Details

America on Film


America on Film

Representing Race, Class, Gender, and Sexuality at the Movies
3. Aufl.

von: Harry M. Benshoff, Sean Griffin

39,99 €

Verlag: Wiley-Blackwell
Format: PDF
Veröffentl.: 06.04.2021
ISBN/EAN: 9781118743690
Sprache: englisch
Anzahl Seiten: 448

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Beschreibungen

<p><b>A comprehensive and insightful examination of the representation of diverse viewpoints and perspectives in American cinema throughout the 20th and 21st centuries</b></p> <p><i>America on Film: Representing Race, Class, Gender and Sexuality at the Movies,</i> now in its third edition, is an authoritative and lively examination of diversity issues within American cinema. Celebrated authors and academics Harry M. Benshoff and Sean Griffin provide readers with a comprehensive discussion and overview of the industrial, socio-cultural, and aesthetic factors that contribute to cinematic representations of race, class, gender, sexuality, and ability.</p> <p>The book incorporates several different theoretical perspectives, including film genre, auteurism, cultural studies, Orientalism, the "male gaze," feminism, and queer theory. The authors examine each selected subject via representative films, figures, and movements. Each chapter also includes an in-depth analysis of a single film to illuminate and inform its discussion of the chosen topic.</p> <p><i>America on Film</i> fearlessly approaches and tackles several controversial areas of representation in film, including the portrayal of both masculinity and femininity in film and African- and Asian-Americans in film. It devotes the entirety of Part V to an analysis of the depiction of sex and sexuality in American film, with a particular emphasis on the portrayal of homosexuality. Topics covered include:</p> <ul> <li>The structure and history of American filmmaking, including a discussion of the evolution of the business of Hollywood cinema</li> <li>African Americans and American film, with a discussion of <i>BlacKkKlansman</i> informing its examination of broader issues</li> <li>Asian, Latin/x, and Native Americans on film</li> <li>Classical Hollywood cinema and class, with an in-depth examination of <i>The Florida Project</i></li> <li>Women in classical Hollywood filmmaking, including a discussion of the 1955 film, <i>All that Heaven Allows</i></li> </ul> <p>Perfect for undergraduate and graduate students in film, media, and diversity-related courses, the book also belongs on the shelves of anyone interested in diversity issues in the context of American studies, communications, history, or gender studies. Lastly, it's ideal for use within corporate diversity training curricula and human relations training within the entertainment industry.</p>
<p>Preface to the Third Edition xi</p> <p>Acknowledgments xiv</p> <p>How to Use This Book xvi</p> <p>About the Companion Website xviii</p> <p><b>Part I Culture and American Film 1</b></p> <p><b>1 Introduction to the Study of Film Form and Representation 3</b></p> <p>Film Form 3</p> <p>American Ideologies: Discrimination and Resistance 6</p> <p>Culture and Cultural Studies 12</p> <p>Case Study: Two <i>Lion Kings </i>(1994 and 2019) 17</p> <p>Questions for Discussion 21</p> <p>Further Reading 21</p> <p><b>2 The Structure and History of Hollywood Filmmaking 22</b></p> <p>Hollywood vs. Independent Film 22</p> <p>The Style of Hollywood Cinema 24</p> <p>The Business of Hollywood 29</p> <p>The History of Hollywood: The Movies Begin 31</p> <p>The Classical Hollywood Cinema 35</p> <p>World War II and Postwar Film 37</p> <p>“New” Hollywood and the Blockbuster Mentality 40</p> <p>Box: A Brief History of Television in the United States 42</p> <p>21st‐Century Convergence Culture 44</p> <p>Questions for Discussion 47</p> <p>Further Reading 47</p> <p>Further Screening 48</p> <p><b>Part II Race and Ethnicity and American Film 49</b></p> <p>Introduction to Part II: What is Race?</p> <p><b>3 The Concept of Whiteness and American Film 55</b></p> <p>Seeing White 56</p> <p>Bleaching the Green: The Irish in American Cinema 60</p> <p>Looking for Respect: Italians in American Cinema 64</p> <p>A Special Case: Jews and Hollywood 69</p> <p>Case Study: <i>The Jazz Singer </i>(1927) 74</p> <p>Veiled and Reviled: Arabs on Film in America 74</p> <p>Conclusion: Whiteness and American Film Today 80</p> <p>Questions for Discussion 81</p> <p>Further Reading 81</p> <p>Further Screening 82</p> <p><b>4 African Americans and American Film 83</b></p> <p>African Americans in Early Film 83</p> <p>Blacks in Classical Hollywood Cinema 87</p> <p>World War II and the Postwar Social Problem Film 89</p> <p>The Rise and Fall of Blaxploitation Filmmaking 92</p> <p>Box: Blacks on TV 94</p> <p>Hollywood in the 1980s and the Arrival of Spike Lee 96</p> <p>Black Independent vs. “Neo‐Blaxploitation” Filmmaking in the 1990s 98</p> <p>African Americans and the Oscars 100</p> <p>Case Study: <i>BlacKkKlansman </i>(2018) 103</p> <p>The Twenty‐first Century: Smaller Films, Bigger Profits? 