Ideology and Cinematography in Hollywood, 1930-39

CONTENTS Acknowledgements = ⅷ 1 Introduction = 1 Explaining cinematographic style = 1 The studio system = 6 Defining 'style' = 7 Method = 7 2 Ideology and Cinematographic Style = 9 The articulated definition = 9 The minimal concept of the dominant ideology = 10 Hegemony = 12 Determination = 13 Popular film = 13 The audience = 14 From ideology to visual style = 15 The elements of cinematographic style = 16 Cinematography as a system of signification = 19 Cinematographic structuring = 21 Cinematography as a system of subjectivity = 23 Conclusion = 26 3 From Silent to Sound : All Quiet on the Western Front = 27 The making of All Quiet on the Western Front = 27 The script = 29 Camera movement = 30 Camera distance = 32 Camera angle = 33 Lighting = 35 Signification = 37 Subjectivity = 41 Conclusion = 42 4 A Crisis of Explanation : The Early Thirties = 44 The crisis of the early thirties = 44 Hollywood in the Depression = 46 Cinematographic style, 1931－32 = 47 The Public Enemy = 49 Susan Lenox, Her Fall and Rise = 52 The Most Dangerous Game = 55 Ideological contradictions in films of the early thirties = 57 Conclusion = 59 5 Questioning Subjectivity : Dr Jekyll and Mr Hyde = 61 The making of Dr Jekyll and Mr Hyde = 61 Stevenson's story = 63 Camera movement = 64 Camera distance = 66 Camera angle = 68 Lighting = 70 Signification = 71 Subjectivity = 74 Conclusion = 75 6 The New Deal in Hollywood, 1933－35 = 77 The economy and society in the mid－thirties = 77 Hollywood and the Production Code = 80 Technological developments in the mid－thirties = 82 42nd Street = 84 Viva Villa! = 86 Bride of Frankenstein = 88 Les Miserables = 90 Conclusion = 92 7 Screwball Restraint : The Awful Truth = 93 The making of The Awful Truth = 93 Screwball comedy = 94 The script = 97 Camera movement = 98 Camera distance = 100 Camera angle = 102 Lighting = 102 Signification = 104 Subjectivity = 105 Conclusion = 106 8 The Restrained Style, 1936－38 = 108 The studios in the mid－thirties = 108 The Adventures of Robin Hood = 111 Three Comrades = 114 Ideology in Three Comrades and The Adventures of Robin Hood = 119 Conclusion = 121 9 Towards Film Noir : Dead End = 123 The making of Dead End = 123 The script = 125 Camera movement = 127 Camera distance = 129 Camera angle = 130 Lighting = 131 Deep focus = 133 Signification = 134 Subjectivity = 136 Conclusion = 137 10 The End of the Decade = 138 The USA at the end of the thirties = 138 Hollywood reacts = 140 Film style at the end of the decade = 142 The Hound of the Baskervilles = 143 Gone With the Wind = 146 Conclusion = 151 Conclusion = 152 Notes = 154 Select Bibliography = 161 Index = 163

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