Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Amid the turbulence of political assassinations, the civil rights struggle, and antiwar protests, American society was experiencing growing affluence and profound cultural change during the 1960s. The film industry gradually redirected its energies, resulting in a distinctive break from traditional business and stylistic practice and emergence of a new "cinema of sensation." Feature films became faster-paced and more graphic, the antihero took his place alongside the classic Hollywood hero, and "downer" films like 'Midnight Cowboy 'proved as popular as those with upbeat fare. Paul Monaco gives a sweeping view of this exhilarating decade, ranging from the visceral sensation of 'Bonnie and Clyde, 'to the comic-book satire of 'Dr. Strangelove, 'to the youthful alienation of 'The Graduate. '

Film --- anno 1960-1969 --- United States --- Motion picture industry --- Motion pictures --- History --- History. --- Motion picture industry - United States - History --- Motion pictures - United States - History --- United States of America

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Americans flocked to the movies in 1945 and 1946ùthe center point of the three-decade heyday of the studio system's sound era. Why? Best Years is a panoramic study, shining light on this critical juncture in American historyand the history of American cinemaùthe end of World War II (1945) and a year of unprecedented success in Hollywood's "Golden Age" (1946). This unique time, the last year of war and the first full year of peace, provides a rich blend of cinema genres and typesùfrom the battlefront to the home front, the peace film to the woman's film, psychological drama, and the period's provocative new style, film noir. Best Years focuses on films that were famous, infamous, forgotten, and unforgettable. Big budget A-films, road shows, and familiar series share the spotlight. From Bergman and Grant in Notorious to Abbott and Costello in Lost in a Harem, Charles Affron and Mirella Jona Affron examine why the bond between screen and viewer was perhaps never tighter. Paying special attention to the movie-going public in key cities--Atlanta, New York, Boston, Honolulu, and Chicago--this ambitious work takes us on a cinematic journey to recapture a magical time.

Motion pictures -- United States -- History -- 20th century. --- Motion pictures -- United States. --- United States -- In motion pictures. --- Motion pictures --- Music, Dance, Drama & Film --- Film --- History

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

At the end of World War II, Hollywood basked in unprecedented prosperity. Since then, numerous challenges and crises have changed the American film industry. Nevertheless, at the start of a new century, Hollywood's worldwide dominance remains intact& mdash;indeed, in today's global economy, the products of the American entertainment industry (of which movies are now only one part) are more ubiquitous than ever. How does today's Hollywood& mdash;embedded within transnational media conglomerates like NewsCorp., Sony, and Viacom& mdash;differ from the legendary studios of its Golden Age? What are

Hollywood (Los Angeles, Calif.) -- History -- 20th century. --- Hollywood (Los Angeles, Calif.) -- History -- 21st century. --- Motion picture industry -- California -- Los Angeles -- History -- 20th century. --- Motion picture industry -- California -- Los Angeles -- History -- 21st century. --- Motion pictures -- United States -- History -- 20th century. --- Motion pictures -- United States -- History -- 21st century. --- Motion pictures --- Motion picture industry --- Film --- Music, Dance, Drama & Film --- Film industry (Motion pictures) --- Moving-picture industry --- Cultural industries --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History --- History and criticism

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Motion pictures and video games --- Motion pictures --- Video games industry --- Leisure industry --- History --- Motion pictures - United States - History --- Video games industry - United States - History --- Leisure industry - United States - History --- Cinéma numérique --- Adaptations cinématographiques --- Jeux vidéo --- Produits dérivés (marketing) --- Industrie culturelle --- Cinéma --- États-Unis --- 1970-2000 --- 1990-....

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

As Americans flocked to the movies during the first part of the twentieth century, the guardians of culture grew worried about their diminishing influence on American art, education, and American identity itself. Meanwhile, Hollywood studio heads were eager to stabilize their industry, solidify their place in mainstream society, and expand their new but tenuous hold on American popular culture. Peter Decherney explores how these needs coalesced and led to the development of a symbiotic relationship between the film industry and America's stewards of high culture. Formed during Hollywood's Golden Age (1915-1960), this unlikely partnership ultimately insured prominent places in American culture for both the movie industry and elite cultural institutions. It redefined Hollywood as an ideal American industry; it made movies an art form instead of simply entertainment for the masses; and it made moviegoing a vital civic institution. For their part, museums and universities used films to maintain their position as quintessential American institutions. As the book delves into the ties between Hollywood bigwigs and various cultural leaders, an intriguing cast of characters emerges, including the poet Vachel Lindsay, film producers Adolph Zukor and Joseph Kennedy, Hollywood flak and censor extraordinaire Will Hays, and philanthropist turned politician Nelson Rockefeller. Decherney considers how Columbia University's film studies program helped integrate Jewish students into American culture while also professionalizing screenwriting. He examines MoMA's career-savvy film curator Iris Barry, a British feminist once dedicated to stemming the tide of U.S. cultural imperialism, who ultimately worked with Hollywood and the U.S. government to fight fascism and communism and promote American values abroad. Other chapters explore Vachel Lindsay's progressive vision of movies as reinvigorating the public sphere through film libraries and museums; the promotion of movie connoisseurship at Harvard and other universities; and how the heir of a railroad magnate bankrolled the American avant-garde film movement. Amid ethnic diversity, the rise of mass entertainment, world war, and the global spread of American culture, Hollywood and cultural institutions worked together to insure their own survival and profitability and to provide a coherent, though shifting, American identity.

Motion picture industry --- Motion pictures --- History --- Social aspects --- United States --- Social life and customs --- #SBIB:309H1313 --- Geschiedenis en/of organisatie van het filmwezen: algemeen en per land (met inbegrip van de rol van het filmwezen in de ontwikkelingsproblematiek) --- 20th century --- Culture in motion pictures --- Culture in motion pictures. --- History. --- Motion picture industry - United States - History --- Motion pictures - United States - History --- Motion pictures - Social aspects - United States --- United States - Social life and customs - 20th century