Relevant bibliographies by topics / Classic Hollywood cinema

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Classic Hollywood cinema'

Author: Grafiati
Published: 19 February 2023

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Journal articles on the topic "Classic Hollywood cinema"

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Valverde-Maestre, Águeda-María, and José-Patricio Pérez-Rufí. "Loyal and stubborn heroes: the main character’s personality in Classic Hollywood cinema." Communication & Society 35, no. 1 (January 10, 2022): 151–61. http://dx.doi.org/10.15581/003.35.1.151-162.

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This research aims to analyze the main characters’ construction in classic Hollywood cinema by focusing on their personalities. This work follows Bordwell, Staiger and Thompson’s notions of classic cinema. The sample includes films from 1930 to 1960. Character is understood as personality and as a psychological unit. Characterization is defined by each trait that refers to the totality of their character. We start with the hypothesis that there are central tendencies for creating heroes and heroines in classic cinema. However, these tendencies also correspond with the film narrative model, which is shaped by the functionality of the narrative categories in the story. Personality is among those factors that shape the construction of the character. We applied a methodology of film narrative analysis to a sample of 64 films from six extensive genres in classic Hollywood cinema. The results confirm that the main character in classic cinema is conditioned and shaped by their adaptation to the film’s genre. The hero is usually positive according to what is considered socially acceptable values; the dramatic needs of the plot predetermine their definition. The Hollywood main character’s personality is based on their functionality as they serve the narrative needs of the story.
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Fătu-Tutoveanu, Andrada. "Death Becomes Her. Implicit Religion, Relics, Myth-Making and the Witch Complex in Visual Representations of Women in Film Noir. A Case Study." Caietele Echinox 43 (December 1, 2022): 148–57. http://dx.doi.org/10.24193/cechinox.2022.43.09.

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"While cinema and especially the Hollywood Golden Age has constructed a mythology of its own, cinematic storytelling has also recycled heavily on classic mythologies and cultural stereotypes. The female figures have represented during the Hollywood Golden Age and in film noir in particular a special category from this perspective, being both deified and demonized, depicted as goddesses, vampires, fascinating ghosts and, above all, femmes fatales. Classic feminist studies have argued that both this depiction/representation, verbal or visual, and the intended spectator, are male. Based on a comparative case-study, the current paper discusses the manner in which what I call a cinematic witch complex is constructed through either hiding or revealing in order to conclude which is more efficient in the process of gendered myth-making."
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Alvarado Duque, Carlos Fernando, and José Wilson Escobar Ramírez. "Metáfora y metonimia: estrategias retóricas de organización narrativa. Análisis de caso en el cine clásico y posmoderno." Signa: Revista de la Asociación Española de Semiótica 28 (June 28, 2019): 373. http://dx.doi.org/10.5944/signa.vol28.2019.25058.

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La metáfora y la metonimia amplifican el sistema expresivo que ha tejido el séptimo arte a lo largo de su historia. Nos interesa mostrar cómo dichas figuras son capaces de producir sentido más allá de las formas clásicas del lenguaje. Sin negar su rol funcional, su verdadera fuerza radica en su uso poético. Ambas figuras operan como estrategias narrativas que permiten hacer variaciones sobre la narrativa clásica y que dan pie a procesos transtextuales. En calidad de análisis de caso realizamos una exegesis de cuatro filmes que pertenecen al cine clásico de Hollywood y al cine postmoderno para mostrar el funcionamiento de la metáfora y la metonimia en dos momentos diferentes de la historia del cine.Metaphor and metonymy amplify the expressive system that has woven the seventh art throughout its history. We want to show how these figures are capable of producing meaning beyond the classical forms of language. Without denying their functional role, its real strength lies in its poetic use. Both figures operate as narrative strategies that make variations on the classic narrative and give rise to trans-textual processes. As a case analysis, we did an exegesis of four films that belong to classic Hollywood cinema and postmodern cinema to show the operation of metaphor and metonymy in two different moments in the history of cinema.
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Hogan, Erin K. "Don Quixote, Sweded by Michel Gondry in Be Kind Rewind (2008)." Open Cultural Studies 1, no. 1 (December 20, 2017): 454–67. http://dx.doi.org/10.1515/culture-2017-0042.