106</p> <p>Conclusion 108</p> <p>Questions for Discussion 109</p> <p>Further Reading 109</p> <p>Further Screening 110</p> <p><b>5 Native Americans and American Film 111</b></p> <p>The American “Indian” Before Film 112</p> <p>Ethnographic Films and the Rise of the Hollywood Western 114</p> <p>The Evolving Western 118</p> <p>A Kinder, Gentler America? 121</p> <p>Case Study: <i>Smoke Signals </i>(1998) 124</p> <p>Conclusion: Twenty‐first Century Indians? 125</p> <p>Questions for Discussion 129</p> <p>Further Reading 129</p> <p>Further Screening 129</p> <p><b>6 Asian Americans and American Film 130</b></p> <p>Silent Film and Asian Images 131</p> <p>Asians in Classical Hollywood Cinema 133</p> <p>World War II and After: War Films, Miscegenation</p> <p>Melodramas, Kung Fu, and the Start of Asian American</p> <p>Independent Filmmaking 136</p> <p>Towards a Global Hollywood: Asian American Actors</p> <p>and Filmmakers of the Last Thirty Years 141</p> <p>Case Study: <i>Crazy Rich Asians </i>(2018) 146</p> <p>Conclusion 148</p> <p>Questions for Discussion 148</p> <p>Further Reading 148</p> <p>Further Screening 149</p> <p><b>7 Latinos and American Film 150</b></p> <p>The Greaser and the Latin Lover: Alternating Stereotypes 152</p> <p>World War II and After: The Good Neighbor Policy 155</p> <p>The 1950s to the 1970s: Back to Business as Usual? 159</p> <p>Expanding Opportunities in the 1980s and 1990s 161</p> <p>Case Study: <i>My Family/Mi Familia </i>(1995) 164</p> <p>Latino Film in the 21st Century 166</p> <p>Conclusion: Which Way Forward? 169</p> <p>Questions for Discussion 171</p> <p>Further Reading 172</p> <p>Further Screening 172</p> <p><b>Part III Class and American Film 173</b></p> <p>Introduction to Part III: What is Class?</p> <p><b>8 Classical Hollywood Cinema and Class 179</b></p> <p>Setting the Stage: The Industrial Revolution 179</p> <p>Early Cinema: The Rise of the Horatio</p> <p>Alger Myth 181</p> <p>Hollywood and Unionization 185</p> <p>Class in the Classical Hollywood Cinema 188</p> <p>Case Study: <i>The Grapes of Wrath </i>(1940) 190</p> <p>Conclusion: Recloaking Class Consciousness 192</p> <p>Questions for Discussion 192</p> <p>Further Reading 193</p> <p>Further Screening 193</p> <p><b>9 Cinematic Class Struggle After the Depression 194</b></p> <p>From World War II to the Red Scare 194</p> <p>From Opulence to Counterculture 197</p> <p>Box: Class on Television 202</p> <p>New Hollywood and the Resurrection of the Horatio Alger Myth 202</p> <p>Corporate Hollywood and Labor in the 21st Century 208</p> <p>Case Study: <i>The Florida Project </i>(2017) 213</p> <p>Questions for Discussion 215</p> <p>Further Reading 215</p> <p>Further Screening 215</p> <p><b>Part IV Gender and American Film 217</b></p> <p>Introduction to Part IV: What is Gender?</p> <p><b>10 Women in Classical Hollywood Filmmaking 223</b></p> <p>Images of Women in Early Cinema 224</p> <p>Early Female Filmmakers 228</p> <p>Images of Women in 1930s Classical Hollywood 231</p> <p>World War II and After 235</p> <p>Case Study: <i>All that Heaven Allows </i>(1955) 238</p> <p>Questions for Discussion 240</p> <p>Further Reading 240</p> <p>Further Screening 241</p> <p><b>11 Exploring the Visual Parameters of Women in Film 242</b></p> <p><i>Ways of Seeing </i>242</p> <p>“Visual Pleasure and Narrative Cinema” 245</p> <p>Case Study: <i>Gilda </i>(1946) 254</p> <p>Conclusion: Complicating Mulvey’s Arguments 255</p> <p>Questions for Discussion 258</p> <p>Further Reading 258</p> <p>Further Screening 258</p> <p><b>12 Masculinity in Classical Hollywood Filmmaking 259</b></p> <p>Masculinity and Early Cinema 262</p> <p>Masculinity and the Male Movie Star 263</p> <p>World War II and Film Noir 268</p> <p>Case Study: <i>Dead Reckoning </i>(1947) 273</p> <p>Masculinity in 1950s American Film 274</p> <p>Questions for Discussion 277</p> <p>Further Reading 277</p> <p>Further Screening 277</p> <p><b>13 Gender in American Film Since the 1960s 278</b></p> <p>Second Wave Feminism and Hollywood 278</p> <p>Box: Women and American Television 282</p> <p>Into the 1980s: A Backlash against Women? 285</p> <p>A New Generation of Female Filmmakers 288</p> <p>Gender at the Turn of the Century 292</p> <p>Gender Politics after 9/11 294</p> <p>Case Study: <i>Wonder Woman </i>(2017) 297</p> <p>Questions for Discussion 299</p> <p>Further Reading 300</p> <p>Further Screening 300</p> <p><b>Part V Sexuality and American Film 301</b></p> <p>Introduction to Part V: What is Sexuality?