Summary on the history of the American cinema

Explorations in New Cinema History brings together cutting-edge research by the leading scholars in the field to identify new approaches to writing and understanding the social and cultural history of cinema, focusing on cinema’s audiences, the experience of cinema, and the cinema as a site of social and cultural exchange. Includes contributions from Robert Allen, Annette Kuhn, John Sedwick, Mark Jancovich, Peter Sanfield, and Kathryn Fuller-Seeley among others Develops the original argument that the social history of cinema-going and of the experience of cinema should take precedence over production- and text-based analyses Explores the cinema as a site of social and cultural exchange, including patterns of popularity and taste, the role of individual movie theatres in creating and sustaining their audiences, and the commercial, political and legal aspects of film exhibition and distribution Prompts readers to reassess their understanding of key periods of cinema history, opening up cinema studies to long-overdue conversations with other disciplines in the humanities and social sciences Presents rigorous empirical research, drawing on digital technology and geospatial information systems to provide illuminating insights in to the uses of cinema

From The Death of Nancy Sykes (1897) to The Hobbit: The Battle of the Five Armies (2014) and beyond, cinematic adaptations of British literature participate in a complex and fascinating history. The History of British Literature on Film, 1895-2015 is the only comprehensive narration of cinema's 100-year-old love affair with British literature. Unlike previous studies of literature and film, which tend to privilege particular authors such as Shakespeare and Jane Austen, or particular texts such as Frankenstein, or particular literary periods such as Medieval, this volume considers the multiple functions of filmed British literature as a cinematic subject in its own right-one reflecting the specific political and aesthetic priorities of different national and historical cinemas. In what ways has the British literary canon authorized and influenced the history and aesthetics of film, and in what ways has filmed British literature both affirmed and challenged the very idea of literary canonicity? Seeking to answer these and other key questions, this indispensable study shows how these adaptations emerged from and continue to shape the social, artistic, and commercial aspects of film history.

In this deeply researched and vividly written volume, Melvyn Stokes illuminates the origins, production, reception and continuing history of this ground-breaking, aesthetically brilliant, and yet highly controversial movie. By going back to the original archives, particularly the NAACP and D. W. Griffith Papers, Stokes explodes many of the myths surrounding The Birth of a Nation (1915). Yet the story that remains is fascinating: the longest American film of its time, Griffith's film incorporated many new features, including the first full musical score compiled for an American film. It was distributed and advertised by pioneering methods that would quickly become standard. Through the high prices charged for admission and the fact that it was shown, at first, only in "live" theaters with orchestral accompaniment, Birth played a major role in reconfiguring the American movie audience by attracting more middle-class patrons. But if the film was a milestone in the history of cinema, it was also undeniably racist. Stokes shows that the darker side of this classic movie has its origins in the racist ideas of Thomas Dixon, Jr. and Griffith's own Kentuckian background and earlier film career. The book reveals how, as the years went by, the campaign against the film became increasingly successful. In the 1920s, for example, the NAACP exploited the fact that the new Ku Klux Klan, which used Griffith's film as a recruiting and retention tool, was not just anti-black, but also anti-Catholic and anti-Jewish, as a way to mobilize new allies in opposition to the film. This crisply written book sheds light on both the film's racism and the aesthetic brilliance of Griffith's filmmaking. It is a must-read for anyone interested in the cinema.

The Cinema Book is widely recognised as the ultimate guide to cinema. Authoritative and comprehensive, the third edition has been extensively revised, updated and expanded in response to developments in cinema and cinema studies. Lavishly illustrated in colour, this edition features a wealth of exciting new sections and in-depth case studies. Sections address Hollywood and other World cinema histories, key genres in both fiction and non-fiction film, issues such as stars, technology and authorship, and major theoretical approaches to understanding film.

On the relationship between early cinema and 19th century theatre.