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Abstract In the spirit of poetic license from Be Kind Rewind (2008), this article argues that Michel Gondry’s film “swedes,” its playful neologism for ersatz remaking of Hollywood and classic films, Miguel de Cervantes’s Don Quixote. The feature follows the Sanchification of Jerry (Jack Black), Gondry’s Don Quixote, and Quixotification of Mike (Mos Def), Gondry’s Sancho, as they nostalgically wrong cinematic rights through sweding and try to save their working-class neighbourhood from condemnation and gentrification through community film making. Gondry swedes the Quixote through his engagement with major themes and operations in Cervantes’s classic, including nostalgia, story-telling, conflicts between reality and fantasy, authorship, the grotesque and carnivalesque, (anti-)heroes, race and gender-bending, genre, and addressees turned addressers. This article discusses Be Kind Rewind’s relationship to Hollywoodian and Cervantine classics through the theoretical frameworks of Julio Garcia Espinosa’s imperfect cinema and Foucauldian semiotics, respectively. Be Kind Rewind uses and abuses Hollywood stereotypes to re-purpose them for a critique of discriminatory practices. Where casting is concerned and where Michel’s characters diverge from Miguel’s, Be Kind Rewind advances that skin colour is not an arbitrary sign and that race has historical and contemporary meaning in intercultural interactions.
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McNally, Karen. "Veronica Pravadelli, Classic Hollywood: Lifestyles and Film Styles of American Cinema 1930–1960." Screen 60, no. 1 (2019): 190–92. http://dx.doi.org/10.1093/screen/hjy071.

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Shannon, Christopher. "Public Enemies, Local Heroes: The Irish-American Gangster Film in Classic Hollywood Cinema." New Hibernia Review 9, no. 4 (2005): 48–64. http://dx.doi.org/10.1353/nhr.2006.0014.

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Moss, Anne Eakin. "The Camera Shot and the Gun Sight." Zeitschrift für Medien- und Kulturforschung 10, no. 2 (2019): 25–38. http://dx.doi.org/10.28937/1000108349.

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This article examines the connections be- tween the camera shot and the gun sight in the age of classic Hollywood cinema. Com- paring THE LOST PATROL (USA 1934, John Ford) with TRINADTSAT (THIRTEEN, UdSSR 1936, Mikhail Romm), it asks what kind of relationship films from this era strove to establish between the viewer and the gun shot on screen. The ideological and stylistic differences between the films make visible divergent fantasies of agency, community and technology.
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García López, Antonio. "Peter Greenaway. Filmmaker, or plastic artist?" Revista Sonda: Investigación y Docencia en Artes y Letras 6 (December 31, 2017): 89–102. http://dx.doi.org/10.4995/sonda.2017.18378.

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The aim of this article is to verify the intense relationship that, from its beginnings, maintains a figure like Peter Greenaway with the cinematographic medium and with the artistic vanguards, especially with painting. This controversial author has been analyzed from the point of view of the film-painters, which do not follow the classic narrative imposed by Hollywood; and from the point of view of the artists who, with their approach to cinema, contributed as pioneers to the construction of cinematographic language. Finally, we take a journey from the European author cinema to his latest creations as a video artist, where he seems to find a way out of the current creative limitations of the seventh art.
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Cavalcante, Alcilene. "A personagem lésbica no cinema brasileiro realizado por mulheres durante a ditadura civil-militar (1964-1985)." Mistral | Journal of Latin American Women's Intellectual & Cultural History 2, no. 1 (December 14, 2022): 50–62. http://dx.doi.org/10.21827/mistral.1.39903.

