==> www.ebook777.com This edition first published 2016 © 2016 John Wiley & Sons, Inc, except for Chapter 16 © 1999 University of Texas Press; Chapter 18 © 1989 James Naremore; and Chapter 26 © 1981 Cambridge University Press Registered Office: John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK Editorial Offices: 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford, OX4 2DQ, UK The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK For details of our global editorial offices, for customer services, and for information about how to apply for permission to reuse the copyright material in this book please see our website at www.wiley.com/wiley-blackwell The right of Cynthia Lucia, Roy Grundmann, and Art Simon to be identified as the author of the editorial material in this work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher Wiley also publishes its books in a variety of electronic formats Some content that appears in print may not be available in electronic books Designations used by companies to distinguish their products are often claimed as trademarks All brand names and product names used in this book are trade names, service marks, trademarks or registered trademarks of their respective owners The publisher is not associated with any product or vendor mentioned in this book Limit of Liability/Disclaimer of Warranty: While the publisher and authors have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose It is sold on the understanding that the publisher is not engaged in rendering professional services and neither the publisher nor the author shall be liable for damages arising herefrom If professional advice or other expert assistance is required, the services of a competent professional should be sought Library of Congress Cataloging-in-Publication Data American film history : selected readings / edited by Cynthia Lucia, Roy Grundmann, Arthur Simon volume cm Includes bibliographical references and index Contents: v Origins to 1960 – ISBN 978-1-118-47513-3 (paperback) Motion pictures–United States–History–20th century I Lucia, Cynthia A Barto (Cynthia Anne Barto), editor II Grundmann, Roy, 1963- editor III Simon, Arthur, editor PN1993.5.U6A8656 2015 791.430973–dc23 2015015486 A catalogue record for this book is available from the British Library Cover image: Top: Clark Gable and Jean Harlow, Red Dust, 1932 Photo: Pictorial Press Ltd/Alamy Bottom: Intolerance, 1916 Photo: Wark Production Company/Album/akg-images Set in 10/12pt BemboStd by Aptara Inc., New Delhi, India 2016 free ebooks ==> www.ebook777.com Contents Volume I: Origins to 1960 Acknowledgments xii Preface xiii Part I Origins to 1928 Setting the Stage: American Film History, Origins to 1928 References 16 D W Griffith and the Development of American Narrative Cinema Charlie Keil 18 Notes References 34 34 Women and the Silent Screen Shelley Stamp References 36 African-Americans and Silent Films Paula J Massood 54 51 Notes References 68 68 Chaplin and Silent Film Comedy Charles J Maland References Erich von Stroheim and Cecil B DeMille: Early Hollywood and the Discourse of Directorial “Genius” Gaylyn Studlar Notes References The Star System Mark Lynn Anderson 70 84 85 97 97 99 Notes References 112 113 Synchronized Sound Comes to the Cinema Paul Young Notes References www.ebook777.com 115 128 129 free ebooks ==> www.ebook777.com vi CONTENTS Part II 1929–1945 Setting the Stage: American Film History, 1929–1945 Note References 10 Era of the Moguls: The Studio System Matthew H Bernstein References 11 “As Close to Real Life as Hollywood Ever Gets”: Headline Pictures, Topical Movies, Editorial Cinema, and Studio Realism in the 1930s Richard Maltby Notes References 133 151 151 153 173 175 194 198 12 Early American Avant-Garde Cinema Jan-Christopher Horak Notes References 200 13 “Let ’Em Have It”: The Ironic Fate of the 1930s Hollywood Gangster Ruth Vasey Notes References 215 14 Landscapes of Fantasy, Gardens of Deceit: The Adventure Film between Colonialism and Tourism Hans Jăurgen Wulff Notes References 15 Cinema and the Modern Woman Veronica Pravadelli Notes References 214 214 230 230 231 245 246 248 262 262 16 Queering the (New) Deal David M Lugowski Notes References 264 17 There’s No Place Like Home: The Hollywood Folk Musical Desir´ee J Garcia Notes References 282 18 The Magician: Orson Welles and Film Style James Naremore 297 Notes References 280 280 295 296 309 310 free ebooks ==> www.ebook777.com CONTENTS vii 19 Classical Cel Animation, World War II, and Bambi Kirsten Moana Thompson Notes References 311 20 Mapping Why We Fight: Frank Capra and the US Army Orientation Film in World War II Charles Wolfe 326 Notes References 324 325 339 339 21 A Victory “Uneasy with Its Contrasts”: The Hollywood Left Fights World War II Saverio Giovacchini Notes References 341 356 359 22 Hollywood as Historian, 1929–1945 J E Smyth Notes References 361 377 377 Part III 1945–1960 23 Setting the Stage: American Film History, 1945–1960 References 24 Taking Stock at War’s End: Gender, Genre, and Hollywood Labor in The Strange Love of Martha Ivers Roy Grundmann Notes References 25 Natalie Wood: Studio Stardom and Hollywood in Transition Cynthia Lucia Notes References 383 397 398 419 421 423 444 446 26 The Politics of Force of Evil: An Analysis of Abraham Polonsky’s Preblacklist Film Christine Noll Brinckmann Notes References 448 467 469 27 The Actors Studio in the Early Cold War Cynthia Baron & Beckett Warren Notes References 471 28 Authorship and Billy Wilder Robert Sklar 486 Notes References 485 485 501 501 www.ebook777.com free ebooks ==> www.ebook777.com viii CONTENTS 29 Cold War Thrillers R Barton Palmer References 503 30 American Underground Film Jared Rapfogel 520 Note References Index 519 535 535 537 Also in the same series Volume II: 1960 to the Present Acknowledgments xii Preface xiii Part I 1960–1975 Setting the Stage: American Film History, 1960–1975 Notes References 21 22 Adults Only: Low-Budget Exploitation Eric Schaefer Note References 23 Black Representation in Independent Cinema: From Civil Rights to Black Power Alex Lykidis Notes References Cinema Direct and Indirect: American Documentary, 1960–1975 Charles Warren Notes References Comedy and the Dismantling of the Hollywood Western Teresa Podlesney Note References The New Hollywood Derek Nystrom Notes References 35 35 37 52 54 56 70 70 72 86 86 87 103 103 free ebooks ==> www.ebook777.com 536 JARED RAPFOGEL Mekas, Jonas (1962) “Notes on the New American Cinema.” Film Culture, 24, 6–16 Sargeant, Jack (2008) Naked Lens: Beat Cinema Berkeley: Soft Skull Press (Original work published 1997.) Sitney, P Adams (2002) Visionary Film: The American Avant-Garde 1943–2000 3rd edn Oxford: Oxford University Press (Original work published 1974.) Smith, Jack (1962) “The Perfect Filmic Appositeness of Maria Montez.” Film Culture, 27, 28–32 Smith, Jack (1963–1964) “Belated Appreciation of V.S.” Film Culture, 31, 4–5 Wees, William C (1993) Recycled Images: The Art and Politics of Found Footage Films New York: Anthology Film Archives free ebooks ==> www.ebook777.com Index Entries for film titles are in italics, followed by the date of release in brackets, e.g Walk a Crooked Mile (1948) Page references for illustrations are also in italics 16mm film, 49–50 24 Dollar Island, The (1927), 15, 203 180-degree axis of action, Abel, Richard, 4, abstract films, 532–533 Academy of Motion Picture Arts and Sciences, 42, 329 Ace in the Hole (1951), 493–496 action sequences, 234–235 actors, 70–83, 93 African-Americans, 55–56, 57, 66–67 British actors, 482–483 child actors, 66, 424–426 Method acting, 394–395, 437–439, 443–444, 471–484 performance styles, 30, 234–235 