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Books on the topic 'The Hollywood films of the 1980s'

Author: Grafiati

Published: 24 April 2022

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1

Mystery movie series of 1930s Hollywood. McFarland & Company, Inc., Publishers, 2012.

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2

Mystery movie series of 1940s Hollywood. McFarland & Company, Inc., Publishers, 2010.

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3

Backer, Ron. Mystery movie series of 1940s Hollywood. McFarland & Co., 2010.

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4

Miramax and the transformation of Hollywood in the 1990s. University of Texas Press, 2012.

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5

Plant, Power, and York University (Toronto, Ont.). Art Gallery., eds. Double-cross: The Hollywood films of Douglas Gordon. Power Plant, 2003.

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6

Kendall, Elizabeth. The runaway bride: Hollywood romantic comedy of the 1930s. Anchor Books, 1991.

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7

Gaslight melodrama: From Victorian London to 1940s Hollywood. Continuum, 2001.

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8

Matthews, Melvin E. 1950s science fiction films and 9/11: Hostile aliens, Hollywood, and today's news. Algora Pub., 2007.

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9

The depiction of terrorists in blockbuster Hollywood films, 1980-2001: An analytical study. McFarland & Company, Inc., Publishers, 2011.

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10

Winokur, Mark. American laughter: Immigrants, ethnicity, and 1930s Hollywood film comedy. St. Martin's Press, 1995.

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11

Winokur, Mark. American laughter: Immigrants, ethnicity, and 1930s Hollywood film comedy. Macmillan, 1995.

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12

American laughter: Immigrants, ethnicity, and 1930s Hollywood film comedy. St. Martin's Press, 1996.

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13

Eberts, Jake. My indecision is final: The spectacular rise and fall of Goldcrest Films, the independent studio that challenged Hollywood. Atlantic Monthly Press, 1990.

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14

Terry, Ilott, ed. My indecision is final: The spectacular rise and fall of Goldcrest Films, the independent studio that challenged Hollywood. Atlantic Monthly Press, 1990.

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15

Pfeffer, Susan Beth. Revenge of the Aztecs: A story of 1920s Hollywood. Waterbird Books, 2004.

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16

The battle for the Bs: 1950s Hollywood and the rebirth of low-budget cinema. Rutgers University Press, 2012.

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17

Geschichte des Hollywood-Films. OLMS, 1996.

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18

Chennault, Ronald E. Hollywood Films about Schools. Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9780230601055.

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19

Passport to Hollywood: Hollywood films, European directors. State University of New York Press, 1998.

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20

Hollywood's detectives: Crime series in the 1930s and 1940s from the whodunnit to hard-boiled noir. Palgrave Macmillan, 2012.

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21

Feuer, Jane. Hollywood Musical. 2nd ed. Macmillan Education, 1993.

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22

Billingsley, Lloyd. Hollywood party: How communism seduced the American film industry in the 1930s and 1940s. Forum, 1998.

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23

Hollywood bloodshed: Violence in 1980s American cinema. Southern Illinois University Press, 2009.

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24

Dodson, Will. Hollywood musicals. QNY, 2010.

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25

Koerner, Julie. Hollywood musicals. Friedman/Fairfax, 1997.

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26

Koerner, Julie. Hollywood musicals. Friedman/Fairfax, 1993.

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27

Feuer, Jane. The Hollywood musical. 2nd ed. Indiana University Press, 1993.

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28

Hardboiled Hollywood. No Exit Press, 2003.

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29

Hollywood musicals. Abradale Press, 1985.

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30

Masculine interests: Homoerotics in Hollywood films. Columbia University Press, 2002.

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31

Remakes: Les films français à Hollywood. CNRS, 2007.

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32

William, Evans Peter, and Deleyto Celestino, eds. Terms of endearment: Hollywood romantic comedy of the 1980s and 1990s. Edinburgh University Press, 1998.

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33

DeFrantz, Thomas F. Hip-Hop in Hollywood. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.001.

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In the early 1980s, Hollywood began to exploit hip-hop dance—especially breaking—to produce a limited series of movie musicals. These “breaksploitation” films set a standard of participation for young artists, and in particular, young artists of color, to enter the movie industry as laborers, and to enter the global imagination of film audiences as representative agents of change. This chapter explores the traditions of Hollywood musicals and dance artists of color just before the hip-hop film production era; the innovations of these early 1980s films in terms of their casting, creative approaches, and presentation of contemporary social dance; and the communities that these mediated projects both catered to and generated. Together, these films inspired a global audience for breakdancing, and are inextricably linked to the sweep and scale of young people’s interest in these corporeal practices.

