Index

A

Abbott and Costello Meet Frankenstein (1948), 31
The Abyss (1989), 118
Academy Awards (Oscars), 25, 26, 80, 95, 111, 121
Academy of Motion Picture Arts and Sciences, 26, 63, 77
acting style, nickelodeon era, 12–13
actualities, 8
Air Force (1943), 62–63
Allen, Dede, 95
Allen, Woody, 79
Amazon, 127, 128
American Mutoscope and Biograph, 14–15, 17, 23
animated films, 28–29, 118, 120–21
Anti-Nazi League, 56–57, 71
anti-Semitism, 50, 59, 77
Applause (1929), 44
Arbuckle, Fatty, 45
Armat, Thomas, 7
Arnaz, Desi, 75
Arrested Development (2013–present), 128
Arzner, Dorothy, 25
auteurs
film school generation of, 95–96
New Hollywood and, 90–96
theory of, 95
Autobiography of a “Jeep” (1943), 64
Avnet, John, 119
The Awful Truth (1937), 27

B

Balázs, Béla, 13
Ball, Lucille, 75
Barrymore, John, 25
Barton Fink (1991), 34
Battlestar Galactica (2004–2009), 126
Bazin, André, 86
Beery, Wallace, 34
Benchley, Peter, 99
Berkeley, Busby, 25
Bernhardt, Sarah, 17
The Best Years of Our Lives (1946), 72
Betamax, 102, 103
Big Jim McLain (1952), 82
The Big Swallow (1901), 10–11
blacklist, 78–80
Black Maria, 7–8, 8
The Blair Witch Project (1999), 114
Blank, Mel, 63
block booking, 20
blockbusters, 97–100
Blonde Venus (1932), 26–27, 51
Bogart, Humphrey, 26, 67
Bogdanovich, Peter, 94, 95, 96
Bozage, Frank, 61
branding, 25–26
Brando, Marlon, 76, 76
The Brave One (1956), 80
Breen, Joseph, 50, 56, 61
Bringing Up Baby (1938), 52, 53
Buchman, Sidney, 79
Bureau of Motion Pictures, 54, 66–67
Burstyn v. Wilson (1952), 91–92
Bwana Devil (1952), 89

C

Cagney, James, 56, 57, 62, 83
Cameron, James, 118–19
Caouette, Jonathan, 114
Capra, Frank, 29, 57
Carolco, 108, 109, 113, 118
Cars (2005), 121
Casablanca (1942), 67–68
Catmull, Edwin, 117, 118, 122
censorship
ending of, 91
National Board of Review and, 15–16
Office of Censorship, 66
Supreme Court and, 44–45, 78, 91
The Champ (1931), 34
Chaplin, Charles, 26, 29–30, 56, 61, 83–84
cinema of attractions, 10
CinemaScope, 87–88
Citizen Kane (1941), 56
Civilization (1916), 23
Cobb, Lee J., 75
Coen, Ethan, 120
Coen, Joel, 120
Cohan, George M., 61–62
Cold War films
Chaplin and, 83–84
Force of Evil, 81
High Noon, 81–82
Invasion of the Body Snatchers, 82–83
overview, 80–81
Cole, Lester, 79
color, 86–87
combat films, 62–63
Comcast, 129
Committee for the First Amendment, 77–78
Committee on Public Information, 45
computer-generated imagery (CGI), 108, 109, 110
as aesthetic tool, 120
history surrounding, 116–22
1970s and, 117–18
1980s and, 118
1990s and, 118–19
Pixar and, 118, 120–21, 122
2000s and, 119–20
Confessions of a Nazi Spy (1939), 59–61, 60
continuity editing, 12
Convergence Culture (Jenkins), 124
Cooper, Gary, 81–82
Coppola, Francis Ford, 94, 95, 96
Corman, Julie, 96
Corman, Roger, 96
Crawford, Joan, 57, 81
Creel, George, 45
Crosby, Bing, 102
Crossfire (1947), 77
The Crowd (1928), 40
The Crucible (1953), 76
The Crying Game (1992), 113
Curtiz, Michael, 64, 67
Cutthroat Island (1995), 109