queer men, 265 women, 32–33, 38–39, 62–63 Actors’ Lab, 472, 473–474 Actors Studio, 394–395, 437, 438, 471–484 Adams, Maude, 102 Adler, Stella, 476 Admirible Crichton, The (Barrie), 90 Adorno, Theodor W., 95 adultery, 9–10 adventure films, 231–245 Adventures of Robin Hood, The (1938), 235–236, 237 advertising, 10, 19, 86–87, 94–95, 109–110, 183–184, 185–186, 202, 403–406 affect, 462–466 A-films, 134, 137, 138, 169 African adventures, 240–245 African-Americans, 504–505 as critics, 56, 57, 59, 60, 63–64 in the film industry, 54–67, 283 as moviegoers, 46, 48, 56, 57, 59, 60 representation of, 54–67, 121, 122, 213, 290–292, 350–354, 365, 375–376 women, 48, 60–61, 365, 375–376 Afro-American Film Company, 56, 61 After Many Years (1908), 23 Agee, James, 83, 345, 347–348, 349, 354 Air Force (1943), 349 Akeley, Carl, 43 Akeley, Mary Jobe, 43 Aldrich, Maude, 49 Aldrich, Robert, 390, 511–512 Alexandrov, Grigori, 128 All This and Heaven Too (1940), 373 Alliance of Motion Picture and Television Producers, 473 Altman, Rick, 283, 377 American Academy of Dramatic Art, 472 American Film Institute, 83 American Gothic, 139, 308, 309, 403, 404–405 American Indians, see Native Americans American Madness (1932), 177 American Mutuscope, 55 Ames, Hector, 103 Amory, Cleveland, 337 Anderson, Mark Lynn, 43 Angels With Dirty Faces (1938), 180, 186, 227 Anger, Kenneth, 524, 526–527 animation, 14–15, 148–149, 206–207, 311–324, 332–333, 532–533 production costs, 324 voices, 320–322 anticommunism, 151, 386, 399–400, 413, 418, 450–451, 472, 473–475, 506–507, 510–519 anti-European sentiment, 482–484 antifascism, 83, 141–142, 193–194, 336–339, 341–356 anti-Semitism, 39, 136, 151, 162, 189, 276, 387, 511, 514 antitrust law, 385–386 anxiety, 462–466 Apartment, The (1960), 396–397, 496–499 Applause (1929), 126–127 Arbuckle, Roscoe “Fatty,” 6–7, 39, 49, 78–79, 110–112 Archainbaud, George, 12 archives, 366, 490 Arledge, Sara, 208 Armat, Thomas, art, 483–484 art cinema, 48–49, 200–214, 529–535 Artcraft, 10 Artkino, 205 Arzner, Dorothy, 42, 43–44, 45, 143–144, 267 Associated Film Audiences, 187 Association of Motion Picture Producers (AMPP), 473 Astaire, Fred, 126, 166, 258–259, 276, 391, 396 Astor Place Riot (1849), 483 AT&T, 118–119 Atomic City, The (1952), 512 audience, 109–110 African-Americans, 46, 48, 56, 57, 59, 60 class and moral issues, 20–21, 37, 59, 71, 178, 184–186, 187–188, 217–219, 483 emotional engagement, 322–323, 462–466 men, 183–184, 215–230, 231–245, 393, 448–467 radio listeners, 122 women, 37–38, 40, 373–374, 408–412 during World War II, 169–170, 286–287 American Film History: Selected Readings, Origins to 1960, First Edition Edited by Cynthia Lucia, Roy Grundmann, and Art Simon © 2016 John Wiley & Sons, Inc Published 2016 by John Wiley & Sons, Inc www.ebook777.com free ebooks ==> www.ebook777.com 538 auteurs, 72, 85–97, 138–143, 164–165, 166, 297–309, 364, 386–393, 486–501 auteur theory, 488–490 Autry, Gene, 137 avant-garde, 15, 43, 147–148, 200–214, 387–388, 523, 524–525 Avery, Tex, 315 Awful Moment, An (1908), 22–23 Awful Truth, The (1937), 261 Babes in Arms (1939), 289–292 Baby Face (1933), 259–260 Bacall, Lauren, 393 Back to Bataan (1945), 352 Backstein, Karen, 391 Baer, Nicholas, 8, 138 Bahr, Ehrhard, 350 Baillie, Bruce, 534–535 Balio, Tino, 134, 158, 173, 250, 364, 374 Ball, J A., 145 Ball, Lucille, 143, 144 Ballet M´ecanique (1924), 15 Bambi (1942), 319–324 Band Wagon, The (1953), 396 Bangville Police, The (1913), 71 Bank, The (1915), 72 Bara, Theda, 100 Barbas, Samantha, 46, 47 Barlow, Roger, 214 Barnouw, Erik, 336 Baron, Cynthia, 437–438 Barr´e, Raoul, 313 Barrett, Edward L., Jr., 473 Barrie, James, 90 Barrios, Richard, 266, 272 Barron, Ted, 388 Barrow, Clyde, 142 Barry, Iris, 96 Barrymore, John, 119 Barthelmess, Richard, 8–9 Barthes, Roland, 489 Basinger, Jeanine, 401, 403, 409, 410 Bataan (1943), 350–352 Battle, The (1911), 29 Battle of Britain, The (1943), 329, 331, 333–334 Battle of China, The (1944), 331, 332, 334, 338 Battle of Russia, The (1943), 329–330, 331, 332, 333, 338 Bauchens, Anne, 44 Baxter, Peter, 178 INDEX Bazin, Andr´e, 96, 258, 300–302, 305, 308, 363 Beach, Barbara, 40 Beat cinema, 388, 522, 523–524, 528–529 Beauchamp, Cari, 44–45 Becker, Carl, 362 Behn, Peter, 320–322 Bel Geddes, Norman, 208 Belasco, David, Bell, Ulrich, 354 Ben-Hur (1959), 483 Bennett, Joan, 389 Benny, Jack, 141 Benton, Thomas Hart, 133 Beranger, Clara, 41 Bercovici, Leonardo, 344–345 Bergman, Ingrid, 376 Bergstrom, Janet, 121 Berlant, Lauren, 365 Berman, Pandro, 166, 276 Bernard, Dorothy, 30 Berne, Josef, 212 Berry, S Torriano, 59 Bertsch, Marguerite, 40 Bessy, Maurice, 309 Best Years of Our Lives, The (1946), 146, 151, 465, 480, 481 Better Films Movement, 48–49 Better ’Ole, The (1926), 16 Betty Boop, 14, 149, 313 B-films, 137, 158–159, 166, 167, 390 Biberman, Herbert, 386 biblical epics, 91, 483 Biery, Ruth, 46 Biesen, Sheri Chinen, 491 Big Heat, The (1953), 389–390 Big Jim McLain (1953), 515 Big Lift, The (1950), 508–509 Big Noise, The (1936), 277–278 Big Sleep, The (1946), 393 Bildungsroman, 320–322 Biograph, 6, 18–34, 42, 56, 57 biopics, 362, 364, 365, 371–373 Birth Control (1917), 50 Birth of a Nation, The (1915), 5, 54–55, 58, 369 Birth of a Race, The (1918), 58 Bitzer, Billy, 26 Blach´e, Alice Guy, 42 Black, Gregory D., 160–161, 344 Black Legion (1937), 188–192 blackface minstrels, 55, 57, 66, 67, 121, 122, 290–292 blacklisting, 386, 473, 481–482 Blind Husbands (1919), 93–94, 95 Blockade (1939), 343 Blonde Venus (1932), 256, 257 Blood and Sand (1922), 44, 106, 143 Blumberg, Nathan J., 169 Body and Soul (1925), 61 Bogart, Humphrey, 167–168, 393 Bollman, Gladys and Henry, 49 Bombers B-52 (1957), 426–427 Bonnie and Clyde (1967), 444 boom microphones, 144 Booth, John E., 476 Booth, Margaret, 44 Bordwell, David, 16, 158, 300 Bosworth, Patricia, 475, 479 Bouchard, Thomas, 208 Bovington, John, 208 Bowman, Isaiah, 337 Bowser, Eileen, 19, 71 Brackett, Charles, 490–491, 496, 500 Brakhage, Stan, 521, 533–534 Brando, Marlon, 475, 479 Bray, J R., 14, 313 Brecht, Berthold, 142, 350 Breen, Joseph, 136, 160, 189, 192, 223, 268, 269, 270, 277–278, 376, 395–396 Brewer, Roy, 415–416 bribery, 99–101, 102, 128 Bridge, The (1931), 212 Bright, John, 347 Bringing Up Baby (1938), 261, 266 Britain, 19, 170, 171–172 influence on acting styles, 482–483 in World War II, 329–330, 331, 333–334 British Film Institute, 19 Broken Blossoms (1919), 8–9 Bronx Morning, A (1931), 203 Brother Orchid (1940), 229, 346 Brown, Beth, 40 Browning, Irving, 203–204 Browning, Tod, 163 Brugui`ere, Francis, 206 Brustein, Robert, 438 Bugs Bunny, 318 Buhle, Paul, 343, 350, 353 Bullets or Ballots (1936), 223–226 Burbanking, 184–186 Bureau of Motion Pictures, 150, 286, 329 Burglar’s Dilemma, The (1912), 30–31 Burke, Billie, 103 Burkhardt, Rudy, 204 Burnford, Paul, 206 free ebooks ==> www.ebook777.com INDEX Burns, Robert, 182 Bush, W Stephen, 88 Butcher Boy, The (1917), 78 Bute, Mary Ellen, 206 Butsch, Richard, 4, Caddo, 221 Cagney, James, 172, 186, 219–221, 222–223, 224, 226, 266 Cahiers du Cin´ema, 487–488 Cain and Abel, 461–462 Call of the Wild (1908), 22 Calnek, Roy, 63 cameras, technological development, 4, 50, 144–146, 298 camerawork, 12, 23 close-ups, 30–31, 305–306 deep focus photography, 145–146, 297–309 framing, 15 lighting, 29, 96, 140, 206 “nine-foot line,” 25 pans, 24, 302 shot-reverse shot, 8, 23, 96, 305–306 see also editing Campion, Jane, 244 capitalism, 24–25, 26–28, 177, 449–462 Capitol Theater (Chicago), 37 Capra, Frank, 138, 139, 150, 168, 177, 326–339, 346, 347, 352 Carmen (1915), 88 Carnicke, Sharon Marie, 476–477, 478, 480 Carr, Harry, 96 Carringer, Robert, 166, 173 Cartoon Factory (1925), 14 cartoons (animated films), see animation cartoons (political cartoons), 312 Casablanca (1942), 167–168 Case, Theodore, 119, 120 Casetti, Francesco, 97, 254 Cassavetes, John, 521, 531 Catholic Church, 136, 156, 160, 192, 433–434, 499–500 Cawelti, John, 363 cel animation, 311–324 censorship, 6–7, 47–50, 60, 89, 136–137, 159–161, 182–183, 189, 192–193, 217–219, 222, 223–224, 225–226, 227–228, 267–271, 274–276, 286, 345, 375–376, 395–396, 412, 413, 433–437, 442, 499–500 Ceplair, Larry, 137, 151, 386 chain gangs, 182–183 Chambers, John Whiteclay, 365 Chandler, Raymond, 491 Change of Complexion, A (1914), 57 Chaplin, Charlie, 10, 11, 42, 47, 70–74, 75–76, 78, 79, 82–83, 103, 170 Chauncey, George, 265, 275, 279 Cheat, The (1915), 88 Chekhov, Michael, 475 Chenault, Lawrence, 63, 64, 66, 67 Chevalier, Maurice, 138 Chicago (1927), 13 Chicago race riots, 60 child actors, 66, 424–426 Childhood and Society (Erikson), 430 China, 331, 332, 334, 338 Chinese Americans, 8–9 choreography, 285 Christopher Strong (1933), 143 churches, and movie censorship, 55, 60, 81, 136, 156, 192, 499–500 Churchill, Winston, 327–328 Cimarron (1931), 370–371 Ciment, Michel, 493 cinema of presence, 345–348 Cin´ematographe, Circus, The (1925), 74, 75 Citizen Kane (1941), 139, 166, 267, 297–309, 367, 370, 371–373 City, The (1939), 204 City Lights (1931), 71, 82–83 City of Contrasts (1931), 203–204 City of Fear (1959), 512 City Symphony (1930), 204 cityscapes, 15, 147–148, 203–204 Civil War (1861–1865), 28–29, 56, 80–82 Clarke, Shirley, 521 class (social class), 20–21, 37, 59, 73–78, 178, 483 classical narrative, 8, 21, 31, 72, 184–185, 361–368 Clift, Montgomery, 472–473, 475, 478–481 Cline, Eddie, 79 close-ups, 30–31, 305–306 Clurman, Harold, 474 Cohn, Alfred, 103 Cohn, Harry, 168–169 Cold War, 336–339, 472–475, 503–519 Coleman, Charles, 266 Collier, John, 370–371 colonialism, 238–242, 351–352 color, 145, 206–207, 314 Colored Players Film Corporation, 63–64 www.ebook777.com 539 Columbia Pictures Corporation, 156, 168–169 comedy, 10, 11, 56–57, 63, 66–67, 70–83, 140–141, 143, 164–165, 177, 213, 228–229, 396, 496, 498–500 screwball comedy, 258, 260–262, 272, 314–315 comic strips, 312 Comique Film Corporation, 79 communism, 342–343, 413, 474–475 Condon, Mabel, 46 Conference of Studio Unions, 151, 386, 399, 415–416, 418–419, 473 Confessions of a Nazi Spy (1939), 193–194, 319, 343, 344 Conner, Bruce, 524–525 Conspirator (1950), 509 consumerism, 103–104 contraception, 50 contracts, 10, 99–112 Cook, David, 5, 135, 139, 140 Cooper, Gary, 139, 376 Cooper, John, 185 Cooper, Merian C., 165–166 Corbaley, Kate, 40, 41 Cornell, Joseph, 147–148, 209, 524 Corner in Wheat, A (1909), 24–25, 26–27 costume design, 44 Cott, Nancy, 250 Country Doctor, The (1909), 24 Crafton, Donald, 16, 116, 119, 120, 121–122, 125, 157, 313 Craig’s Wife (1936), 143–144 Crawford, Cheryl, 475 Crawford, Joan, 255–256, 403 crime melodrama, 400–419 Crimson Skull, The (1922), 62 Cripps, Thomas, 64, 352 critics and criticism, 87–88, 90–91, 92–94, 202, 363–366, 466–467 African-American critics, 56, 57, 59, 60, 63–64 feminist criticism, 144, 254, 401–419 left-wing critics, 184–186 queer theory, 144 women critics, 45–47 Crockwell, Douglass, 207 Crofts, Stephen, 489 Crosby, Bing, 138, 164 Crosland, Alan, 115 crosscutting, 22, 23–24, 27–28, 30–34 Crowd, The (1928), 12 Crowe, Cameron, 491 Crowther, Bosley, 349, 376, 511 Cry in the Night, A (1956), 427 free ebooks ==> www.ebook777.com 540 Crystal Films, 57 Cubism, 484 Cukor, George, 266, 267, 273, 274 Culbert, David, 337 Custen, George F., 362, 365 Dadaism, 211, 214 Daffy Duck, 318–319 dance, 207–209, 285 Dance, Girl, Dance (1940), 143, 144 Dance, Robert, 44 danger, 322–323 Daniels, Bebe, 45 Dark Victory (1939), 259 Davis, Alta M., 37 Davis, Bette, 146, 259, 375, 409 Day, Maurice, 320 De Forest, Lee, 118, 119 Dead End (1937), 185–186 Dean, James, 391, 394 death, 320 Death’s Marathon (1913), 31–34 deCasseres, Benjamin, 178 deCordova, Richard, 102, 107–108, 110–112 deep focus photography, 145–146, 297–309 Del Ruth, Roy, 183 Delahanty, Thornton, 367 D’Emilio, John, 261 DeMille, Cecil B., 40, 44, 85–91, 95, 96, 97, 165, 267, 370 Dempsey, Jack, 13 Depression era, 83, 128, 135, 143, 146, 156, 175–194, 203, 213, 214, 227–228, 265, 266, 270, 273–278, 366–368, 371, 387 Der Făuhrers Face (1943), 316, 317 Deren, Maya, 148, 202, 523–524 Deutsch, Boris, 210 Diamond, I A L., 496, 498, 499 Dickson, W K L., 4, 117 Dickstein, Morris, 176 Dieterle, William, 193, 258 Dietrich, Marlene, 12, 164, 256, 257, 267 Dietz, Howard, 188 Diplomatic Courier (1952), 509 directors African-American directors, 56 as auteurs, 72, 85–97, 138–143, 164–165, 166, 297–309, 364, 386–393, 486–501 and editing, 44, 92 New Wave, 395 INDEX radical and left-wing directors, 146–147 silent films, 7–8, 12, 72, 74, 85–97 women directors, 8, 42, 143–144 Disney, 14–15, 149, 166, 313–314, 315, 316, 317, 318–324 distribution, 7, 25–26, 48–50, 134–135, 156–157, 166, 170–172, 329–330, 385–386 British films, 170, 171–172 European art films, 48–49 international markets, 11–12 nontheatrical screenings, 49–50 see also movie theaters Divide and Conquer (1943), 331, 332, 333, 334 Dmytryk, Edward, 347, 352 documentaries, 43, 146–147, 150, 204, 326–339 semi-documentaries, 348–354, 511–519 Dodsworth (1936), 145 Don Juan (1926), 16, 115–116, 119, 120 Donald Duck, 149, 316, 317, 318, 319 Doorway to Hell, The (1930), 219 Dorris, Anna Verona, 50 Doty, Alexander, 267 Double Indemnity (1944), 403, 404, 491–493 Dougherty, Kathryn, 46 Douglas, Gordon, 514–515 Douglas, Kirk, 418, 419 Dracula’s Daughter (1936), 274, 276 dread, 322–323 Dreher, Carl, 125 Dressler, Marie, 163, 177 Drunkard’s Reformation, A (1909), 25 Du Bois, W E B., 58, 60, 354 Duck Soup (1933), 135 Ducktators, The (1942), 316, 317 Dudley, Sherman H., 64 duelling, 234–235 Dunne, Philip, 342, 364, 517 Duquesne spy ring, 512 Durbin, Deanna, 169 Dyer, Richard, 241, 268, 285, 430 Easthope, Antony, 271 Eastman Kodak, Edeson, Arthur, 303 Edison, Thomas, 4, Edison Company, 13, 29, 55, 57, 117 editing, 27–34, 44, 92, 527–528 crosscutting, 22, 23–24, 27–28 fade (fadeout), 25 montage, 12, 15 shot-reverse shot editing, 8, 96, 305 sound, 123, 124–125, 306–307 editorial cinema, 178–181 editors, 43–44, 143 educational films, 48–50 Eisenstein, Sergei, 127–128 Eldridge, David, 187, 365 Electrical Research Products Incorporated (ERPI), 120, 123, 124 Ellis, Peter, 184 Emerson, John, 41 Enterprise Productions, 449 equality, 260–262 Erikson, Erik, 430 ERPI, see Electrical Research Products Incorporated escapism, 187 Essanay, 72 Estabrook, Howard, 370–371 Etting, Emlen, 208, 209–210 European Recovery Program (Marshall Plan), 337 Even: As You and I (1937), 214 Everett, Anna, 59 exports, 11–12, 128 Expressionism, 141, 202, 207–208, 211, 212, 213, 308, 309, 484 extras, 29, 39, 88, 210–211 eyeline match, Eyman, Scott, 51 Factory (subculture), 522 fade (fade-out), 25 Faderman, Lillian, 279 Fair Competition, 137 Fairbanks, Douglas, Sr., 40, 47, 73, 103, 170, 235 Fall of the House of Usher, The (1928), 211 Famous Players-Lasky, 44, 86, 87, 89, 91, 99–101, 102, 104, 105–107, 109, 110, 112 fan culture, 37, 39, 43, 46–47, 102, 105, 108, 109–110, 255 fans, 90 Farber, Manny, 332 Farrar, Geraldine, 88, 103 fathers, 23–24, 32–33, 391, 426–428, 431, 432 features, Federal Motion Picture Council, 49 Feist, Felix, 508 Felix the Cat, 14, 313 feminism, 42, 50, 143–144 feminist criticism, 144, 254, 401–419 free ebooks ==> www.ebook777.com INDEX Ferber, Edna, 375, 376 Ferguson, Otis, 184–185 Feuer, Jane, 126 fidelity model, sound recording, 125 Fiedler, Leslie, 308 Fielding, Raymond, 13 Fields, W C., 275 Filipinos, 351–352 Film and Photo League (FPL), 146 film