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9780631225836

America on Film : Representing Race, Class, Gender,and Sexuality at the Movies

by ;
  • ISBN13:

    9780631225836

  • ISBN10:

    0631225838

  • Format: Paperback
  • Copyright: 2003-10-01
  • Publisher: Wiley-Blackwell

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Summary

America on Film: Representing Race, Class, Gender, and Sexuality in the Movies is a lively introduction to issues of diversity as represented within the American cinema. Introduces issues of diversity as represented within the American cinema in a lively and accessible manner. Provides a comprehensive overview of the industrial, socio-cultural, and aesthetic factors that contribute to cinematic representations of race, class, gender, and sexuality. Is designed specifically for students and includes 101 illustrations, a glossary of key terms, questions for discussion, and lists for futher reading and further viewing. Includes case studies of a number of films, including The Lion King, The Jazz Singer, Smoke Signals, The Grapes of Wrath, and The Celluloid Closet. Each chapter features a concise overview of the topic at hand, a discussion of representative films, figures, and movements, and an in-depth analysis of a single film.

Author Biography

Harry M. Benshoff is Assistant Professor of Radio, Television, and Film at the University of North Texas. He is author of Monsters in the Closet: Homosexuality and the Horror Film (1997).

Sean Griffin is Assistant Professor of Cinema and Television at Southern Methodist University. He is author of Tinker Bells and Evil Queens: The Walt Disney Company from the Inside Out (2000).