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34

Platte, Nathan. Making Music in Selznick's Hollywood. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.001.0001.

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Making Music in Selznick’s Hollywood explores the network of musicians and filmmakers whose work defined the sound of Hollywood’s golden age (c. 1920s–1950s). The book’s central character is producer David O. Selznick, who immersed himself in the music of his films, serving as manager, critic, and advocate. By demonstrating music’s value in film and encouraging its distribution through sheet music, concerts, radio broadcasts, and soundtrack albums, Selznick cultivated audiences’ relationship to movie music. But he did not do it alone. Selznick’s films depended upon the men and women who brought the music to life. This book shows how a range of specialists, including composers (Max Steiner, Dimitri Tiomkin, Franz Waxman, and others), orchestrators, music directors (Lou Forbes), editors (Audray Granville), writers, instrumentalists, singers, and publicists, helped make the music for Selznick’s films stand apart from competitors’. Drawing upon thousands of archival documents, this book offers a tour of American cinema through its music. By investigating Selznick’s efforts in the late silent era, his work at three major Hollywood studios, and his accomplishments as an independent producer (including his films with Alfred Hitchcock), this book reveals how the music was made for iconic films like King Kong (1933), A Star is Born (1937), The Prisoner of Zenda (1937), Gone with the Wind (1939), Rebecca (1940), Spellbound (1945), The Third Man (1948), and A Farewell to Arms (1957).

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35

Cohan, Steven. Monstrous Hollywood. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190865788.003.0005.

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This chapter is the mirror image of the previous one. It looks at narratives about has-been female stars in the context of the studio system’s demise during the 1950s and 1960s. These somewhat later backstudios depict the agency and sexuality of an older female star, who no longer has the safe haven of the studio to control or at least cushion her excessive behavior, as a “monstrous” perversion of femininity. In these films the mature female star personifies the incoherence of the Hollywood brand as a result of the studio system’s implosion, just as her excessive figure is treated as its cause, not its symptom. The chapter closes with a glance at the millennial backstudio, S1m0ne (2002), which takes as its premise the possibility of a computer-generated star and which registers the same anxieties about powerful female actors that these midcentury backstudios enact.

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36

Brown, Noel. Contemporary Hollywood Animation. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474410564.001.0001.

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Until the 1990s, animation occupied a relatively marginal presence in Hollywood. Today, it is at the very heart of both the film industry and contemporary popular culture. Charting the major changes and continuities in Hollywood animation over the past thirty years, this groundbreaking book offers an authoritative history of Hollywood animation since the 1990s. Analysing dozens of key films, including The Lion King, Toy Story, Shrek, Despicable Me, Frozen and Moana, it examines the emergence of new genres and stylistic approaches, as well as the ongoing blurring of boundaries between animation and live-action. Identifying narrative and thematic patterns, and developments in industry and style, the book explores how animation in the United States both responds to and recapitulates the values, beliefs, hopes and fears of the nation.

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37

Worland, Rick. Searching for New Frontiers: Hollywood Films in The 1960s. Wiley & Sons, Incorporated, John, 2018.

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38

Worland, Rick. Searching for new frontiers: Hollywood films in the 1960s. 2018.

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39

Worland, Rick. Searching for New Frontiers: Hollywood Films in The 1960s. Wiley & Sons, Incorporated, John, 2018.

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40

Cohan, Steven. Historical Hollywood. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190865788.003.0007.

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This chapter singles out accounts of three eras that have preoccupied backstudios. First it looks at films that depict fictionalized versions of real Hollywood scandals from the early 1920s that are set in 1929, the year Hollywood undertook its conversion to all-talking pictures. Then it looks at films about the blacklist, most of which are set in 1951, the year the U.S. House Un-American Activities Committee renewed its investigation of the motion picture industry. Finally, it turns to 1962, the year of Marilyn Monroe’s death, signaling to many the end of Hollywood’s Golden Age, as illustrated by the numerous biopics about that star. It closes with a discussion of gossip’s role in Hollywood’s history, as evident in the FX cable series covering the long-standing feud between Bette Davis and Joan Crawford and the making of the backstudio What Ever Happened to Baby Jane?, which is also set in 1962.

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41

Gordon, Douglas, and Philip Monk. Double-Cross: The Hollywood Films Of Douglas Gordon. Art Gallery of York University/The Power Plant, 2004.