industry, 395–396 B-films, 137, 158–159, 166, 167, 390 blacklisting, 386, 473, 481–482, 511 business practices, 100, 101–102, 105–107, 158–159 exports, 11–12, 128 A-films, 134, 137, 138, 169 historical overview, 5–15, 133–151, 155–156, 383–397 production costs, 73, 78, 79–80, 82, 83, 91, 97, 158–159, 167, 324 professionalization, 40–41, 65–66 regulation of, 6–7, 47–50, 60, 89, 136–137, 156, 159–161, 189, 227–228, 267–271, 274–276, 395–396, 412, 413, 433–437 and the star system, 10, 99–112, 158, 163, 164–166, 168–169, 226–227, 396, 418–419, 423–444, 477–478 technological innovation, 4, 14, 49–50, 115–128, 144–146, 148–149, 298, 311–324, 368–373 and television, 384–385 unions, 137, 151, 386, 399–400, 415–416, 418–419, 473 vertical integration, 25–26, 66, 106, 134–135, 156–158, 385–386 and women, 8, 38–45, 47–50, 99–101, 143–144, 365, 373–377, 398–419 film noir, 158, 169, 388–390, 393, 395, 396, 401–419, 448–467, 491–493, 511–519 film theory, 363–366 Film-Makers’ Cooperative, 522 Finstad, Suzanne, 425, 443 Fireworks (1936), 524 First Auto, The (1927), 119 First Motion Picture Unit (FMPU), 315–319 First National Exhibitors’ Circuit, 7, 10, 73 Fitzgerald, F Scott, 154 Five-Cornered Agreement, 124–125 Flaherty, Frances Hubbard, 43 Flaherty, Robert, 15, 43, 203 Flaming Creatures (1963), 525–526 Flanner, Janet, 47 flappers, 250 Fleischer, Dave, 148 Fleischer, Max, 14, 148, 314 Fleischer Studio, 148–149, 313, 314 Florey, John, 213 Florey, Robert, 15, 203, 210–211, 212–213 Flower Thief, The (1960), 387–388, 529, 530 Flynn, Errol, 235–236, 237 folk musicals, 282–295 Fonda, Henry, 161–162 Foolish Wives (1922), 92, 93, 95–96 Force of Evil (1948), 448–467 Ford, Glenn, 169 Ford, John, 138–139, 161–162, 303, 364, 390, 393, 396 Foster, Joseph, 347, 354 Foster, William, 56 Foster Photoplay Company, 56 Foucault, Michel, 110, 112, 489 Four Horsemen of the Apocalypse, The (1921), 40 Fox, 13, 14, 16, 120–121, 122–123, 124, 146, 156–162 Fox, Carl, Fox, William, 120, 128, 161 framing, 15 Frank, Robert, 387–388, 528–529 Frankenheimer, John, 517–518 Freed, Arthur, 282, 283, 284, 286–295, 391 Freedman, Estelle B., 261 Freeman, Y Frank, 164 French cinema, 127, 487–488 Freshman, The (1925), 76, 77, 78 Friedman, Arthur, 78 Friends (1912), 30 From Here to Eternity (1953), 480–481 Frontier Films, 146–147 Fugitive, The (1910), 29 Fuller, Samuel, 504–505, 512 Funke, Lewis, 476 Fury (1936), 141–142, 179, 189, 191–192 “G” Men (1935), 222–223 Gabbard, Krin, 149 Gable, Clark, 172, 238–240, 275 Gaines, Jane M., 8, 143 gangster films, 137, 138, 179, 180, 215–230, 346, 369–370, 448–467 Garbo, Greta, 12, 44, 141 Garfield, John, 347, 449, 465, 475, 479 www.ebook777.com 541 Garity, William, 314 Garland, Judy, 138, 293–294 Geisel, Theodor, 318 Geller, Theresa L., 144 gender, and sexuality, 264–280 gender roles, 248–262, 264–280, 362, 398–419 General, The (1926), 79, 80–82, 83 General Film Company, 26 genres, 8–10, 386–394 adventure films, 231–245 animation, 314–315 biblical epics, 91, 483 biopics, 362, 364, 365, 371–373 Cold War thrillers, 503–519 comedy, 10, 56–57, 63, 66–67, 70–83, 140–141, 143, 164–165, 213, 228–229, 258, 260–262, 272, 314–315, 396, 496, 498–500 documentaries, 43, 146–147, 150, 204, 326–339 film noir, 158, 169, 388–390, 393, 395, 396, 401–419, 448–467, 491–493, 511–519 gangster films, 137, 139, 179, 180, 215–230, 346, 369–370, 448–467 historical films, 28–29, 56, 58, 144, 161–162, 361–377 horror, 165–166, 169, 271, 274, 276, 302 hybridity, 235–238 melodrama, 8–10, 20–21, 25, 48–49, 55, 58–67, 94, 250–251, 390–391, 400–419 musicals, 67, 126–127, 138, 164, 166, 169, 258–259, 282–295, 391–392, 440–441 science fiction, 390 screwball comedy, 228, 258, 260–262, 272, 314–315 semi-documentaries, 348–354, 511–519 serials, 5, 251 underground film, 520–535 war films, see war films Westerns, 8, 62, 137, 138–139, 363–364, 370–371, 376, 390, 392–393, 396 Gentlemen Prefer Blondes (1953), 393 George, Manfred, 344 German cinema, 141 Gerstner, David A., 12 Gertie the Dinosaur (1911), 14, 313 Gessner, Robert, 343 Gianetti, Louis, 51 free ebooks ==> www.ebook777.com 542 Gibbons, Cedric, 138 Gilman, Catheryne Cooke, 48, 49 Gilman, Charlotte Perkins, 50 Gilpin, Charles S., 64, 66 Giovacchini, Saverio, 186, 187 Girl and Her Trust, The (1912), 30 Girl and the Job, The (Hoerle & Saltzberg), 38 Gish, Lillian, 8–9, 250–251 Glorifying the American Girl (1929), 252–254 Glyn, Elinor, 43 G-men movies, 222–228 Godard, Jean-Luc, 487, 499 Gold Rush, The (1925), 74, 83 Golden Chance, The (1915), 87–88 Goldstein, Richard, 279–280 Goldwyn, 40 Goldwyn, Samuel, 170, 171, 185 Gomery, Douglas, 16, 116, 158, 166 Gone With the Wind (1939), 172, 366–367, 374, 375 Gorky, Maxim, 118 Gough, Jamie, 279 Grandma’s Boy (1922), 76–77, 78 Grant, Cary, 169, 261, 266, 275, 393 Grant, Dwinell, 206–207 Grapes of Wrath, The (1940), 162 Great Dictator, The (1940), 83 Greed (1924), 92, 93, 96 Green, Alfred, 510 Greenberg, Clement, 483–484 Grey, Lita, 47, 75, 82 Grieveson, Lee, 47 Griffith, D W., 5, 8–9, 12, 18–34, 54–56, 58, 73, 92, 170, 216, 250–251, 369 Griffith Project, The (ed Usai), 19, 30 Griffiths, Alison, 43 Grindon, Leger, 365 Group Theatre, 471–473, 474–475 Guadalcanal Diary (1943), 348–349 Guilty of Treason (1950), 508 Gunfighter, The (1950), 392–393 Gung Ho! (1943), 353–354 Gunning, Tom, 22, 23, 28, 30, 32 Gypsy (1962), 431 Hallett, Hilary, 38, 39, 47 hands, 207–208 Hangmen Also Die! (1943), 142, 346, 349–350 Hanson, Cynthia, 48, 49 Haralovich, Mary Beth, 403–404 Hark, Ina Ray, 38 INDEX Harlow, Jean, 239–240 Harman, Hugh, 314 Hart, William S., Haskell, Molly, 408 Hathaway, Henry, 509, 512 Hawks, Howard, 139–140, 169, 221, 393, 396, 488 Hay, Harry, 214 Haynes, Hunter C., 56–57, 61 Haynes Photoplay Company, 57 Hays, Will, 7, 49, 120, 136, 183, 192, 193, 217, 473 Hays Code, 49, 136–137, 156, 159–161, 182–183, 189, 192–193, 217–219, 227–228, 266, 267–271, 274–275, 375–376, 395–396, 442 Hayworth, Rita, 169, 388 He Walked by Night (1948), 512–513 Head, Edith, 44 Hearst, William Randolph, 312, 313, 371–372 Hearts of Age, The (1934), 213–214 Heer, Burckhardt, 233, 235 Heflin, Van, 406 Hellman, Lillian, 343 Hell’s Highway (1932), 182, 183 Henderson, Del, 57 Hepburn, Katharine, 143, 165, 274 heroes, 232, 235–245 heroines, 250–262, 400–419 Herr Meets Hare (1945), 149 Heston, Charlton, 91 Higashi, Sumiko, 250–251 High Noon (1952), 392 Hill, Jerome, 209 historical films, 58, 144, 161–162, 361–377 historiography, 365, 366, 369 Hitchcock, Alfred, 166, 170, 394, 395, 409, 488 Hitler, Adolf, 316, 317, 318, 319, 333–334 Hoberman, J., 522 Hoffman, John, 205–206 Hojer, Harry, 355 Holliday, Wendy, 40, 45 Hollywood, 6–15, 133–151 locations, 26, 232, 393 myths, 108, 153–155, 217 production facilities, 6, 65–66, 159, 316, 385 scandals, 6–7, 39, 49, 103–104, 110–112 and social realism, 175–194 Studio Club, 39, 45 women in, 8, 38–45, 99–101, 251–258, 398–419, 423–444 xenophobia, 93, 482–484 Hollywood Anti-Nazi League, 149–150, 187, 342 Hollywood Ten, 386, 511 Hollywood Women’s Press Club, 45 Hollywood Writers’ Mobilization Congress (1943), 355 Holman, Rufus C., 329 home, 286–295 Homesteader, The (1917), 59, 60 homosexuality, see queer cinema Hope, Bob, 164 Hopper, DeWolf, 103 Hopper, Hedda, 474 Horak, Jan-Christopher, 15 Horkheimer, Max, 95 Hornbeck, William, 334 Horne, Gerald, 342 horror, 165–166, 169, 271, 274, 276, 302 House on 92nd Street, The (1945), 512 House Un-American Activities Committee (HUAC), 151, 418, 450–451, 473–475, 506–507, 511 House with Closed Shutters, The (1910), 28, 29 Houseman, John, 297, 309 Howard, Shingzie, 63 Howe, James Wong, 355 Howton, F William, 460 Huettig, Mae Dana, 156, 157 Huff, Theodore, 213 Hughes, Howard, 140, 166, 221 