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Point of view and communication

This book explores the theoretical and critical concept of filmic point of view. Its case studies are six acclaimed and accomplished instances of ‘classical Hollywood cinema’: Mr. Deeds Goes to Town (Capra, 1936), Only Angels Have Wings (Hawks, 1939), Letter from an Unknown Woman (Ophuls, 1948), Vertigo (Hitchcock, 1958), Anatomy of a Murder (Preminger, 1959), and The Man Who Shot Liberty Valance (Ford, 1962). The book’s particular contributions to the study of filmic point of view are to use ‘communication’ as an idea which permits new ways of approaching this topic, and to offer detailed explorations of the filmic representation of character experience (including character ‘consciousness’ and interaction), and of the relationship of film to other media of communication (especially print media and the novel). With respect to character experience, it is argued that the often-held distinction between an inner realm of thought and feeling and an outer realm of behaviour and objects fails to do justice to the human experience of ‘being-in-the-world’ and film’s ability to represent it. With respect to film’s relationship to other media, it explores the traversing of the public, the private and the social that narrative fiction film represents, in a way that aligns the medium with the novel. The book is offered as a demonstration and defence of the value of a ‘conversational’ critical method that entails detailed scrutiny of our film-viewing experiences and of the language we use to describe those experiences, and eschews the construction of a taxonomy designed for general applicability.

Technologies of Surveillance, Knowledge and Power in Paramount Budget Documents, 1927–58
William Thomas McClain

Film production at Paramount Pictures during the so-called classical era required the mobilisation of massive material and human capital that depended on institutional systems of surveillance, knowledge creation and control ranging from departmental affiliations to the pre-printed budget forms. This article focuses on those pre-printed budget forms as technologies of knowledge and power, revealing that the necessities of creating and managing coalitions of expert labourers created alternative power centres and spaces where being the object of surveillance was itself a source of power. It concludes by discussing the implications of this ecology for the historiography of Hollywood.

Film Studies
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Robert Rossen and Postwar Hollywood
Brian Neve

As a contracted screenwriter Rossen‘s particular interest in social themes had a synergy with the broad and generic concerns of the Warners studio in the Popular Front period of the late thirties and then in the war years. This article relates the themes and motifs of Rossen‘s work at Warners to the period at the end of the war and in the late forties, when he took advantage of a rise in independent production and began directing.

Film Studies

Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.

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The creative nexus
Jeffrey Richards

, the sheet music of the film and above all radio. When radio first took off in the United States in the late 1920s, it was regarded by the film industry as a rival, something to keep people at home and away from the cinema. But during the 1930s, Hollywood began to appreciate the value of radio in publicizing and promoting its films. It discovered that radio complemented films rather than substituted for them and a richly symbiotic relationship developed between

in Cinema and radio in Britain and America, 1920–60
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Deconstructing existentialism and the counterculture in The Gambler (1974) and Dog Soldiers/ Who’ll Stop the Rain (1978)
Colin Gardner

disappear; there will be every incentive for our own home-grown talent to follow them’. 8 Herren’s prediction proved prescient, for by 1975 Joseph Losey was living in France as a tax exile, only returning to the UK for his last film, Steaming (1984), while John Schlesinger moved to Hollywood to direct his next two features, Day of the Locust (1975) and Marathon Man (1976). Even Carl Foreman – a loyal British resident since

in Karel Reisz
Tim Snelson

This article focuses on a cycle of late 1960s true crime films depicting topical mass/serial murders. It argues that the conjoined ethical and aesthetic approaches of these films were shaped within and by a complex climate of contestation as they moved from newspaper headlines to best-sellers lists to cinema screens. While this cycle was central to critical debates about screen violence during this key moment of institutional, regulatory and aesthetic transition, they have been almost entirely neglected or, at best, misunderstood. Meeting at the intersection of, and therefore falling between the gaps, of scholarship on the Gothic horror revival and New Hollywood’s violent revisionism, this cycle reversed the generational critical divisions that instigated a new era in filmmaking and criticism. Adopting a historical reception studies approach, this article challenges dominant understandings of the depiction and reception of violence and horror in this defining period.

Film Studies
Richard Rushton

Italian Style emerged in Hollywood in 1965 in the form of How to Murder Your Wife (directed by Richard Quine), starring Jack Lemmon and Italian actress Virna Lisi. Lemmon's character wakes up one morning after a night of heavy drinking to discover he has married an Italian woman, played by Lisi. Lisi then also starred opposite Tony Curtis the following year in another sex comedy, Not with My Wife, You Don’t! (directed by Norman Panama). At the same time in France, Jean-Luc Godard's films were often concerned with issues of love and marriage. In

in Modern European cinema and love
Power, culture, and society

This book interrogates the interplay of cultural and political aspects of contemporary Hollywood movies. Using ‘security’ films dealing with public order and disorder (Part I), romantic comedies and other movies presenting intimate relationalities (Part II), socially engaged films offering overtly critical messages (Part III), and analysis of Hollywood’s global reach and impact (Part IV), it articulates and illustrates an original cultural politics approach to film. The book employs an expanded conception of ‘the political’ to enquire into power relations in public, private, and policy arenas in order to advance a new framework and methodology for cultural politics. It demonstrates how movies both reflect and produce political myths that largely uphold the status quo as they shape our dreams, identities, and selves.

Steve Chibnall

next film in America. “ So I said, “Certainly I’d like to. “ And that was my first American film.’ This is how J. Lee Thompson relates the genesis of Cape Fear , the film that would set his career in a whole new direction. Peck’s sudden offer made it possible for Lee Thompson to realise his long-held ambition to be a Hollywood director. ‘Ever since I was a child I dreamed of Hollywood’, he admits. ‘I wanted to

in J. Lee Thompson