D

Dassin, Jules, 79
David, Bette, 57
Day, Felicia, 126, 127, 127, 128
Day-Lewis, Daniel, 113
Deakins, Roger, 120
DeForest, Lee, 38
De Havilland, Olivia, 30
DeMille, Cecil B., 20, 74
Dial M for Murder (1953), 89
Dickson, W. K. L., 14
Dieterle, William, 32
Dietrich, Marlene, 25, 26–27, 51, 58
digital versatile discs (DVDs), 106–7
digital video recorders (DVRs), 107–8
Diller, Barry, 98
Director’s Company, 95, 114
Disney, Walt, 68, 73–74
Disney Company. See The Walt Disney Company
Dmytryk, Edward, 61, 75
Don Juan (1926), 39–40
Do the Right Thing (1989), 111, 111
Douglas, Melvyn, 57
Dracula (1931), 31
Dreamworks SKG, 121
Dr. Horrible's Sing-Along Blog (2008), 126–27
Driving Miss Daisy (1989), 111
Dr. Strangelove (1964), 83
Dr. Seuss. See Theodor Geisel
Dyer, Frank, 14

E

Easy Rider (1969), 92–93
Edison, Thomas
Black Maria and, 7–8, 8
competition and, 14–15
Kinetoscope and, 6–7
Library of Congress and, 8
phonograph and, 5
Vitascope and, 7
Eisenstein, Sergei, 74
Eisner, Michael, 106
Espionage Act (1917), 45
E.T. the Extra Terrestrial (1982), 104
European film industry
Hollywood studios competing with, 21–22
national styles and, 22–23
exhibitors, 10
eyeline match, 12

F

Fairbanks, Douglas, 30, 45
film school generation, 95–96
First Blood (1982), 109
A Fish Called Wanda (1989), 105
Force of Evil (1948), 81
Ford, John, 34, 35, 56, 57, 95
Forman, Carl, 82
Fox, William, 19
Frankenstein (1931), 31
Freed Unit, 32–34
Friedkin, William, 95
The Front (1976), 79
Futureworld (1976), 117

G

Gable, Clark, 29, 57
Gabriel Over the White House (1933), 47–48
gangster films, 25, 31, 47, 48, 81
Garfield, John, 57, 79, 81
Garland, Judy, 33
Gaynor, Janet, 40–41
Geisel, Theodore (Dr. Seuss), 63
genre films
allegorical function of, 35
cycles of, 35–36
defining, 31
formula and, 34–35
Freed Unit and, 32–34
risky business and, 2, 19
standardization and, 30–31
star system and, 32
studio system and, 30–36
Ghostbusters (1984), 88
The Government Informational Manual for the Motion Picture Industry (Bureau of Motion Pictures), 66–67
Grant, Cary, 26–27, 28, 52, 52–53
Grease (1978), 97–98
Great Depression, 43
The Great Dictator (1940), 61, 83
Griffith, D. W., 23, 30
The Guild (2007–2013), 127, 127
Guy-Blaché, Alice, 24, 25
Gyssling, Georg, 60

H

Hayden, Sterling, 75, 83
Hays, Will, 22, 40, 46, 49, 71
Hepburn, Katharine, 25, 26, 52
high concept, 98–99
High Noon (1952), 81–82
Hitchcock, Alfred, 89, 117
Hitler’s Children (1943), 61
Hollywood Ten
Committee for the First Amendment and, 77–78
HUAC and, 77–80
members of, 77
Hollyworld, 2–3
home video, 101–8
DVDs and, 106–7
DVRs and, 107–8
history surrounding, 101–2
independents and, 108
release windows and, 105
sell through market and, 104–5
Sony and, 102–3
The Walt Disney Company and, 106
Hope, Bob, 57
Hopper, Dennis, 92
horror films, 31–32, 88–89
House Committee on Un-American Activities (HUAC)
Lucille Ball and, 75
blacklist and, 78–80
Charles Chaplin and, 83–84
Walt Disney and, 73–74
friendly witnesses and, 71–77
Hollywood Ten and, 77–80
Eric Johnston and, 71
Elia Kazan and, 75–77
naming names to, 74–75
overview about, 70–71
Ayn Rand and, 72
Ronald Reagan and, 74
Warner and, 73
House of Cards (2013), 128
House of Wax (1953), 89
Hughes, Howard, 48–49
Huston, John, 57
Hutton, Barbara, 27

I

I Love Lucy (1951–1960), 75
Ince, Thomas, 23, 93
Independent Filmmaker Project, 112
Independent Moving Pictures (IMP), 16
independents
Carolco and, 108, 109
Easy Rider and, 92–93
feature films and, 16
home video and, 108
IMP and, 16
innovations of, 16–17
Kalem Company decision and, 17–18
mini-majors and, 108–10
movie stars and, 16–17
rise of, 91–92
indie film
distribution and, 112–13
Hollywood absorbing, 114–15
institutions nurturing, 111–12
Spike Lee and, 110–11, 111
low-budgets and, 113–14
Weinsteins and, 112–13
Industrial Light and Magic (ILM), 117, 118
International Creative Management (ICM), 99
internet
Dr. Horrible’s Sing-Along Blog and, 126–27
Hollywood studios responses to, 124–26, 127, 128–29
many-to-many model and, 123
Netflix and, 127–28
participatory nature of, 124
transmedia and, 3
intertexts, 11
intertitles, 12
Invasion of the Body Snatchers (1956), 82–83
The Italian (1915), 23
It Happened One Night (1934), 29
It’s All True (1993), 68