Human Wreckage (1923), 42–43 “Huns,” 93 Hurd, Earl, 14, 312, 313 Huston, John, 303, 330–331, 347, 348 hybrid genres, 235–238 I Am a Fugitive from a Chain Gang (1932), 175–178, 180–186, 194 I Was a Communist for the FBI (1951), 514–515 IATSE (International Alliance of Theatrical Stage Employees), 137, 386, 399–400, 415–416, 418–419, 473 Idle Class, The (1921), 73–74 I’m No Angel (1933), 256–258 Immigrant, The (1917), 11 immigrants, 285 improvisation, 76, 529 In a Lonely Place (1949), 383–384 free ebooks ==> www.ebook777.com INDEX Ince, Thomas, independent cinema, 65, 166, 386, 387–388, 449, 520–535 Independent Moving Picture Company (IMP), 25 independent production, 170–172 Indian Reorganization Act (1934), 185 Indians, see Native Americans Inge, William, 433–434 Ingram, Rex, 12, 40 Inside Daisy Clover (1965), 424, 439–443 intelligibility model, sound recording, 125 International Federation of Catholic Alumnae (IFCA), 48 International Pictures, 166, 170, 172 intertextuality, 108 intertitles, 14, 24, 25, 90, 93–94, 119, 125–126, 128, 203, 205, 217, 369, 370, 372, 373, 374 Invasion U.S.A (1952), 510 Invisible Man, The (1933), 271 Irma la Douce (1963), 498–499 Iron Curtain, The (1948), 507–508 Iron Horse, The (1927), Isenberg, Michael, 365 Ising, Rudolf, 314 Italian Americans, 227–228 Ivens, Joris, 355 Iwerks, Ub, 313 Jackson, Martin, 364 Jacobs, Ken, 526, 528 Jacobs, Lea, 90, 160, 201, 268 Jacobs, Lewis, 201, 203 Jacobs, Louis, 19 James, Arthur, 112 James, David E., 424, 521–522, 531, 535 Japanese, 88, 317, 347, 349–350, 352, 353–354 Japanese-Americans, 353–354, 504–505 Jarrico, Paul, 341–342 Jazz Age, 12–13, 44, 89–90 jazz music, 67 Jazz Singer, The (1927), 16, 67, 116, 121–122, 123 Jenkins, C Francis, Jesse L Lasky Feature Play Company, 86 Jewell, Richard, 166 Jews, 39, 276, 285 Jezebel (1938), 375, 376 Joan the Woman (1916), 88, 89 Johnson, Alva, 304 Johnson, George, 59 Johnson, Julian, 88 Johnson, Martin and Osa, 43 Johnson, Noble, 58, 59, 66 Johnson, Nunnally, 364, 367 Johnston, Alva, 178 Johnston, Ollie, 322 Jolson, Al, 16, 67, 121, 122 Jones, Dorothy, 354 Jordan, Joan, 38–39 Joy, Jason, 160–161, 182–183, 184, 221, 374 Juarez (1939), 193–194 Julian, Rupert, 92 jungle, 241–245 Kafka, Hans, 346 Kahl, Milt, 321 Kallen, Horace, 349 Kawin, Bruce F., Kazan, Elia, 433–437, 474–475, 481, 482–483, 484 Keaton, Buster, 10, 71, 78–82, 83 Kelly, Gene, 234, 236–237, 391 Kempton, Murray, 438–439 Kenaga, Heidi, 39 Kennan, George F., 503–504, 505, 506–507 Kennedy, Joseph P., 165 Kerouac, Jack, 388, 528–529 Keystone Studios, 70–72, 73 Kid, The (1921), 73 Kid Brother, The (1927), 76, 77, 78 Kinetograph, Kinetoscope, 4, 13 King Kong (1933), 165–166 King of Kings (1927), 91 King Solomon’s Mines (1950), 242–243 Kingsley, Charles, 26 Kingsley, Grace, 45 Kiss Me, Stupid (1964), 499–500 Kitchen, Karl, 102–103 Kitses, Jim, 363 Kitty Foyle (1940), 373–374, 376 Kleeck, Mary van, 39 Klotman, Phyllis, 62 Koppes, Clayton R., 344 Korda, Alexander, 171, 172 Korean War (1950–1953), 504–506, 516, 517–518 Koszarski, Richard, 7, 10, 12, 14, 37, 48, 78 Kramer, Stanley, 505–506 Ku Klux Klan, 188 Kuhn, Annette, 267 www.ebook777.com 543 labor relations, 137, 151, 386, 399–400, 415–416, 418–419, 473 LaCava, Gregory, 170 Ladd, Alan, 165 Lady from Shanghai, The (1948), 388, 389 Laemmle, Carl, 6, 25, 93, 169 Lahue, Kalton C., 71 Lake, Veronica, 346 Lambert, Gavin, 444 landscapes, 242–245 Lang, Fritz, 141–142, 343, 346, 349–350, 389–390 Lant, Antonia, 37, 43, 48 Lantz, Walter, 313 Lasky, Jesse L., 86, 88, 91, 106 last-minute rescues, 23–24, 32–33 Lastra, Jim, 119, 125 Latham, Woodville, Latham Loop, Latinos/Latinas, 46, 283 LeBaron, William, 164, 165 Lederer, Francis, 346 Lee, Francis, 206–207 left-wing filmmakers, 146–147, 149–150, 151, 177, 341–356 L´eger, Fernand, 15 Legion of Decency, 187 Leigh, Vivian, 437 Lemmon, Jack, 496–499 Lerner, Irving, 512 LeRoy, Mervyn, 186 lesbians, 44, 144, 235–245, 256, 264–280 see also queer cinema Leslie, Alfred, 387–388, 528–529 Levine, Lawrence W., 187 Levy, Robert, 62–63 Lewis, Bobby, 475, 479 Lewis, Jon, 7, 134 Lewis, Sinclair, 188–189 Leyda, Jay, 147, 203 Liberty Loan campaigns, 100 librarians, 50 Lichtenstein, Alex, 192 Liepa, Torey, Life and Death of 9413 - A Hollywood Extra (1928), 15, 210–211 lighting, 29, 96, 140, 206 Lights of New York, The (1928), 125–126, 216–217 Lincoln Motion Picture Company, 58–59, 66 Lindbergh, Charles, 14 Lines of White on a Sullen Sea (1909), 25 Lippmann, Walter, 177, 505 free ebooks ==> www.ebook777.com 544 Lissauer, Herman, 371 Little Caesar (1930), 219, 220, 221, 346 Little Foxes, The (1941), 146 Little Nemo (1911), 14 Lloyd, Harold, 10, 66, 71, 75–78, 79, 83 locations, 26, 232, 393 Lombard, Carole, 141 Lonely Villa, The (1909), 23–24 Lonesome Luke, 75–76 Looney Tunes, 314 Loos, Anita, 8, 40, 41 Lord, Daniel, Father, 160 Lord, Robert, 189–190, 344 Lorentz, Pare, 147 Loring, Jane, 44 Los Angeles Times, 45–46, 103 Losch, Tilly, 208 Louise, Ruth Harriet, 44 Love Me Tonight (1932), 126 Love of Zero, The (1928), 212–213 Lovie Joe’s Romance (1914), 56 Lubin, Siegmund, 25 Lubitsch, Ernst, 12, 140–141, 159–160, 164, 170, 346 Ludwig, Edward, 515 Lumi`ere Brothers, 4, 71 Lundberg, Ferdinand, 371–372 Lunt, Alfred, 477, 478–479 Lupino, Ida, 143 lynching, 60, 61, 188–192 Lynd, Helen, 374 Lynd, Robert, 374 Maas, Willard, 533 MacDonald, Margaret I., 46 MacLaine, Shirley, 496–499 Macpherson, Jeanie, 40, 41, 88 Madame X (1916), magazines, 43, 46–47, 102, 202 magic, 243–245 Magnificent Ambersons, The (1942), 298, 304 Mahar, Karen Ward, 42 Male and Female (1919), 90 male gaze, 144, 255–256, 406–408 Maltby, Richard, 136, 220, 267, 268, 269–270, 275–276, 385–386 Maltese Falcon, The (1941), 303 Maltz, Albert, 356 Mamoulian, Rouben, 126 Manchurian Candidate, The (1962), 517–518 Manhatta (1921), 15, 203 Mankiewicz, Herman, 164, 371–373 Mann, Anthony, 393 Mantle, Burns, 89, 90 INDEX maps, 326–339 Marion, Frances, 40, 44–45 Markopoulos, Gregory, 527–528 Marshall, George C., 328, 329, 336–337, 348 Martin, Olga, 269 Marton, Andrew, 505 Marx Brothers, 135, 164 masculinity, 139–140, 271–280, 393 Massacre (1934), 179, 185 Mast, Gerald, match cut, maternal melodrama, 9–10 Mathis, June, 8, 40, 105, 106 Maurice Film Company, 64–65 May, Elaine Tyler, 431 May, Joe, 490 May, Lary, 177, 353 Mayer, Arthur, 355 Mayer, David, 28 Mayer, Louis B., 40, 154, 158, 162, 163, 172, 289, 295, 366–367 Mayne, Judith, 143 McAlister, Melani, 483 McBride, Joseph, 301 McCarthyism, 151, 386, 399–400, 413, 418, 450–451, 473–475, 506–507, 510–519 McCay, Winsor, 14, 313 McClellan, George, McElvaine, Robert S., 176, 265 McFadden, Margaret T., 265 McGilligan, Patrick, 142 McGuirk, Charles, 72 McLuhan, Marshall, 121 media magazines, 43, 46–47, 102 movie reviews and criticism, 45–47, 56, 57, 59, 60, 63–64 radio, 121, 122, 304 reports on scandal, 110–112 Spanish-language media, 46 Meet Me in St Louis (1944), 292–295 Mekas, Jonas, 521, 522, 526, 529, 531 Mel, Marion, 39 Mellett, Lowell, 329 melodrama, 8–10, 20–21, 25, 48–49, 55, 58–67, 94, 250–251, 390–391, 400–419 men, 232, 235–245 gay/bisexual men, 264–280, 428–429 masculinity, 139–140, 271–280, 392–393 Mendelssohn, Felix, 205–206 Menken, Marie, 533 Menzies, William Cameron, 212–213 Merritt, Russell, 20 Merry Widow, The (1925), 97 Merry-Go-Round, The (1923), 92 Meshes of the Afternoon (1943), 148, 523 metaphor, 212–214 Method actors, 394–395, 437–439, 443–444, 471–484 Mexican-Americans, 46, 283 MGM (Metro-Goldwyn-Mayer), 14, 40, 44, 79–80, 91, 128, 134–135, 138, 151, 156–161, 162–163, 179, 270, 284, 289, 366–367 Micheaux, Oscar, 58, 59–62, 67 Micheaux Book and Film Company, 58, 59, 63, 67 Mickey Mouse, 14–15, 149, 314 middle-class audiences, 