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Neste artigo, abordamos os termos da representação lésbica em dois longas-metragens, de ficção, realizados por mulheres no Brasil, no período de ditadura civil-militar (1964-1985). Analisamos Marcados para viver (1976), de Maria do Rosário Nascimento e Silva, e Amor maldito (1984), de Adélia Sampaio. Partimos de referenciais feministas do cinema, que reconhecem o jogo de (in)visibilidade lésbica em cinematografias, desde filmes clássicos de Hollywood, sustentando que, apesar de códigos de censura e do padrão de heterossexualidade compulsória ou de heteronormatividade, as lésbicas sempre apareceram neles, mesmo que de maneira fantasmagórica. ====== In this article, I address the terms of lesbian representation in two fictional feature films directed by women in Brazil during the period of civil-military dictatorship (1964-1985), namely Marcados para viver (1976), by Maria do Rosário Nascimento e Silva, and Amor maldito (1984), by Adélia Sampaio. Beginning with feminist references in cinema, which have recognized the play of lesbian (in)visibility in cinematographies since the classic age of Hollywood, I maintain that, despite censorship codes and the standard of compulsory heterosexuality or heteronormativity, lesbians have always been present, even if in a ghostly manner.
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Fan, Ni. "Ne Zha’s image transformation in Chinese animation cinema (1961‐2019)." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 277–98. http://dx.doi.org/10.1386/ffc_00025_1.

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This article analyses Ne Zha’s image evolution through different animated films in the PRC from 1961 to 2019. Three key Ne Zha films are Uproar in Heaven, Ne Zha Conquers the Dragon King and Ne Zha, representing the era of ‘classical Chinese animation’, ‘modern Chinese animation’ and ‘postmodern Chinese animation’, respectively. In 2019, Ne Zha became the summer hit and the highest-grossing Chinese original animation earning ¥5.035 billion at the Chinese box office. Explorations of how classical artistic traditions and legendary stories have been transposed into these films shows that Chinese animation has retreated from the peak of national style in the 1960s and undergone change with globalization’s cultural and ideological impacts. In sum, artistic techniques associated with fine arts film, traditional narrative methods and plot stylization have gradually weakened. Contemporary elements such as Hollywood classic three-act pattern and Japanese comic character relationships and images have significantly influenced Chinese animation in the twenty-first century.
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Dissertations / Theses on the topic "Classic Hollywood cinema"

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Chu, Chun-Yang. "Goddess Of Fate (Mingyun nüshen): A Case Study of Multiple Narrative Strands in a Contemporary Chinese Film." Thesis, Griffith University, 2008. http://hdl.handle.net/10072/367179.

