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Relevant bibliographies by topics / Classic Hollywood

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Journal articles
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Academic literature on the topic 'Classic Hollywood'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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Journal articles on the topic "Classic Hollywood"

1

Morey, Anne. "Classic Hollywood, Classic Whiteness, and: Noir Anxiety (review)." South Central Review 23, no. 1 (2006): 107–10. http://dx.doi.org/10.1353/scr.2006.0010.

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Faucette, Brian. "Buffoon Men: classic Hollywood comedians and queered masculinity." Historical Journal of Film, Radio and Television 34, no. 4 (2014): 617–18. http://dx.doi.org/10.1080/01439685.2014.964461.

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Hogan, Erin K. "Don Quixote, Sweded by Michel Gondry in Be Kind Rewind (2008)." Open Cultural Studies 1, no. 1 (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 engagemen

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Hain, Milan. "Multiple authorship in Anna Karenina (1935): Adapting Tolstoy’s literary classic in the Hollywood studio era." Journal of Adaptation in Film & Performance 13, no. 3 (2020): 203–22. http://dx.doi.org/10.1386/jafp_00028_1.

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Among the numerous film adaptations of Anna Karenina, the 1935 version produced by David O. Selznick for Metro-Goldwyn-Mayer remains one of the most acclaimed and celebrated – undoubtedly owing to its high production values and the performance and ‘star presence’ of the legendary Greta Garbo. However, the film has also been criticized for distorting and simplifying Tolstoy’s literary classic. In this article, I focus on the process of transposing Anna Karenina into the Hollywood screen version, locating causes of the adaptation process in extra-textual factors. Specifically, I address the econ

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Grant, Barry K. "The Classic Hollywood Musical and the “Problem” of Rock ‘n’ Roll." Journal of Popular Film and Television 13, no. 4 (1986): 195–205. http://dx.doi.org/10.1080/01956051.1986.10662008.

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McGuire, Sarah. "A defense of the modern, high-tech redneck on reality TV: Why the world loves Duck Dynasty and its resulting redemptive representation of Rednecks." SURG Journal 7, no. 3 (2014): 5–14. http://dx.doi.org/10.21083/surg.v7i3.2972.

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This article uses key terms and concepts from Television Studies to “close read” the reality TV show Duck Dynasty in its visual form. This article questions not only how Duck Dynasty represents rednecks, but also how the representation of the “redneck” is understood by the TV audience. It explores the success of Duck Dynasty as a reality TV show and argues that it redeems “rednecks” from Hollywood’s previous portrayals of the overly caricatured redneck stereotype. The Robertsons have the ability to convey truth – even if it is through a partially fake/mediated realm – and what they actually re

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CHOEYOUNGJEEN. "Interrogating the Classic Hollywood: On Thematic and Stylistic Revisionism of The Godfather." Journal of English Language and Literature 63, no. 1 (2017): 147–61. http://dx.doi.org/10.15794/jell.2017.63.1.009.

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Rosenberg, Norman. "Hollywood on Trials: Courts and Films, 1930–1960." Law and History Review 12, no. 2 (1994): 341–67. http://dx.doi.org/10.2307/743746.

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As long as legal scholarship focused on traditional sources that were considered“distinctively legal,” a great variety of “legal texts” were consigned to scholars in other disciplines. Thus, Oliver Wendell Holmes, Jr. (1841–1932) and his classic workThe Common Law(1881) appeared safely inside the categorical “box” identified as distinctively legal, while Louis Calhern's portrayal of Holmes and the filmThe Magnificent Yankee(MGM, 1950) fell outside.In recent years, however, both the inside/outside distinction and the legal box metaphor have become increasingly suspect. Drawing upon post-structu

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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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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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Dissertations / Theses on the topic "Classic Hollywood"

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Richards, Rashna Wadia. "Lightning flashes a cinephiliac history of Classic Hollywood /." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0015522.

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Fagan, Kara Elizabeth. "The spectacle of female athleticism in classic Hollywood, 1935-1955." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2073.

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Focusing on classic Hollywood, I contend that overly narrow concepts of both “sport” and “sport(s) film” have contributed to the scholarly neglect of key texts and characters from this period. Just as a wider analysis of the history of women’s athletic participation has expanded definitions of “sport,” scholars need to consider examples that complicate conventional understandings of sport films. This dissertation focuses on the female athletic performances during the studio era that -- precisely because they deviate from t

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Salzberg, Ana. "Beyond the looking glass : the narcissistic woman reflected and embodied in classic Hollywood film." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5600.

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Linking the images of stars as contrasting as Bette Davis, Marilyn Monroe, and Gloria Swanson, and uniting genres like romantic comedy, film noir, and melodrama, the figure of the narcissistic woman stands as a versatile, ever-present extra- and intra-diegetic force in the dream factory of classical Hollywood. She is, in fact, the lead in what sociologist Edgar Morin conceptualizes in The Stars (1957) as a golden-age “myth of love”: Calling upon the psychic and sensory investment of her fans with her otherworldly aura and material impact, the female star emerges as both the active subject of r

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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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<p>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 Ho

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Lane, Christina Merrel. "Hollywood star couples : classical-era romance and marriage /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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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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Kretschmar, Kelly Benshoff Harry M. "Framing femininity as insanity representations of mental illness in women in post-classical Hollywood /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3654.