20–21, 37, 58–62, 178, 217, 483 migration, 285, 289–295 Mildred Pierce (1945), 403–404 Milestone, Lewis, 413 Miller, Walter, 32, 33 Ministry of Fear (1944), 142 Minnelli, Vincente, 391, 396 mise-en-sc`ene, 5, 22–23, 25, 28, 29, 88, 314, 488 Mitchell, Thomas, 346 Mix, Tom, mixed-race characters, 375–376 Modernism, 202–204 modernity, 248–262, 285 moguls, 153–173 momism, 430, 519 Monaco, Paul, 437 monopolies, 6, 10, 134–135, 385–386 Monroe, Marilyn, 393, 430–431 montage, 12, 15 Montez, Maria, 525–526 Moods of the Sea (1942), 205–206 morality, 6–7, 9–10, 20–21, 47–50, 60, 88–91, 93–96, 136–137, 156, 159–161, 182–183, 187–188, 189, 192–193, 217–219, 222, 223–224, 225–226, 227–228, 267–271, 274–276, 286, 315, 345, 375–376, 395–396, 405–406, 408–412, 442, 499–500 Morey, Anne, 40, 41, 43, 47 Morrison, Ernest, 66 Morton, Edna, 46, 63 Moscow Art Theatre, 482–483 Moss, Carlton, 352–353 Mothering Heart, The (1913), 33 mothers, 9–10, 256, 260, 320, 390–391, 430, 431, 432, 435–437, 439–443, 519 free ebooks ==> www.ebook777.com INDEX Motion Picture Alliance for the Preservation of American Ideals (MPAPAI), 413, 415, 418 Motion Picture Association of America (MPAA), 473 Motion Picture Production Code, 49, 136–137, 156, 159–161, 182–183, 189, 192–193, 217–219, 227–228, 266, 267–271, 274–275, 375–376, 395–396, 442 Motion Pictures Patent Company (MPPC), 6, 25–26 Motion Pictures Producers and Distributors Association (MPPDA), 7, 39, 136, 192–193, 217, 218, 286, 374, 396, 433–437, 473 movie theaters, 7, 25–26, 48–50, 134–135, 156–157, 166, 170–172, 329–330, 385–386 projection equipment, 4, 49–50, 122–123 women’s employment in, 37–38 moviegoers, 109–110 African-Americans, 46, 48, 56, 57, 59, 60 class and moral issues, 20–21, 37, 59, 71, 178, 184–186, 187–188, 217–219, 483 emotional engagement, 322–323, 462–466 men, 183–184, 215–230, 231–245, 393, 448–467 radio listeners, 122 women, 37–38, 40, 373–374, 408–412 during World War II, 169–170, 286–287 “movie-struck girl” phenomenon, 46 Movietone, 14, 120–121, 123, 146 Mr Motorboat’s Last Stand (1933), 213 Mulvey, Laura, 144 Muni, Paul, 219, 220, 226–227 Munson, Edward L., Jr., 328 Murnau, F W., 12, 307 Murphy, Dudley, 15, 205 Museum of Modern Art, 19 music, 67, 118–119, 120, 121–122, 143, 149, 205–206, 207–209, 304, 323–324, 393–394, 481, 507–508 musicals, 67, 126–127, 138, 164, 166, 169, 258–259, 282–295, 391–392, 440–441 Musketeers of Pig Alley, The (1912), 30, 31, 216 Musser, Charles, Mussolini, Benito, 316, 317 Mutiny on the Bounty (1935), 235 Mutual Film Corporation, 10, 73 Mutual Film Corporation v Industrial Commission of Ohio, Mutuscope, 55 My Darling Clementine (1946), 390 My Favorite Wife (1940), 261 myths, 243–245, 461–462 Naremore, James, 139, 481 narrative history classical system, 8, 21, 31, 72, 184–185, 361–368 D W Griffith, 5, 18–34 transitional period, 21–34 narrative techniques intertitles, 14, 24, 25, 90, 93–94, 119, 125–126, 128, 203, 205, 217, 369, 370, 372, 373, 374 storyboards, 314 voiceover/flashback, 491–492 National Association for the Advancement of Colored People (NAACP), 55, 191 National Board of Censorship, 47 National Congress of Parents and Teachers, 48 National Federation of Women’s Clubs, 48 National Industrial Recovery Act (NIRA, 1933), 137, 156, 167 Native Americans, 179, 185, 365, 370–371 Natural Born Gambler, A (1916), 57 nature, 204–205, 241–245, 319–324 Nazimova, Alla, 40, 42, 44 Nazis Strike, The (1943), 330, 331, 333 Neale, Steven, 374 Negra, Diane, 12 Negri, Pola, 12 Negro Soldier, The (1944), 352–353 Neumann, Norbert, 241–242 Neve, Brian, 412, 414–415, 416 New Deal, 137, 147, 185, 275–280, 342, 399–400 New Wave directors, 395 New Woman, 248–262, 265–266, 272–274 New York City, 6, 7, 15, 158, 203–204, 456, 483, 512 Newcombe, Warren, 209 Newman, Alfred, 393–394 Newman, Walter, 494 newsreels, 13–14, 16, 57 Nichols, Dudley, 343, 349 nickelodeon (nickelodeon era), 4–7 “nine-foot line,” 25 www.ebook777.com 545 Ninotchka (1939), 140–141 Nixon, Richard, 505 Noble, George, 62 nontheatrical screenings, 49–50 Noreiga, Chon, 268 Norman Film Manufacturing Company, 62 Normand, Mabel, 42, 72 Novarro, Ram´on, 104 nuclear war, 505–506 Nugent, Frank, 189, 190 Nye, Myra, 45 O’Brien, Charles, 116, 127 O’Connor, John E., 364, 365 Odd Man Out (1947), 454, 462 Office of War Information, 150, 160–161, 286, 329, 344–345, 346, 350, 351–352, 354 Old Wives for New (1918), 88–89 Oldham, Gabriella, 79 On the Beach (1959), 505–506 One A M (1916), 73 One Large Evening (1914), 56 Ophuls, Max, 390 Osborn, Frederick H., 328 Osborne, Florence M., 46 Otherness, 238–245 Over the Fence (1917), 76 Palmer Photoplay Corporation, 41 Pangborn, Franklin, 265, 273, 275, 277, 280 panning shots, 24, 302 parallel editing, see crosscutting Paramount, 7, 14, 44, 86–87, 97, 109–110, 123, 126, 134–135, 138, 142–143, 156–161, 163–165, 270, 384–386 Paramount case (1948), 149, 151, 172, 385–386, 472 Park, Ida May, 8, 42 Parker, Alison M., 48 Parker, Bonnie, 142 parody, 212–214 Parsons, Louella, 45, 46, 47 Pasternak, James D., 460 Path´e, 5, 13 Patterson, Frances Taylor, 40–41 Pearl Harbor, 327 Pearson, Roberta, 29, 32, 365 Pechter, William, 452 Pennington-Richards, C M., 302 Perez, Gilberto, 396 perspective, 302–303 Philippines, 351–352 free ebooks ==> www.ebook777.com 546 photographers (still photographers), 44 Photophone, 124 Pickett, Bill, 62 Pickford, Mary, 10, 30, 40, 42, 45, 47, 73, 87, 99–101, 102, 103, 108, 170 Pie in the Sky (1934), 213 Pippa Passes; or, The Song of Conscience (1909), 25 Plow that Broke the Plains, The (1936), 147 Plummer, Christopher, 439 Poe, Edgar Allan, 211–212 Polan, Dana, 41, 400 politics, 412–419, 448–467 anticommunism, 151, 386, 399–400, 413, 418, 450–451, 472, 473–475, 506–507, 510–519 antifascism, 83, 141–142, 149–151, 193–194, 336–339, 341–356 and art, 483–484 Cold War, 336–339, 386, 399–400, 472–475, 503–519 colonialism, 238–242, 351–352 political cartoons, 312 Popular Front, 149–150, 186–188 propaganda, 189, 315–319, 326–339, 341–356 and race, 55, 238–242 radicalism, 146–147, 177, 341–356, 386, 413, 450–451 unions, 137, 151, 386, 399–400, 415–416, 418–419, 473 and the women’s movement, 47–50 politique des auteurs, 487–488 Pollard, Sam, 66 Pollock, Jackson, 483–484 Polonsky, Abraham, 448–467 Pommer, Erich, 490 Popeye the Sailor, 148–149, 314, 318 Popular Front, 149–150, 186–188, 399–400, 415 Porter, Edwin S., 5, Porter, Katherine Anne, 47 postwar cinema, 383–397, 398–419, 486–501, 503–519, 520–535 Potamkin, Harry Alan, 184 Powdermaker, Hortense, 363, 364 Powell, Dick, 512 Powell, Frank, 26 Poynter, Nelson, 354 Preer, Evelyn, 66 Prelude to War (1942), 329, 330, 332, 334–335 Presley, Elvis, 391–392 Price, Gertrude, 45–46 INDEX Prince, Stephen, 220 Prisoner of War (1954), 505 Prisoner of Zenda, The (1937), 367 producers, 7–8, 153–173 African-American producers, 56, 58–62 semi-independent producers, 170–172 women producers, 42–43, 100–101 Production Code Administration (PCA), 136, 160–161, 189, 192–193, 218, 222, 223–224, 225–226, 227–228, 266, 268–271, 274–276, 286, 345, 433–437, 442 production costs, 73, 78, 79–80, 82, 83, 91, 97, 158–159, 167, 324 professional organizations, 42, 45 profits, 10, 16, 79–80, 94, 99–105, 117–118, 123, 134–135, 137–138, 149, 150–151, 157–158, 165, 395 Progressive Education Association, 194 Prohibition, 215–230 projection equipment, 4, 49–50, 122–123, 124 propaganda, 189, 315–319, 326–339, 341–356 Prosperity (1932), 177 Public Enemy, The (1931), 179, 219–221, 369–370 public relations, 49, 101, 109, 185, 217–219 Pudovkin, Vsevolod, 127–128, 336 Pull My Daisy (1959), 387–388, 528–529 Purdy, Jim, 185 Purviance, Edna, 72, 74 queer cinema, 264–280, 428–429 queer theory, 144 Quirk, James