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This exegesis explains my film Goddess of Fate (Mingyun nüshen). I completed this film, in May 2007, as the studio project for the degree of Doctor of Visual Art at Griffith University. A Chinese experimental film, Goddess of Fate explores the mysteries of fate through the lives of two Taiwanese teenagers, a male and a female with very different life courses. The pair develops a surreal connection through a statue of the Goddess of Fate that with dream, prayer and imagery draws them together and ultimately leads to redemption. My film seeks to create a narrative that integrates three narrative strands from different traditions: classical Hollywood, Taoism or Chinese narrative more broadly, and Christian. As director of the film, I bring these three strands from my personal and filmmaking experiences and from my reflections on filmmaking theory and practice, which I explain in this exegesis. Here I address the research question: How are the multiple narrative traditions merged in my Chinese film Goddess of Fate? The theoretical field is cinema studies, with a focus on narrative. After discussing my personal background as a filmmaker and my interest in film narrative, I discuss narrative theory in Hollywood and Chinese experimental film, and then introduce the film’s two non-Hollywood narrative traditions, Taoist (as an element of Chinese narrative) and Christian. Within this context I follow with a detailed discussion of the merger of the three narrative strands in Goddess of Fate. Essentially, I conceptualise the narrative as two separate threads attached to the story line of the two main characters, Lin Hsi and Ching Ching. Lin’s storyline begins in the Hollywood mode, which is disrupted midway through the film. Ching Ching’s storyline is primarily Christian, told through Chinese, especially Taoist, narrative techniques. In the end, the two storylines merge. This bipolar and complementary method is well established in Chinese literary theory and practice. I aimed to create a special and original work of art in Goddess of Fate that blends my interest in Hollywood narrative and Chinese experimental film, my background in experimental filmmaking, and my personal Christian beliefs. The experimental focus in Goddess is on issues of narrative, a major aspect of film studies. Therefore, this exegesis explains how the multiple narrative traditions are merged in my Chinese film Goddess of Fate in the context of narrative theory in cinema studies. This exegesis is meant to be read in tandem with, or after, viewing Goddess of Fate. The film is highly visual, whereas this exegesis is verbal. To introduce a visual element into this exegesis, I make extensive use of stills that illustrate the non-verbal ways in which the various strands merge through symbolism and non-linear narrative. The merger of narrative strands from different times, cultures, traditions and media is perhaps ambitious. However, my film has already been selected for screenings at Asian and American film festivals. My film (attached as a DVD) and its interpretation in this exegesis contribute to our understanding of the integration of multiple narrative traditions in film studies and the experimental lineage of transnational Chinese cinema. Goddess of Fate has also contributed to my own personal growth as a filmmaker.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Griffith Film School
Queensland College of Art
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Davison, Annette. "Hollywood theory, non-Hollywood practice : cinema soundtracks in the 1980s." Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310816.

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Johnson, Jeb E. Mr. "Exploring Hollywood Cinema: A Look at Cinematic Techniques and the Classical Hollywood Ideology." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/350.

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The focus of this thesis is to explore the ideas behind Hollywood Cinema and techniques used to craft camera shots of today’s cinema. The movie industry is one of the United States’ biggest export profits; because of this, American movies standout above the rest. I will be exploring and demonstrating the researched techniques of American cinema.
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Gruffman, Mathias. "Alternativ Hollywoodestetik : En studie över fyra filmers förhållande till Classical Hollywood Cinema." Thesis, Örebro University, Department of Humanities, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-1555.

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This essay studies stylistic differences as well as homage’s between four films produced in two different contexts, New Hollywood and alternative aesthetics today in America. This is done in order to answer the question how alternative Hollywood works against or with Classical Hollywood Cinema in cases like style and narrative. The Work is done by a theory of neoformalism and the definition made by them of Classical Hollywood Cinema. The essay finds small changes, although kind of important witch are mainly shown in editing and causal motivation. It’s found that, in these films Classical Hollywood Cinema still contributes with a huge part.

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Kydd, Elspeth. "'Touched by the tar brush' : miscegenation and mulattos in classical Hollywood cinema." Ann Arbor, Mich. : ProQuest Information and Learning, 2005. http://gateway.proquest.com/openurl?res_dat=xri:ssbe&url_ver=Z39.88-2004&rft_dat=xri:ssbe:ft:keyresource:Reg_Diss_05.

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CHIARULLI, RAFFAELE ROSARIO. "Strutture drammaturgiche e tecniche di scrittura del cinema americano classico : casi di intertestualità tra teatro e cinema." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1533.

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Questa tesi è un’esplorazione dei rapporti tra il segno teatrale e il segno cinematografico attraverso la prospettiva degli sceneggiatori e della sceneggiatura nel cinema hollywoodiano classico. Presenta problematiche che riguardano la sceneggiatura come pratica, forma d’arte, oggetto di discussione, mezzo di espressione e risultato di una messa in campo di propositi, valori e significati.
This doctoral thesis is an analysis of the relationships between the "theatrical sign" and the "cinematographic sign" from the perspective of screenwriters and of Classic Hollywood screenwriting. It introduces issues related to screenwriting as practical activity, form of art, subject of discussion, system of communication, and as the result of a negotiation of aims, values and meanings.
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Green, Stuart Nishan. "From screen to state : the influence of classical Hollywood cinema on the theatre of the Other Generation of 1927 in Spain." Thesis, University of Sheffield, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434991.

