Inventing Film Studies offers original and provocative insights into the institutional and intellectual foundations of cinema studies. Many scholars have linked the origins of the discipline to late-1960s developments in the academy such as structuralist theory and student protest. Yet this collection reveals the broader material and institutional forces—both inside and outside of the university—that have long shaped the field. Beginning with the first investigations of cinema in the early twentieth century, this volume provides detailed examinations of the varied social, political, and intellectual milieus in which knowledge of cinema has been generated. The contributors explain how multiple instantiations of film study have had a tremendous influence on the methodologies, curricula, modes of publication, and professional organizations that now constitute the university-based discipline. Extending the historical insights into the present, contributors also consider the directions film study might take in changing technological and cultural environments. Inventing Film Studies shows how the study of cinema has developed in relation to a constellation of institutions, technologies, practices, individuals, films, books, government agencies, pedagogies, and theories. Contributors illuminate the connections between early cinema and the social sciences, between film programs and nation-building efforts, and between universities and U.S. avant-garde filmmakers. They analyze the evolution of film studies in relation to the Museum of Modern Art, the American Film Council movement of the 1940s and 1950s, the British Film Institute, influential journals, cinephilia, and technological innovations past and present. Taken together, the essays in this collection reveal the rich history and contemporary vitality of film studies. Contributors: Charles R. Acland, Mark Lynn Anderson, Mark Betz, Zoë Druick, Lee Grieveson, Stephen Groening, Haden Guest, Amelie Hastie, Lynne Joyrich, Laura Mulvey, Dana Polan, D. N. Rodowick, Philip Rosen, Alison Trope, Haidee Wasson, Patricia White, Sharon Willis, Peter Wollen, Michael Zryd

Haidee Wasson provides a rich cultural history of cinema's transformation from a passing amusement to an enduring art form by mapping the creation of the Film Library of the Museum of Modern Art (MoMA), New York, established in 1935. The first North American film archive and museum, the film library pioneered an expansive moving image network, comprising popular, abstract, animated, American, Canadian, and European films. More than a repository, MoMA circulated these films nationally and internationally, connecting the modern art museum to universities, libraries, women's clubs, unions, archives, and department stores. Under the aegis of the museum, cinema also changed. Like books, paintings, and photographs, films became discrete objects, integral to thinking about art, history, and the politics of modern life.

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Speculation abounds about the relationship between Frank Lloyd Wright and Ayn Rand. Was Wright the inspiration for Howard Roark, the architect hero of Rand's The Fountainhead? What can be made of their collaboration on the book's failed 1944 movie adaptation, and what can be gleaned from the 1949 Hollywood production of The Fountainhead? Where does the FBI--Wright was dubbed a communist sympathizer, and Rand was called before the House Un-American Activities Committee--fit into the story? Art, architecture, philosophy, film and politics come together in this exploration, which relies on the writings of Wright and Rand, FBI files, visual evidence and more to cement their connection. Chapters are devoted to Wright and Rand, the two together, their parts in both the failed production of The Fountainhead and the successful one, and the effect FBI harassment had on the movie and on their lives. Subsequent chapters discuss Wright's place as a Hollywood architect, and offer telling set designs and architectural images from the 1949 production of The Fountainhead. Several appendices supplement the illustrated text, and there is a filmography of movies mentioned in the book. A bibliography and index are also included.

The new Leonard's Price Index of Latin American Art at Auction focuses on a category of art that covers a wide range of periods and styles. It is unique in its coverage of 30 years of sale results and the inclusion of over 1,100 scholarly essays and biographies, some never before published in the English language. Entries, covering the years 1969 to 1999, number over 30,000 lots. The prices realized are from every auction house in North America and are listed in descending order by price within each auction season.

This set is one of the cornerstones of film scholarship, and one of the most important works on twentieth century British culture. Published between 1948 and 1985, the volumes document all aspects of film making in Britain from its origins in 1896 to 1939. Rachael Low pioneered the interpretation of films in their context, arguing that to understand films it was necessary to establish their context. Her seven volumes are an object lesson in meticulous research, lucid analysis and accessible style, and have become the benchmark in film history.

"The entire field of film historians awaits the AFI volumes with eagerness."--Eileen Bowser, Museum of Modern Art Film Department Comments on previous volumes: "The source of last resort for finding socially valuable . . . films that received such scant attention that they seem 'lost' until discovered in the AFI Catalog."--Thomas Cripps "Endlessly absorbing as an excursion into cultural history and national memory."--Arthur Schlesinger, Jr.