R., 95, 96, 103 Rabinowitz, Paula, 147 race, 46, 54–67, 88, 121, 122, 213, 365, 375–376 anti-Semitism, 39, 276 mixed-race characters, 375–376 and politics, 55, 238–242, 317, 504–505 racially motivated violence, 60–61, 141–142, 188–192 and war films, 350–354, 504–505 radicalism, 146–147, 177, 341–356, 386, 413, 450–451 radio, 121, 122, 304, 384–385 Radio Corporation of America (RCA), 120–121, 122, 123–124 Railroad Porter, The (1912), 56 Rain (1932), 255–256 Rambova, Natacha, 44, 47 Ramsaye, Terry, 189 Rank, J Arthur, 170 Rankin, John, 473 rape, 60–61, 433–437 Rappe, Virginia, 39, 49, 110 Ray, Nicholas, 347, 383–384, 391, 488 RCA (Radio Corporation of America), 120–121, 122, 123–124 realism, 16, 96, 175–194, 215–230, 286, 297–309, 345–356, 394–395, 413–415, 479–481 Realization of a Negro’s Ambition, The (1916), 59 Rebel Without a Cause (1955), 391, 394, 425–426, 427–430 Reckless Moment, The (1949), 390 Red Danube, The (1949), 509 Red Dust (1932), 238–240 Red Menace (1949), 510–511 Red River (1948), 393, 479 Reid, Dorothy Davenport, 43 Reid, Laurence, 91 Reiniger, Lotte, 314 remakes, 26–27, 167, 366, 512–513 Reol Productions, 62–63 Report from the Aleutians (1943), 347 reviews, 45–46, 56, 57, 59, 60, 63–64 Rice, Ron, 387–388, 529 Richardson, Anna Steese, 48 Riefenstahl, Leni, 328 Rinehart, Mary Roberts, 47 Rio Bravo (1959), 392–393, 396 River, The (1938), 147 RKO (Radio-Keith-Orpheum), 124, 134–135, 139, 156–161, 165–167, 179, 183, 270–271, 301, 308, 316 Roach, Hal, 75, 76 Roaring Twenties, The (1939), 227–228 Robbins, LeRoy, 214 Robertson, Bruce, 44 Robinson, David, 10 Robinson, Edward G., 219, 220, 224, 226, 228–229, 344, 346, 389 Rodakiewicz, Henwar, 205 Roddick, Nick, 184, 185, 236 Roeg, Nicholas, 244 Roffman, Peter, 185 Rogers, Ginger, 126, 166, 258–259, 261, 276, 373–374, 376 Rogers, Will, 161, 177 Rogin, Michael, 121, 518–519 Rollins, Peter, 365 free ebooks ==> www.ebook777.com INDEX Roman Catholic Legion of Decency, 499–500 Rooney, Mickey, 138 Roosevelt, Franklin D., 136, 150, 167, 175, 177, 326–327, 329, 330, 334–335, 337 Rose Hobart (1936), 147–148, 524 Rosenbaum, J., 522 Rosenstone, Robert, 365 Rossellini, Roberto, 396 Rossen, Robert, 413, 414–415, 449 Rosten, Leo, 133 Rostova, Mira, 479 Rothapfel, “Roxy,” 37 Rothman, William, 139 Russell, Jane, 393 Russell, Rosalind, 143–144 Russian Rhapsody (1944), 319 Russo, Vito, 267, 275 Ryan, Mary P., 250 Safety Last! (1923), 76 Salt, Barry, 96 Salt of the Earth (1954), 386 Salten, Felix, 319, 320 Sampson, Henry T., 56 Sanford, John, 346 Sanger, Margaret, 50 Saphead, The (1920), 80 Sarah and Son (1930), 144 Saratoga Trunk (1945), 375–376 Sarnoff, David, 124, 165 Sarris, Andrew, 51, 138, 488, 489–490 satire, 315 Saville, Victor, 509 scale-matching model, sound recording, 125 scandals, 6–7, 39, 49, 103–104, 110–112 Scar of Shame, The (1927), 64 Scarface (1932), 138, 139, 220, 221 scenario writers, see screenwriters Schaefer, George, 139, 166 Schatz, Thomas, 138, 154, 173, 364, 399 Schenck, Joe, 79, 161, 170–172 Schenck, Nicholas, 158 Schickel, Richard, 25 Schlesinger, Leon, 149, 314 Schlăondorff, Volker, 491 Schneider, Steve, 318 Schulberg, Ben P., 159, 164, 270 Scorpio Rising (1963), 526–527 Scott, Emmett J., 58 Screen Actors Guild, 137 Screen Directors Guild, 137 Screen Writers Guild, 45, 137, 347 screenwriters, 142–143, 364, 368–371, 490–491, 494, 496, 498 professionalization, 40–41 women screenwriters, 8, 39–41, 375 screwball comedy, 228, 258, 260–262, 272, 314–315 Search, The (1948), 479 Searchers, The (1956), 392, 396 Sears, Ted, 323 Seaton, George, 508–509 Secret Beyond the Door (1947), 389 Seiler, Lewis, 348–349 Seldes, Gilbert, 83 self-regulation, 159–161 Selig, 13 Sellers, Peter, 499–500 Sellors, C Paul, 500–501 Selznick, David O., 163, 165, 166, 170, 172, 367, 368, 376 semi-documentaries, 348–354, 511–519 Sennett, Mack, 70, 71 serials, 5, 251 set design, 163 Sex and the Single Girl (1964), 431 sexuality, 9–10, 88–91, 93–96, 137, 149, 248–262, 315, 395–396, 401–419, 496–499 contraception, 50 LGBT people, 264–280, 428–429 women in Hollywood, 38–39, 43, 46–49, 110–112, 143–144, 251–258, 423–444 Shadoian, Jack, 457 She Wore a Yellow Ribbon (1949), 393 Sheeler, Charles, 15, 203 Sheikh, The (1921), 12, 105 Sherlock Jr (1924), 80, 81 Sherman, Eric, 456, 460 Sherman, Hiram, 304–305 Sherwood, Robert E., 93 Shindler, Colin, 176 Shipman, Nell, 42 shots, 5, 12, 15, 21–34 close-ups, 30–31, 305–306 deep focus, 145–146, 297–309 pans, 24, 302 shot-reverse shot, 8, 23, 96, 305 see also editing Show Boat (1936), 375 show musicals, 284 Sidney, George, 509 Sign of the Cross, The (1932), 91, 267, 274 Signal Corps, 328–329, 346 www.ebook777.com 547 Sikov, Ed, 490 silent films, 3–112, 125, 203, 366, 368 comedy, 10, 11, 56–57, 63, 66–67, 70–83 ethnic minorities, 8–9, 54–67 and women, 8–10, 36–51, 87–90 Silly Symphonies, 149, 313 Simmon, Scott, 29, 30 Simon, Stella, 207–208 Singer, Ben, 251 Singing Fool, The (1928), 16, 123, 125, 126 Sirk, Douglas, 390391 Sitney, P Adams, 523, 532 Sjăostrăom, Victor, 12 Sklar, Robert, 6, 15, 135, 140, 178, 258, 269–270, 279, 349, 365, 396, 399, 400 Skyscraper Symphony (1928), 203 slapstick, 71 Slater, Thomas J., 40 Slide, Anthony, 39, 46, 51 Slotkin, Richard, 350–351 Smith, Frederick James, 89, 90, 91, 304 Smith, Harry, 532–533 Smith, Helen G., 39 Smith, Jack, 524, 525–526, 528, 529, 530 Smith, Jean Voltaire, 48 Smith, Neil, 337 smoking, 33 Smoodin, Eric, 186 Snow White and the Seven Dwarfs (1937), 149, 166, 314, 320 social class, 20–21, 37, 59, 73–78, 178, 483 social problem pictures, 217–219, 387 social realism, 175–194, 286 soldiers, training of, 317–318, 329 Solomon, Stanley J., 457 Some Like It Hot (1959), 267, 496 sound films (“talkies”), 15–16, 67, 115–128, 144–145, 148–149, 272, 304–305, 306–307, 368–373 sound recording, theories of, 125, 304 Soviet Union avant-garde, 127–128 influence on acting styles, 482–483 World War II, 329–330, 331, 332, 333, 338 Spanish Civil War (1936–1939), 146, 149 speed, 314–315 Splendor in the Grass (1961), 431–437 sport, 13 free ebooks ==> www.ebook777.com 548 Springsteen, R G., 510–511 Square Man, The (1914), 86 St Johns, Adela Rogers, 46, 89 Staiger, Janet, 16, 93, 154 Stanwyck, Barbara, 139, 249, 259–260, 401, 402–404, 409, 417–419, 493 Star Spangled to Death (1957–2004), 528 Starkman, David, 63–64 stars, 10, 11, 12, 42–43, 70–83, 86, 87, 94–95, 99–112, 158, 163, 164–166, 168–169, 226–227, 250–251, 396, 418–419 Steamboat Willie (1928), 14–15, 313 Steel Helmet, The (1951), 504–505 Steiner, Max, 143 Steiner, Ralph, 205, 213 Stella Dallas (1937), 9, 260 Stempel, Tom, 364 stereotyping, 56–57, 59, 63, 66, 93, 267, 278–280, 283, 317, 350–354, 480 Sterling, Philip, 343–344 Sternberg, Joseph von, 12, 164, 525, 526 Stevenson, Robert, 515–516 Stewart, Jacqueline Najuma, 55, 57 Stokes, Melvyn, 250 storyboards, 314 storytelling, see narrative Strand, Paul, 15, 203 Strange Love of Martha Ivers, The (1946), 401–419 Strasberg, Lee, 472, 475–477, 478, 482–483, 484 Streetcar Named Desire, A (1951), 434, 437–438 Stroheim, Erich von, 40, 85, 86, 91, 92–97, 169 Studio Club (Los Angeles), 39 Studio Relations Committee, 159–160, 182–183, 218, 221, 374, 375–376 studios, 71–72, 134–135, 137–138, 153–173, 361–368, 395–396 animation studios, 313–324 costume departments, 44 mergers and takeovers, 7, 20–21, 124, 128, 161, 166, 181 production facilities, 6, 65–66, 159, 316, 385 and the star system, 10, 99–112, 158, 163, 164–166, 168–169, 226–227, 396, 418–419, 423–444, 477–478 television, 385 vertical integration, 25–26, 66, 106, 134–135, 156–158, 385–386 stunts, 10, 82, 234–235 Sturges, Preston, 142–143, 164, 354–355 INDEX Sturtevant, Victoria, 8, 10, 177 subjectivity, 279 