Volume I: Origins to 1960 Acknowledgments xii Preface xiii Part I Origins to 1928 1 Setting the Stage: American Film History, Origins to 1928 3 References 16 2 D. W. Griffith and the Development of American Narrative Cinema 18 Charlie Keil Notes 34 References 34 3 Women and the Silent Screen 36 Shelley Stamp References 51 4 African-Americans and Silent Films 54 Paula J. Massood Notes 68 References 68 5 Chaplin and Silent Film Comedy 70 Charles J. Maland References 84 6 Erich von Stroheim and Cecil B. DeMille: Early Hollywood and the Discourse of Directorial Genius 85 Gaylyn Studlar Notes 97 References 97 7 The Star System 99 Mark Lynn Anderson Notes 112 References 113 8 Synchronized Sound Comes to the Cinema 115 Paul Young Notes 128 References 129 Part II 1929 1945 9 Setting the Stage: American Film History, 1929 1945 133 Note 151 References 151 10 Era of the Moguls: The Studio System 153 Matthew H. Bernstein References 173 11 As Close to Real Life as Hollywood Ever Gets : Headline Pictures, Topical Movies, Editorial Cinema, and Studio Realism in the 1930s 175 Richard Maltby Notes 194 References 198 12 Early American Avant-Garde Cinema 200 Jan-Christopher Horak Notes 214 References 214 13 Let Em Have It : The Ironic Fate of the 1930s Hollywood Gangster 215 Ruth Vasey Notes 230 References 230 14 Landscapes of Fantasy, Gardens of Deceit: The Adventure Film between Colonialism and Tourism 231 Hans Jurgen Wulff Notes 245 References 246 15 Cinema and the Modern Woman 248 Veronica Pravadelli Notes 262 References 262 16 Queering the (New) Deal 264 David M. Lugowski Notes 280 References 280 17 There s No Place Like Home: The Hollywood Folk Musical 282 Desiree J. Garcia Notes 295 References 296 18 The Magician: Orson Welles and Film Style 297 James Naremore Notes 309 References 310 19 Classical Cel Animation, World War II, and Bambi 311 Kirsten Moana Thompson Notes 324 References 325 20 MappingWhy We Fight: Frank Capra and the US Army Orientation Film in World War II 326 Charles Wolfe Notes 339 References 339 21 A Victory Uneasy with Its Contrasts : The Hollywood Left Fights World War II 341 Saverio Giovacchini Notes 356 References 359 22 Hollywood as Historian, 1929 1945 361 J. E. Smyth Notes 377 References 377 Part III 1945 1960 23 Setting the Stage: American Film History, 1945 1960 383 References 397 24 Taking Stock at War s End: Gender, Genre, and Hollywood Labor in The Strange Love of Martha Ivers 398 Roy Grundmann Notes 419 References 421 25 Natalie Wood: Studio Stardom and Hollywood in Transition 423 Cynthia Lucia Notes 444 References 446 26 The Politics of Force of Evil: An Analysis of Abraham Polonsky s Preblacklist Film 448 Christine Noll Brinckmann Notes 467 References 469 27 The Actors Studio in the Early Cold War 471 Cynthia Baron & Beckett Warren Notes 485 References 485 28 Authorship and Billy Wilder 486 Robert Sklar Notes 501 References 501 29 Cold War Thrillers 503 R. Barton Palmer References 519 30 American Underground Film 520 Jared Rapfogel Note 535 References 535 Index 537
Together, Cindy Lucia, Roy Grundmann, and Art Simon are the editors of the four volume reference work, The Wiley-Blackwell History of American Film (2012), of this volume and its companion, American Film History: Selected Readings, 1960 to the Present ( both 2016), all published by Wiley-Blackwell. 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, 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 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 Muller. 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.
Out of all the film books I've read this year - and there have been many judging from the sheer amount of book reviews I've posted here in 2015 alone - American Film History: Selected Readings, Origins to 1960 is the clear stand-out amongst them. It's an invaluable tool for those of us who strive to learn more and more about the film industry and classic film every day and I definitely won't be letting this book out of my site for a good long while (I may even stipulate being buried with it in my Last Will & Testament). (Stardustclassicfilmblog, 17 December 2015)