</p> <p><b>14 Heterosexuality, Homosexuality, and Classical Hollywood 307</b></p> <p>(Hetero)Sexuality on Screen 307</p> <p>(Homo)Sexuality in Early Film 309</p> <p>Censoring Sexuality during the Classical Hollywood Era 311</p> <p>Postwar Sexualities and the Weakening of the Production Code 316</p> <p>Camp and the Underground Cinema 320</p> <p>Case Study: <i>The Celluloid Closet </i>(1995) 322</p> <p>Questions for Discussion 323</p> <p>Further Reading 324</p> <p>Further Screening 324</p> <p><b>15 Sexualities on Film Since the Sexual Revolution 325</b></p> <p>Hollywood and the Sexual Revolution 325</p> <p>Film and Gay Culture from Stonewall to AIDS 327</p> <p>The AIDS Crisis 332</p> <p>Queer Theory and New Queer Cinema 334</p> <p>Box: Queer TV 338</p> <p>Hollywood Responds to New Queer Cinema 340</p> <p>Case Study: <i>Love, Simon </i>(2018) 344</p> <p>(Hetero)Sexualities in Contemporary American Cinema 346</p> <p>Conclusion: The Power Dynamics of Sexuality 349</p> <p>Questions for Discussion 351</p> <p>Further Reading 351</p> <p>Further Screening 352</p> <p><b>Part VI Ability and American Film 353</b></p> <p>Introduction to Part VI: What is Ability?</p> <p><b>16 Cinematic Images of (Dis)Ability 359</b></p> <p>Disabled People in Early American Film: Curiosities and Freaks 360</p> <p>Romanticizing Disability in Classical Hollywood Melodramas 364</p> <p>Disability in War Movies and Social Problem Films 366</p> <p>Disability and the Counterculture 369</p> <p>Case Study: <i>Children of a Lesser God </i>(1986) 373</p> <p>After the 1980s: A More Enlightened Hollywood? 374</p> <p>Far From Hollywood: Documentary, Activism,</p> <p>and New Modes of Television 377</p> <p>Questions for Discussion 380</p> <p>Further Reading 380</p> <p>Further Screening 381</p> <p>Glossary 382</p> <p>Index 404</p>
<p><b>HARRY M. BENSHOFF, PhD,</b> is Professor of Media Arts at the University of North Texas. He received his PhD in Critical Studies at the University of Southern California’s School of Cinema-Television. His research focuses include the representation of African Americans and queer people in film and television, particularly within the horror genre.</p><p><b>SEAN GRIFFIN, PhD,</b> is Professor of Film and Media Arts, Southern Methodist University. He received his doctorate from the University of Southern California in 1997. He has written and studied extensively in the area of queer representation in film, as well as the history of the American musical film.</p>
<p><b>A comprehensive and insightful examination of the representation of diverse viewpoints and perspectives in American cinema throughout the 20th and 21st Centuries</b></p><p><i>America on Film: Representing Race, Class, Gender and Sexuality at the Movies</i>, now in its third edition, is an authoritative and lively examination of diversity issues within American cinema. Celebrated authors and academics Harry M. Benshoff and Sean Griffin provide readers with a comprehensive discussion and overview of the industrial, socio-cultural, and aesthetic factors that contribute to cinematic representations of race, class, gender, sexuality, and ability.</p><p>The book incorporates several different theoretical perspectives, including film genre, auteurism, cultural studies, Orientalism, whiteness, the “male gaze,” feminism, and queer theory. The authors examine each selected subject via representative films, figures, and movements. Each chapter also includes an in-depth analysis of a single film to illuminate and inform its discussion of the chosen topic.</p><p><i>America on Film</i> fearlessly approaches and tackles several controversial areas of representation in film, including the portrayal of both masculinity and femininity in film and African- and Asian-Americans in film. It devotes the entirety of Part V to an analysis of the depiction of sex and sexuality in American film, with a particular emphasis on the portrayal of homosexuality. Topics covered include:<ul><li>The structure and history of American filmmaking, including a discussion of the evolution of the business of Hollywood cinema</li><li>African Americans and American film, with a discussion of <i>BlacKkKlansman</i> informing its examination of broader issues</li><li>Asian, Latin/x, and Native Americans on film</li><li>Classical Hollywood cinema and class, with an in-depth examination of <i>The Florida Project</i></li><li>Women in classical Hollywood filmmaking, including a discussion of the 1955 film, <i>All That Heaven Allows</i></li></ul><p>Perfect for undergraduate and graduate students in film, media, and diversity-related courses, this book also belongs on the shelves of anyone interested in diversity issues in the context of American studies, communications, history, or gender studies. Lastly, it is ideal for use within corporate diversity training curricula and human relations training within the entertainment industry.

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