Table of Contents

Acknowledgments x
How to Use This Book xv
Part I Culture and American Film 1(46)
1 Introduction to the Study of Film Form and Representation
3(20)
Film Form
4(2)
American Ideologies: Discrimination and Resistance
6(7)
Culture and Cultural Studies
13(5)
Case Study: The Lion King (1994)
18(3)
Questions for Discussion
21(1)
Further Reading
22(1)
2 The Structure and History of Hollywood Filmmaking
23(24)
Hollywood vs. Independent Film
24(2)
The Style of Hollywood Cinema
26(5)
The Business of Hollywood
31(2)
The History of Hollywood: The Movies Begin
33(3)
The Classical Hollywood Cinema
36(3)
World War II and Postwar Film
39(4)
"New" Hollywood and the Blockbuster Mentality
43(3)
Questions for Discussion
46(1)
Further Reading
46(1)
Further Screening
46(1)
Part II Race and Ethnicity and American Film 47(108)
Introduction to Part II: What is Race?
49(4)
3 The Concept of Whiteness and American Film
53(22)
Seeing White
54(4)
Bleaching the Green: The Irish in American Cinema
58(5)
Looking for Respect: Italians in American Cinema
63(4)
A Special Case: Jews and Hollywood
67(5)
Case Study: The Jazz Singer (1927)
72(1)
Questions for Discussion
73(1)
Further Reading
74(1)
Further Screening
74(1)
4 African Americans and American Film
75(21)
African Americans in Early Film
76(4)
Blacks in Classical Hollywood Cinema
80(2)
World War II and the Postwar Social Problem Film
82(3)
The Rise and Fall of Blaxploitation Filmmaking
85(2)
Box: Blacks on TV
87(1)
Hollywood in the 1980's and the Arrival of Spike Lee
88(3)
Black Independent Film vs. "Neo-Blaxploitation" Today
91(2)
Case Study: Bamboozled (2000)
93(2)
Questions for Discussion
95(1)
Further Reading
95(1)
Further Screening
95(1)
5 Native Americans and American Film
96(20)
The American "Indian" Before Film
97(3)
Ethnographic Films and the Rise of the Hollywood Western
100(4)
The Evolving Western
104(5)
A Kinder, Gentler America?
109(4)
Case Study: Smoke Signals (1998)
113(1)
Questions for Discussion
114(1)
Further Reading
114(1)
Further Screening
115(1)
6 Asian Americans and American Film
116(19)
Silent Film and Asian Images
117(2)
Asians in Classical Hollywood Cinema
119(5)
World War II and After: War Films, Miscegenation Melodramas, and Kung Fu
124(4)
Asian American Actors and Filmmakers Today
128(3)
Case Study: Eat a Bowl of Tea (1989)
131(2)
Questions for Discussion
133(1)
Further Reading
134(1)
Further Screening
134(1)
7 Latinos and American Film
135(20)
The Greaser and the Latin Lover: Alternating Stereotypes
137(3)
World War II and After: The Good Neighbor Policy
140(6)
The 1950's to the 1970's: Back to Business as Usual?
146(2)
Expanding Opportunities in Recent Decades
148(4)
Case Study: My Family/Mi Familia (1995)
152(1)
Questions for Discussion
153(1)
Further Reading
154(1)
Further Screening
154(1)
Part III Class and American Film 155(46)
Introduction to Part III: What is Class?
157(4)
8 Classical Hollywood Cinema and Class
161(17)
Setting the Stage: The Industrial Revolution
162(1)
Early Cinema: The Rise of the Horatio Alger Myth
163(5)
Hollywood and Unionization
168(3)
Class in the Classical Hollywood Cinema
171(3)
Case Study: The Grapes of Wrath (1940)
174(2)
Conclusion: Recloaking Class Consciousness
176(1)
Questions for Discussion
177(1)
Further Reading
177(1)
Further Screening
177(1)
9 Cinematic Class Struggle After the Depression
178(23)
From World War II to the Red Scare
179(3)
From Opulence to Counterculture
182(3)
Box: Class on Television
185(4)
New Hollywood and the Resurrection of the Horatio Alger Myth
189(6)
Case Study: Bulworth (1998)
195(2)
Conclusion: Corporate Hollywood and Labor Today
197(1)
Questions for Discussion
198(1)
Further Reading
199(1)
Further Screening
199(2)
Part IV Gender and American Film 201(90)
Introduction to Part IV: What is Gender?
203(4)
10 Women in Classical Hollywood Filmmaking
207(22)
Images of Women in Early Cinema
208(5)
Early Female Filmmakers
213(4)
Images of Women in 1930's Classical Hollywood
217(4)
World War II and After
221(4)
Case Study: All that Heaven Allows (1955)
225(3)
Questions for Discussion
228(1)
Further Reading
228(1)
Further Screening
228(1)
11 Exploring the Visual Parameters of Women in Film
229(20)
Ways of Seeing
230(3)
"Visual Pleasure and Narrative Cinema"
233(9)
Case Study: Gilda (1946)
242(2)
Conclusion: Complicating Mulvey's Arguments
244(3)
Questions for Discussion
247(1)
Further Reading
247(1)
Further Screening
248(1)
12 Masculinity in Classical Hollywood Filmmaking
249(22)
Masculinity and Early Cinema
252(2)
Masculinity and the Male Movie Star
254(6)
World War II and Film Noir
260(5)
Case Study: Dead Reckoning (1947)
265(2)
Conclusion: Masculinity in 1950's American Film
267(3)
Questions for Discussion
270(1)
Further Reading
270(1)
Further Screening
270(1)
13 Gender in American Film Since the 1960's
271(20)
Second Wave Feminism and Hollywood
272(5)
Into the 1980's: A Backlash against Women?
277(4)
A New Generation of Female Filmmakers
281(4)
Case Study: The Ballad of Little Jo (1993)
285(3)
Conclusion: Gender at the Turn of the Millennium
288(1)
Questions for Discussion
289(1)
Further Reading
290(1)
Further Screening
290(1)
Part V Sexuality and American Film 291(48)
Introduction to Part V: What is Sexuality?
293(4)
14 Heterosexuality, Homosexuality, and Classical Hollywood
297(21)
(Hetero)Sexuality on Screen
298(2)
(Homo)Sexuality in Early Film
300(2)
Censoring Sexuality during the Classical Hollywood Era
302(5)
Postwar Sexualities and the Weakening of the Production Code
307(6)
Camp and the Underground Cinema
313(2)
Case Study: The Celluloid Closet (1995)
315(2)
Questions for Discussion
317(1)
Further Reading
317(1)
Further Screening
317(1)
i5 Sexualities on Film Since the Sexual Revolution
318(21)
Hollywood and the Sexual Revolution
319(1)
Film and Gay Culture from Stonewall to AIDS
320(5)
The AIDS Crisis
325(3)
Queer Theory and New Queer Cinema
328(7)
Case Study: Go Fish (1995)
335(1)
Conclusion: Hollywood Today
335(2)
Questions for Discussion
337(1)
Further Reading
337(1)
Further Screening
338(1)
Glossary 339(17)
Index 356

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