Hollywood Genres

기본 정보

본제목

Hollywood Genres

부제목

Formulas, Filmmaking, and the Studio System

대등제목

-

국가구분

국외

생산일자

1981-**-**

언어

영어

크기(mm)

184 x 235

페이지

297쪽

ISBN/ISSN

039432255X

판차

-

마스터파일

-

생산자

Thomas Schatz (저자), Random House (발행처)

내용

-

목차

목차

Preface = ⅶ PART ONE = 1 1. THE GENIUS OF THE SYSTEM = 3 The studio system = 4 The genre film and the genre director = 6 The auteur policy = 7 Genre and narrative conventions = 10 Genre as a social force = 11 2. FILM GENRES AND THE GENRE FILM = 14 Genre as system = 15 The language analogy = 18 Toward a grammar of film genre = 20 Iconography: Imagery and meaning = 22 Character and setting: Communities in conflict = 24 Plot structure: From conflict to resolution = 29 Narrative strategy and social function: Contradictions, happy endings, and the status quo = 34 Generic evolution: Patterns of increasing self-consciousness = 36 PART TWO = 43 3. THE WESTERN = 45 Western as genre = 45 The early films = 46 The landscape of the West = 47 John Ford's Stagecoach = 49 The changing vision of the West = 50 Stagecoach and The Shootist = 53 Shane: The initiate hero and the integration of opposites = 55 The changing hero: The "psychological" and "professional" Westerns = 58 Our idealized past: The Western = 63 John Ford and the evolution of the Western = 63 Ford's embellishment of the Western formula = 64 Stagecoach as an advance in the genre = 66 Clementine: A utopian Western = 67 Ford's postwar Westerns = 70 Ford's masterpiece: The Searchers = 72 Ford's farewell to the Westerner = 76 4. THE GANGSTER FILM = 81 The classic gangster films = 81 The gangster hero and the urban milieu = 82 The gangster prototypes: Little Caesar and The Public Enemy = 86 The consummate gangster saga: Howard Hawks' Scarface = 90 The gangster and the audience = 92 The production code and the death of the classic gangster = 95 Patterns of industry censorship = 96 Recasting the gangster = 98 Genre variations in the late 1930s = 99 The bandit films of the early 1940s = 102 Key Largo and White Heat: The gangster's epitaph = 104 5. THE HARDBOILED-DETECTIVE FILM = 111 Film noir, Citizen Kane, and the rise of American expressionism = 111 The emergence of film noir = 111 Film noir and the American dream = 113 Noir techniques in Citizen Kane = 116 Citizen Kane as a detective film = 120 The birth of Expressionism and the death of Hollywood = 122 The hardboiled-detective genre = 123 The hardboiled-prototype: Huston's The Maltese Falcon = 126 The noir influence: Murder, My Sweet and Double Indemnity = 130 The genre's postwar development = 136 The police-detective variation = 142 Regeneration in the New Hollywood = 147 6. THE SCREWBALL COMEDY = 150 The prototype: It Happened One Night = 152 The screwball genre's dilemma: Reconciling class differences = 155 Godfrey, Mr. Deeds, and other homespun aristocrats = 157 Antagonism and the embrace: Narrative logic and narrative rupture = 159 The divorce-remarriage variation = 162 Screwball comedy shaded black: His Girl Friday and Meet John Doe = 165 Undercutting the genre: The films of Preston Sturges = 168 Postwar developments: The genre winds down = 170 Frank Capra and Robert Riskin: "The Capriskin Touch" = 173 The collaborators = 173 The films: 1934-1941 = 176 The Deeds-Smith-Doe trilogy = 179 7. THE MUSICAL = 186 The musical comes of age: 42nd Street and Gold Diggers of 1933 = 189 Fred Astaire and the rise of the integrated musical = 191 Internal logic and the atmosphere of illusion = 194 The musical as courtship rite = 196 MGM's Freed Unit: Studio as Auteur = 202 Integrated romance and the promise of utopia = 204 The evolution of the music man: Fred Astaire and Gene Kelly = 207 Kelly's persona in the early 1950s = 209 Singin' in the Rain and The Band Wagon: The professionals go natural = 212 Characters, performers, and crises of identity = 215 Rites of integration／rites of entertainment = 218 8. THE FAMILY MELODRAMA = 221 Melodrama as style and as genre = 221 1950.s melodrama: The genre comes of age = 223 The family as narrative focus = 226 Young at Heart and Picnic: The male intruder-redeemer in a world of women = 228 The widow-lover variation = 232 The family aristocracy variation = 235 Nicholas Ray, Vincente Minnelli, and the male weepie = 239 Stylization, social reality, and critical values = 243 Douglas Sirk and the family melodrama: Hollywood baroque = 245 Sirk as stylist = 248 All that heaven allows = 249 Written on the Wind = 252 Imitation of Life = 256 EPILOGUE: Hollywood Filmmaking and American Mythmaking = 261 NOTES = 269 REFERENCES = 275 INDEX = 285

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