Sullivan’s Travels (1941), 143, 187 Sunrise (1927), 307 Sunset Boulevard (1950), 97 Susman, Warren, 364, 476 Swanson, Gloria, 40, 43, 92, 97 swashbuckling films, see adventure films Sweet, Blanche, 32–33 Swords and Hearts (1910), 28, 29 Symbol of the Unconquered, The (1920), 61 talkies, 15–16, 67, 115–128, 144–145, 148–149, 272, 304–305, 306–307, 368–373 Tarzan, 240–242 Taves, Brian, 137 Taylor, Greg, 484 Taylor, Robert, 350 teachers, 49–50 Technicolor, 145, 314 technology 16mm film, 49–50 animation, 14, 148–149, 311–324 cameras, 4, 50, 144–146, 298 color, 145, 314 projection equipment, 4, 49–50, 122–123, 124 sound, 15–16, 67, 115–128, 144–145, 148–149, 272, 304–305, 368–373 standardization, 124–125 television, 384–385, 390–391 Tell-Tale Heart, The (1928), 211–212 Ten Commandments, The (1923), 91 Ten Commandments, The (1956), 91, 483 Ten Nights in a Barroom (1926), 64 Tennessee Valley Authority (TVA), 147 Tenney, Jack B., 474 Tennyson, Alfred, Lord, 23 Thalberg, Irving, 40, 92, 135, 154, 159–160, 162–163, 270 Thirer, Irene, 45 Thompson, Kristin, 8, 11, 25, 313 Thorp, Margaret, 185, 186, 187, 193 Thrasher, Frederic M., 223 Three Brave Men (1957), 516–517 Three Musketeers, The (1948), 236–237 Three Women (1924), 10 three-color process, 145 To Be or Not to Be (1942), 141 To Have and Have Not (1944), 393 Toland, Gregg, 15, 145, 146, 166, 298, 300, 301–303, 390 Too Wise Wives (1921), 41 topical pictures, 175–194 Toplin, Robert Brent, 364 Tourneur, Maurice, 12, 96 Tracy, Spencer, 141–142, 406 training films, 317–318 Tramp, The (1915), 72 trance films, 228, 523, 524, 527, 533 Truffaut, Franc¸ois, 301, 487–488 Truman Doctrine, 504, 505 Trumbo, Dalton, 355, 374 Tully, Jim, 86 Twentieth Century-Fox, 128, 134–135, 161–162, 181, 366 Unchanging Sea, The (1910), 26, 27 Uncle Remus’ First Visit to New York (1914), 57 underground film, 520–535 unions, 137, 151, 386, 399–400, 415–416, 418–419, 473 United Artists, 42, 73, 74, 100–101, 156, 161, 166, 170–172 United Nations, 327–328, 337, 415 Universal, 5, 13, 42, 58, 93–94, 135, 156, 169–170, 371 uplift, 20–21, 25, 48–49, 55, 58–67 Urson, Frank, 13 Usai, Paolo Cherchi, 29–30 Usurer, The (1910), 26–28 Vakhtangov, Evgeny, 475 Valentino, Rudolph, 12, 40, 43, 44, 47, 104, 105–107 vampires, 274, 276 van Kleeck, Mary, 39 Vance, Jeffrey, 77, 78 Vance, William, 213–214 Vanguard Productions, 172 Vasey, Ruth, 275, 286 vaudeville, 55–57, 67, 121, 122, 164, 289–292 Vertigo (1958), 394, 396 Victorian melodramas, 250–251 Vidor, Charles, 212 Vidor, King, 12, 163 Viertel, Peter, 346 Vineberg, Steve, 471, 472, 479 violence chain gangs, 182–183 gangster films, 137, 139, 215–230, 346, 369–370, 448–467 in nature, 320–323 racially motivated violence, 60–61, 141–142, 188–192 rape, 60–61, 433–437 visual attraction, 251–258 free ebooks ==> www.ebook777.com 549 INDEX Vitagraph, 13, 14, 25, 29, 40, 167 Vitaphone, 16, 117–120, 121–123, 124, 126, 167 Vitascope, von Sternberg, Joseph, 12, 164, 525, 526 von Stroheim, Erich, 40, 85, 86, 91, 92–97, 169 Vorkapich, Slavko, 15, 205–206, 210–211, 304 Wagner, Dave, 343, 350, 353 Wagner, Richard, 206 Wagner, Robert J., 435, 438, 443–444 Waldorf Statement (1947), 386, 473 Walk a Crooked Mile (1948), 513–514 Walk East on Beacon! (1952), 512–513 Walken, Christopher, 443–444 Walker, Alexander, 116 Walthall, Henry, 30–31, 32–33 Walton, Lester, 56 Wanger, Walter F., 155, 163, 164, 170, 172, 187, 347, 355–356 War Comes to America (1945), 329, 330–331, 332, 335–336, 338 war films Civil War (1861–1865), 28–29, 56, 80–82 Korean War (1950–1953), 504–506, 516, 517–518 nuclear war, 505–506 Spanish Civil War (1936–1939), 146 training films, 317–318 World War I, 365 World War II, 142, 146, 149–151, 160–161, 167–168, 315–319, 326–339, 341–356, 365 Ware, Susan, 272 Warhol, Andy, 522, 529–531 Warner, Jack, 167–168, 270, 277, 344, 349, 473 Warner Bros., 16, 115, 117–120, 121–122, 123, 124, 125–126, 134–135, 138, 149, 150, 156–161, 167–168, 172, 175, 178–181, 185, 226, 229, 236, 270, 277–278, 314, 318, 319, 344, 371, 384–385 Warshow, Robert, 344, 363, 458, 459–460 Washington, Booker T., 58, 60 Watson, Ian, 472 Watson, James Sibley, 211 Way Down East (1920), Wayne, John, 137, 392–393, 396 Webber, Melville, 211 Weber, Lois, 8, 41, 42, 45, 50 Wedding March, The (1928), 97 Weinberg, Herman, 201, 204 Weiss, Andrea, 279 Weissmuller, Johnny, 241 Welles, Orson, 139, 166, 213–214, 297–309, 364, 370, 371–373, 388 Wellman, William, 507–508 Welter, Barbara, 250 Werker, Albert L., 512–513 West, Clare, 44 West, Mae, 164 Western Electric, 118–119, 120–121, 124 Westerns, 8, 62, 137, 138–139, 363–364, 370–371, 376, 390, 392–393, 396 Whale, James, 267, 271, 273–274 What Happened in a Tunnel (1903), 57 What Price Hollywood? (1932), 254–255 Where the Breakers Roar (1908), 22 Whitely, David, 320 Why Change Your Wife? (1920), 90–91 Why We Fight (1942–1945), 150, 326–339 wide angle lenses, 298, 302–303, 305–306 Wild Party, The (1929), 144 Wilder, Billy, 97, 164–165, 355, 390, 396–397, 486–501 Williams, Bert, 57 Williams, Linda, 365, 410, 411–412 Willkie, Wendell, 155 Wilson, Janis, 409 Wingate, James, 160–161, 270–271, 275 Winter, Alice Ames, 49 Wise, Robert, 511 Within Our Gates (1919), 60, 61 Wizard of Oz, The (1939), 287–289 Wolfe, Charles, 121 Wollen, Peter, 483, 484, 488–489 Woman of Paris, A (1923), 74 Woman on Pier 13, The (1949), 515–516 women, 36–51 African-American women, 48, 60–61, 365, 375–376 and censorship, 47–50 as critics, 45–47 employment in movie theaters, 37–38 in the film industry, 8, 38–45, 99–101, 143–144, 373–374, 375, 398–419, 423–444 as moviegoers, 37–38, 40, 373–374, 408–412 www.ebook777.com Native Americans, 365 New Woman, 248–262, 265–266, 272–274 political activism, 47–50 representation of, 8–10, 87–90, 143–144, 177, 203, 207–208, 248–262, 362, 365, 373–377, 389, 390–391, 398–419 sexuality, 9–10, 43, 46–49, 50, 88–91, 93–96, 248–262, 395–396, 401–419, 423–444, 499–500 violence against, 60–61, 433–437 Women’s Christian Temperance Union (WCTU), 47–48, 49 women’s magazines, 43, 46–47, 48 Wood, Amy Louise, 191–192 Wood, Natalie, 394, 423–444 Woollcott, Alexander, 88 Workers’ Film and Photo League, 146 working-class audiences, 20–21, 71, 483 world cinema, 48–49, 141, 170, 171–172, 201–202, 487–488 distribution of American movies, 11–12, 128, 149, 218 influence of Hollywood on, 127–128 World Film Corporation, 12 World War I, 13, 100, 365 World War II, 83, 136, 142, 146, 149–151, 160–161, 167–168, 169–170, 286–287, 326–339, 341–356, 365 Wright, Will, 363 Writers’ Club, 45 Wyler, William, 145–146, 151, 348, 465, 480 Wylie, Philip, 430, 519 xenophobia, 93, 482–484 see also anticommunism You Only Live Once (1937), 142 Young, Christopher Baughman, 210 Young Mr Lincoln (1939), 364 youth culture, 104 YWCA (Young Women’s Christian Association), 39 Zagarrio, Vito, 138 Zanuck, Darryl F., 155, 161–162, 167, 171, 172, 175–186, 187, 367, 368 Zinnemann, Fred, 480–481 Zukor, Adolph, 6, 7, 10, 86, 87, 91, 99–101, 102, 106, 123, 156, 158 free ebooks ==> www.ebook777.com WILEY END USER LICENSE AGREEMENT Go to www.wiley.com/go/eula to access Wiley’s ebook EULA ... American Film History: Selected Readings, 1960 to the Present (2016), both published by Wiley-Blackwell free ebooks ==> www.ebook777.com American Film History Selected Readings, Origins to 1960. .. Politics and Film in the Blacklist Era (2007) and in the journal American Jewish History Together they are the editors of the four-volume collection The Wiley-Blackwell History of American Film (2012)... I: Origins to 1960 Acknowledgments xii Preface xiii Part I Origins to 1928 Setting the Stage: American Film History, Origins to 1928 References 16 D W Griffith and the Development of American Narrative