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Bas, Pierre. "Les interrelations entre le monde réel et le monde du fantasme dans le classicisme hollywoodien." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA088.

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Le classicisme hollywoodien permet d’explorer la variété des sens que revêt au cinéma le concept de réalité à partir de fragments de réalité matérielle enregistrés, du réalisme ontologique qui s’y attache, de la réalité diégétique qui constitue l’univers des films, et de la réalité philosophique, qui renvoie le spectateur à son être propre par le partage de l’expérience de personnages auxquels il s’identifie. Par l’instrumentalisation de ces réalités relatives, Hollywood crée une nouvelle forme de récit qu’alimenteront la littérature, les mythes et la psychanalyse, participant à la diffusion d’un fonds culturel commun à tous les Américains. Parce que la réalité cinématographique n’est pas ce que croit le spectateur, elle a naturellement partie liée avec le rêve et le fantasme, justifiant une réflexion sur leurs interrelations et sur la dynamique de transformation de l’art cinématographique qui se joue dans ces interrelations.Les mondes hollywoodiens, soumis à l’ imaginaire et au désir des cinéastes, n’ont que l’apparence du nôtre, jusqu’aux mondes intérieurs dont les portes nous seront ouvertes par Hollywood à travers la représentation des rêves, créant une hybridité entre réalité, rêve et fantasme. Mais un doute se créera chez le spectateur à qui on aura fait croire au rêve et au fantasme autant qu’à la réalité, et ce doute mettra en péril la « suspension d’incrédulité » qui avait fait le succès d’Hollywood et contribuera à la fin du classicisme, le rêve ayant contaminé la fiction
Through classical Hollywood cinema, one can explore the broad variety of meanings that the concept of reality has in cinema: fragments of recorded reality material, the ontological realism that is attached to it, the narrative reality that constitutes the universe of films, and the philosophical reality that transports the viewer back to his own self by sharing the experience of characters with whom he identifies. Through the instrumentalisation of these relative realities, Hollywood creates a new form of narrative that nourishes literature, myths and psychoanalysis, and help spread a common cultural background to all Americans. Because cinematographic reality is not what the audience believes it is, it is naturally linked with dream and fantasy, justifying thoughts on their inter-relationships and on the dynamics of the transformation of cinematographic art that is played out in these inter-relationships.Subjects of the imagination and desire of filmmakers, the worlds created by Hollywood merely have the appearance of our world. This even encompasses inner worlds, whose doors will be opened to us through the representation of dreams, creating a hybridity between reality, dream and fantasy. But a doubt will be created in the spectator, who has been made to believe equally in dreams, fantasy and reality, and this doubt will jeopardize the "suspension of disbelief" that has made Hollywood successful, ultimately contributing to the end of classicism; the dream having contaminated fiction
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Yaquinto, Marilyn. "POLICING THE WORLD: AMERICAN MYTHOLOGIES AND HOLLYWOOD'S ROGUE COP CHARACTER." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143469295.

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Ekenberg, Jonatan. "Olika leka bäst : En studie i samspel mellan olika berättarmodeller och element från slow cinema." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-40289.

