American Cinema of the 1930s: Themes and VariationsIna Rae Hark Rutgers University Press, 2007 M06 21 - 296 páginas Probably no decade saw as many changes in the Hollywood film industry and its product as the 1930s did. At the beginning of the decade, the industry was still struggling with the transition to talking pictures. Gangster films and naughty comedies starring Mae West were popular in urban areas, but aroused threats of censorship in the heartland. Whether the film business could survive the economic effects of the Crash was up in the air. By 1939, popularly called "Hollywood's Greatest Year," films like Gone With the Wind and The Wizard of Oz used both color and sound to spectacular effect, and remain American icons today. The "mature oligopoly" that was the studio system had not only weathered the Depression and become part of mainstream culture through the establishment and enforcement of the Production Code, it was a well-oiled, vertically integrated industrial powerhouse. The ten original essays in American Cinema of the 1930s focus on sixty diverse films of the decade, including Dracula, The Public Enemy, Trouble in Paradise, 42nd Street, King Kong, Imitation of Life, The Adventures of Robin Hood, Swing Time, Angels with Dirty Faces, Nothing Sacred, Jezebel, Mr. Smith Goes to Washington, and Stagecoach . |
Contenido
1 | |
Movies and Social Difference | 25 |
Movies and the Voice | 48 |
Movies and Transgression | 69 |
Movies and the New Deal in Entertainment | 92 |
Movies and the Marginalized | 117 |
Movies and the Resistance to Tyranny | 139 |
Movies and the Possibility of Transcendence | 162 |
Movies and New Constructions of the American Star | 182 |
Movies and Whistling in the Dark | 206 |
Movies and American Culture in the Annus Mirabilis | 227 |
Select Academy Awards 19301939 | 253 |
257 | |
Contributors | 267 |
269 | |
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Términos y frases comunes
42nd Street actors Actress Astaire audiences Balio become Bette Davis Bligh Blood box office Cagney Capra characters Clark Gable classical Collection Ina Rae comic cultural dance decade Delilah Depression Despite dialogue director Dracula economic entertainment Esther’s ethnic father female stars film’s filmmakers Footlight Parade Ford gangster film Garbo gender genre Ginger Rogers Gold Diggers Harlow Hepburn Hollywood Ina Rae Hark industry James James Cagney John Juarez Katharine Hepburn lives Marlene Dietrich melodrama Mickey moral Motion Picture movie narrative Nazi Norma Shearer Peola Pepe performance play political popular Production Code racial Radio rebellion release role romantic Roosevelt scene screen screwball comedy Selznick sexual shots Show Boat silent social song speech Spencer Tracy stage Stagecoach Star Is Born stardom story studio style talkies Technicolor theater Tom’s voice Warner Bros William woman women Yancey year’s York