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Kretschmar, Kelly. "Framing Femininity as Insanity: Representations of Mental Illness in Women in Post-Classical Hollywood." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3654/.

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From the socially conservative 1950s to the permissive 1970s, this project explores the ways in which insanity in women has been linked to their femininity and the expression or repression of their sexuality. An analysis of films from Hollywood's post-classical period (The Three Faces of Eve (1957), Lizzie (1957), Lilith (1964), Repulsion (1965), Images (1972) and 3 Women (1977)) demonstrates the societal tendency to label a woman's behavior as mad when it does not fit within the patriarchal mold of how a woman should behave. In addition to discussing the social changes and diagnostic trends

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Books on the topic "Classic Hollywood"

1

Everson, William K. Hollywood bedlam: Classic screwball comedies. Carol Pub. Group, 1994.

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Classic hollywood stars: Portraits & quotes. Schiffer Pub Ltd, 2008.

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

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Mamie, Van Doren, and Kobal Collection, eds. Va-va-voom: Classic Hollywood pin-ups. Metro Books, 2008.

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1953-, Landau Robert, ed. Hollywood poolside: Classic images of legendary stars. Angel City Press, 1997.

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Starstruck: Vintage movie posters from classic Hollywood. Abbeville Press Publishers, 2009.

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Bernstein, Gary. Portrait Hollywood: Gary Bernstein's classic celebrity photographs. Woodford Press, 1994.

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Vieira, Mark A. Hollywood portraits: Classic scene stills, 1939-1951. Bison Group, 1991.

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Vieira, Mark A. Hollywood portraits: Classic scene stills 1929-41. Brompton, 1988.

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

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Book chapters on the topic "Classic Hollywood"

1

Cohan, Steven. "Stars of the classic musical." In Hollywood Musicals. Routledge, 2019. http://dx.doi.org/10.4324/9781351018746-4.

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Benyahia, Sarah Casey, John White, and Freddie Gaffney. "Classic Hollywood, 1930–1960." In A Level Film Studies. Routledge, 2020. http://dx.doi.org/10.4324/9780429324628-11.

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Molina-Siles, Pedro, and Hugo Barros Costa. "Architectural (and Film) Heritage in Classic Hollywood Movies." In Graphical Heritage. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47979-4_4.

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Browning, John Edgar. "Classical Hollywood Horror." In A Companion to the Horror Film. John Wiley & Sons, Inc, 2014. http://dx.doi.org/10.1002/9781118883648.ch13.

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Dixon, Mark. "Classical Hollywood 1930–60." In Essential Revision for A Level Film Studies. Routledge, 2021. http://dx.doi.org/10.4324/9781003119241-14.

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

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"Classic Hollywood’s Holding Pattern:." In A Certain Tendency of the Hollywood Cinema, 1930-1980. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctv131bv2q.8.

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"3. The Culmination of Classic Hollywood: Casablanca." In A Certain Tendency of the Hollywood Cinema, 1930-1980. Princeton University Press, 1985. http://dx.doi.org/10.1515/9780691216164-005.

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Helford, Elyce Rae. "The Theatricality of Gender and Drag Performance." In What Price Hollywood? University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813179292.003.0007.

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This chapter attends to a seemingly disparate trio of films, the romantic adventure Sylvia Scarlett (1935), the theatrical Western Heller in Pink Tights (1950), and the melodrama-with-music A Star is Born (1954). The three are bound by scenes in which the female protagonist appears in male drag. Katharine Hepburn plays male for almost an entire film that went on to flop hideously at the box office, while Sophia Loren impersonates Old West stage presence Adah Isaacs Menken, with outrageous impact. Perhaps most unexpected of all, Judy Garland dons boyish drag for a song-and-dance number just before breaking down over her alcoholic husband’s disastrous life. While the films’ purposes and impacts differ, together they illustrate the concept of gender-as-performance, as it bends but does not break classic Hollywood cinematic traditions.

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Brown, Noel. "Hollywood Animation, Late Modernity and Contemporary America." In Contemporary Hollywood Animation. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474410564.003.0003.

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One of the primary distinguishing features of post-1990s Hollywood animation is its foregrounding of contemporary culture and society. While many of the ‘classic’ Disney films are set in fantastical or fairy tale landscapes geographically and temporally removed from everyday life (‘once upon a time…’), most animated features from the early 1990s onwards are self-conscious artefacts of late modernity. There are two primary manifestations of the foregrounding of contemporary culture in post-1990s Hollywood animation. The first, and most immediately visible, is (a usually comic) intertextuality that takes the form of an intensified referentiality to other works of popular culture and modern life more broadly. The second form is that of social commentary, which is often satirical in nature and tends to be a more abiding thematic focus than the intertextual allusion. This chapter argues that both forms serve a similar function: they are strategies of proximation that anchor films to recognisable and identifiable situations and events.

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