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Uppsatsens syfte ligger i att undersöka huruvida filmteoretikern David Bordwells två inflytelserika berättarmodeller från 1980-talet fortfarande återfinns inom samtida filmproduktion. Jag fördjupar mig i det klassiska- respektive konstfilmsberättandet och jämför vidare de typiska elementen från de två berättarmodellerna med formatet slow cinema. I definitionen av slow cinema utgår jag ifrån filmvetaren Matthew Flanagans utredning av vad formatet innebär samt de tre byggstenarna han anser vara mest väsentliga. Dessa är långa tagningar, en ickeberättande struktur och skildringar av realistiska, vardagliga skeenden. Med en utgångspunkt i detta utför jag en närläsning av Alfonso Cuaróns film Gravity (2013). Analysen fokuserar på hur element från slow cinema kan adapteras till en mer kommersiellt accepterad film med ett klassiskt berättande. Gravity visar sig exemplifiera dels Cuaróns personliga stil men även ett samspel av element från de två berättarmodellerna, och slow cinema. Avslutningsvis förs en diskussion där jag jämför analysens resultat dels med tidigare forskning samt ett antal andra filmexempel. Slutsatsen blir således att konstnärlig auktoritet och filmisk kvalitet likväl kan uppstå inom kommersiella modeller som konstnärliga sådana. Dagens filmklimat och dess vidare utveckling kan gynnas av en uppluckring av de föråldrade konventioner som Bordwells berättarmodeller innebär. Istället skall filmskapare fritt kunna röra sig mellan olika stilar, tillvägagångsätt och berättande, likt Cuaróns förkroppsligade kamera.
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Books on the topic "Classic Hollywood cinema"

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The ABCs of classic Hollywood cinema. New York: Oxford University Press, 2007.

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Bowery to Broadway: The American Irish in classic Hollywood cinema. Scranton, [Pa.]: University of Scranton Press, 2010.

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Shannon, Christopher. Bowery to Broadway: The urban Irish in classic Hollywood cinema. Scranton: University of Scranton Press, 2010.

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Scandals of classic Hollywood: Sex, deviance, and drama from the Golden Age of American cinema. Thorndike, Maine: Center Point Large Print, 2015.

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The American dream and contemporary Hollywood cinema. New York, NY: Continuum, 2007.

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Scrivere per Hollywood: Ben Hecht e la sceneggiatura nel cinema americano classico. Venezia: Marsilio, 2012.

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Pravadelli, Veronica. La grande Hollywood: Stili di vita e di regia nel cinema classico americano. Venezia: Marsilio, 2007.

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Left of Hollywood: Cinema, modernism, and the emergence of U.S. radical film culture. Austin, Tex: University of Texas Press, 2010.

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Working-class Hollywood: Silent film and the shaping of class in America. Princeton, N.J: Princeton University Press, 1998.

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Paul, Morrison. Classic Hollywood Cinema Sexuality and the Politics of the Face. Taylor & Francis Group, 2020.

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Book chapters on the topic "Classic Hollywood cinema"

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Brown, Tom. "Spectacle and Value in Classical Hollywood Cinema." In Valuing Films, 49–66. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305854_4.

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Hagin, Boaz. "Conclusions: The Ends of Classical Death." In Death in Classical Hollywood Cinema, 107–50. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230275072_7.

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Hagin, Boaz. "The Meaning of Death in Classical Hollywood." In Death in Classical Hollywood Cinema, 1–10. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230275072_1.

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Hagin, Boaz. "Two Platos: Death, Truth, and Knowledge." In Death in Classical Hollywood Cinema, 11–25. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230275072_2.

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Hagin, Boaz. "Embodying the Past." In Death in Classical Hollywood Cinema, 26–44. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230275072_3.

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Hagin, Boaz. "Melodrama and the Shaping of Desires to Come." In Death in Classical Hollywood Cinema, 45–64. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230275072_4.

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Hagin, Boaz. "Cults of the Dead and Powers of the False." In Death in Classical Hollywood Cinema, 66–85. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230275072_5.

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Hagin, Boaz. "A Perpetual Present: Death and the War Film." In Death in Classical Hollywood Cinema, 86–106. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230275072_6.

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Arnett, Robert. "Hollywood Renaissance Noir, 1969–1979." In Neo-Noir as Post-Classical Hollywood Cinema, 45–65. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-43668-1_3.

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"The Culmination of Classic Hollywood:." In A Certain Tendency of the Hollywood Cinema, 1930-1980, 89–112. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctv131bv2q.7.

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