Bringing together an expansive range of writing by scholars, critics, historians, and filmmakers, The Documentary Film Reader presents an international perspective on the most significant developments and debates from several decades of critical writing about documentary. Each of the book's seven sections covers a distinct period in the history of documentary, collecting both contemporary and retrospective views of filmmaking in the era. And each section is prefaced by an introductory essay that explains its design and provides critical context. Painstakingly selected from the archives of more than a hundred years of cinema practice and theory, the essays, reviews, interviews, manifestos, and ephemera gathered in this volume suit the needs and interests of the beginning student, the advanced scholar, the casual reader, and the working documentarian.

With Amusement for All is a sweeping interpretative history of American popular culture. Providing deep insights into various individuals, events, and movements, LeRoy Ashby explores the development and influence of popular culture -- from minstrel shows to hip-hop, from the penny press to pulp magazines, from the NBA to NASCAR, and much in between. By placing the evolution of popular amusement in historical context, Ashby illuminates the complex ways in which popular culture both reflects and transforms American society. He demonstrates a recurring pattern in democratic culture by showing how groups and individuals on the cultural and social periphery have profoundly altered the nature of mainstream entertainment. The mainstream has repeatedly co-opted and sanitized marginal trends in a process that continues to shift the limits of acceptability. Ashby describes how social control and notions of public morality often vie with the bold, erotic, and sensational as entrepreneurs finesse the vagaries of the market and shape public appetites. Ashby argues that popular culture is indeed a democratic art, as it entertains the masses, provides opportunities for powerless and disadvantaged individuals to succeed, and responds to changing public hopes, fears, and desires. However, it has also served to reinforce prejudices, leading to discrimination and violence. Accordingly, the study of popular culture reveals the often dubious contours of the American dream. With Amusement for All never loses sight of pop culture's primary goal: the buying and selling of fun. Ironically, although popular culture has drawn an enormous variety of amusements from grassroots origins, the biggest winners are most often sprawling corporations with little connection to a movement's original innovators.

From the 1905 opening of the wildly popular, eponymous Nickelodeon in the city's downtown to the subsequent outgrowth of nickel theaters in nearly all of its neighborhoods, Pittsburgh proved to be perfect for the movies. Its urban industrial environment was a melting pot of ethnic, economic, and cultural forces—a "wellspring" for the development of movie culture—and nickelodeons offered citizens an inexpensive respite and handy escape from the harsh realities of the industrial world.Nickelodeon City provides a detailed view inside the city's early film trade, with insights into the politics and business dealings of the burgeoning industry. Drawing from the pages of the Pittsburgh Moving Picture Bulletin, the first known regional trade journal for the movie business, Michael Aronson profiles the major promoters in Pittsburgh, as well as many lesser-known ordinary theater owners, suppliers, and patrons. He examines early film promotion, distribution, and exhibition, and reveals the earliest forms of state censorship and the ensuing political lobbying and manipulation attempted by members of the movie trade. Aronson also explores the emergence of local exhibitor-based cinema, in which the exhibitor assumed control of the content and production of film, blurring the lines between production, consumption, and local and mass media. Nickelodeon City offers a fascinating and intimate view of a city and the socioeconomic factors that allowed an infant film industry to blossom, as well as the unique cultural fabric and neighborhood ties that kept nickelodeons prospering even after Hollywood took the industry by storm. 9.5

From the earliest days of public outrage over "indecent" nickelodeon shows, Americans have worried about the power of the movies. The eleven essays in this book examine nearly a century of struggle over cinematic representations of sex, crime, violence, religion, race, and ethnicity, revealing that the effort to regulate the screen has reflected deep social and cultural schisms. In addition to the editor, contributors include Daniel Czitrom, Marybeth Hamilton, Garth Jowett, Charles Lyons, Richard Maltby, Charles Musser, Alison M. Parker, Charlene Regester, Ruth Vasey, and Stephen Vaughn. Together they make it clear that censoring the movies is more than just a reflex against "indecency," however defined. Whether censorship protects the vulnerable or suppresses the creative, it is part of a broader culture war that breaks out recurrently as Americans try to come to terms with the market, the state, and the plural society in which they live.