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42

American History Through Hollywood Film: From the Revolution to The 1960s. Bloomsbury Publishing Plc, 2013.

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43

Kent, Miriam. Women in Marvel Films. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474448826.001.0001.

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The concept of identity in superhero narratives has become a burgeoning field in academic studies of this increasingly popular cinematic genre. Women in Marvel Films provides the first rigorous analysis of the portrayals of women, heroic and otherwise, in films based on Marvel comics from the 1980s to the present. It explores the relationships between this cultural phenomenon and wider issues of gender equality, considering the cultural moments in which Marvel films are made and incorporating complex histories of the comic book and Hollywood industries. Highlighting characterisations of women, narratives and cinematic elements such as music and mise-en-scène, and questioning how these elements collectively engage with gendered discourses, the discussion also positions previous iterations of women in Marvel comic book narratives as highly relevant. Women in Marvel Films thereby considers how feminist issues surface within superhero adaptations and how they are dealt with via Hollywood and comic book conventions. This book ultimately shows how the Marvel superhero film taps into political complexities regarding gender and related identity issues, such as women’s roles in society and their relation to men, and provides a fascinating insight into gendered power dynamics in contemporary American popular culture. The films discussed include The Punisher (1989), Blade (1998), the X-Men series (2000–2020), Elektra (2005), and the films of the Marvel Cinematic Universe, including Black Panther (2018) and Captain Marvel (2019).

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44

Still in the Saddle: The Hollywood Western, 1969-1980. University of Oklahoma Press, 2015.

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45

Latino image makers in Hollywood: Performers, filmmakers and films since the 1960s. McFarland, 2014.

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46

Robinson, Harlow. Lewis Milestone. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178332.001.0001.

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This book tells the remarkable personal and professional story of Lewis Milestone (1895-1980), one of the most prolific, creative and respected film directors of Hollywood’s Golden Age. Among his many films are the classics All Quiet on the Western Front, Of Mice and Men, A Walk in the Sun, Pork Chop Hill, the original Ocean’s Eleven and Mutiny on the Bounty, starring Marlon Brando. Born in Ukraine, he came to America as a teenager and learned about film in the U.S. Army in World War I. By the early 1920s he was editing silent films in Hollywood, and soon graduated to shooting his own features. His films were nominated for 28 different Academy Awards during a career that lasted 40 years. Among the many stars whom he directed were Barbara Stanwyck, Ingrid Bergman, Gregory Peck, Errol Flynn, Gary Cooper, Frank Sinatra, Joan Crawford and Kirk Douglas. Providing biographical information, production history and critical analysis, this first major scholarly study of Milestone places his films in a political, cultural and cinematic context. Also discussed in depth, using newly available archival material, is Milestone’s experience during the Hollywood Blacklist period, when he was one of the first prominent Hollywood figures to fall under suspicion for his alleged Communist sympathies. Drawing on his personal papers at the AMPAS library, my book gives Milestone the honored place herichly deserves in the American film canon.

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47

Hostile Aliens, Hollywood and Today's News: 1950s Science Fiction Films and 9/11. Algora Publishing, 2007.

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48

West, Alexandra. 1990s Teen Horror Cycle: Final Girls and a New Hollywood Formula. McFarland & Company, Incorporated Publishers, 2018.

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49

Hudson, Dale. Classical Hollywood Vampires: The Unnatural Whiteness of America. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423083.003.0004.

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This chapter explores how these conventions from segregation comedies, immigration romances, and miscegenation melodramas enter into Hollywood’s first vampire films. It examines ambivalence towards immigration and imperatives to assimilate to an Anglo-American mythical norm in films including Dracula (1931), Drácula (1931), Mark of the Vampire (1935), Dracula’s Daughter (1936), Son of Dracula (1943), House of Frankenstein (1944), and House of Dracula (1945). In early films, southern California masquerades as Transylvania, replete with (non-European) armadillos and scorpions. These films are implicitly set in the United States; others are explicitly set there. The Melting Pot myth of unidirectional assimilation into the unnatural whiteness of America is negotiates policies and programs during the 1920s that regulated immigration from eastern and southern Europe and crossings from Canada and México. The chapter concludes by examining how vampire films rework colonial conventions from Westerns.

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50

Hollywood, Westerns and the 1930s: The Lost Trail (Exeter Studies in Film History). University of Exeter Press, 2001.

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