J

Jaws (1975), 99–100
The Jazz Singer (1927), 41–42
Jenkins, Charles Frances, 7
Jenkins, Henry, 123–24
Jobs, Steve, 121, 122
Johnny Guitar (1954), 81
Johnston, Eric, 71, 78, 93
Jones, Chuck, 63
Joy, Jason, 48, 49, 51

K

Kalem Co. v. Harper Bros., 17–18
Katzenberg, Jeffrey, 121
Kazan, Elia, 75–77, 77
Kinetoscope, 6, 6–7
A King in New York (1957), 83–84
King Kong (2005), 119

L

Laemmle, Carl, 10, 16, 17, 19, 56
Lang, Fritz, 61
Lasky, Jesse, 20, 25
Lasseter, John, 121, 122
The Last Picture Show (1971), 94
Latham loop, 14–15, 17
Latin America, 68
Lawrence, Florence, 17
Lawson, John Howard, 78
Lawson-Trumbo decision, 78–79
Lee, Spike, 110–11, 111
Lewton, Val, 32
Library of Congress, 8
Lieberfarb, Warren, 106
The Life of Emile Zola (1937), 59
Little Tramp character, 26
Litvak, Anatole, 59
Loeb, Philip, 79
Lonelygirl15 (2006–2008), 125
The Lord of the Rings (2001–2003), 119
Los Angeles, move to, 19–20
Losey, Joseph, 79
Lucas, George, 95, 100, 117, 118, 119, 120, 124
Lucas, Marcia, 95
Lumière brothers, 7, 16
Luxo Jr. (1986), 121

M

Mamoulian, Rouben, 44
The Man Who Shot Liberty Valance (1962), 34–35
El Mariachi (1992), 113
Marion, Frances, 25
Marvin, Lee, 35
match on action, 12
Mathis, June, 25
The Matrix (1999–2003), 125–26
Mayer, Louis B., 10, 47, 57
The May Irwin–John Rice Kiss (1896), 10
McCarthy, Joseph, 70
Meet John Doe (1941), 66
Meet Me in St. Louis (1944), 33–34
Miller, Arthur, 76
mini-majors, 108–10
Ministry of Fear (1944), 61
Minnelli, Vincente, 33
The Miracle (1948), 91
Miracle decision. See Burstyn v. Wilson
Miramax, 112–13, 114
Mission to Moscow (1943), 64–65, 71, 73
Monsieur Verdoux (1947), 83
morphing characters, 118–19
The Mortal Storm (1940), 61
motion-capture studios, 119
Motion Picture Alliance for the Preservation of American Ideals, 72–73
Motion Picture Association of America (MPAA), 71, 80, 93, 104
Motion Picture Patents Company. See The Trust
Motion Picture Producers and Distributors of America (MPPDA), 22, 46–48, 50–51, 71
Moulin Rouge (2001), 120
movie stars. See also star system
independents and, 16–17
risky business and, 2
Movietone, 39
multivalent language, 51–53, 52
Murnau, F. W., 40
musicals, 32–34, 35, 44, 61, 83, 98
Busby Berkeley and, 25
Freed Unit and, 32–34
Grease and, 97–98
Meet Me in St. Louis and, 33–34
Music Corporation of America (MCA), 90, 99, 103–4
Mussolini, Vittorio, 57
Mutual decision, 44–45, 78, 91
My Left Foot (1989), 113

N

narration
continuity editing and, 12
nickelodeon era and, 11–12
National Board of Review, 15–16, 61
Netflix, 127–28
New Hollywood
auteurs and, 90–96
big media and, 96–100
color and, 86–87
overview, 85
technology and, 86–89
television and, 85–90
3-D and, 88–89
widescreen and, 87–88
New Line Cinema, 112, 114
Newton-John, Olivia, 98
Nicholson, Jack, 92, 94, 96
nickelodeon era
acting style and, 12–13
cinema of attractions and, 10
exhibitors and, 10
fourth wall and, 10–11
intertexts and, 11
intertitles and, 12
local experience and, 9–10
media hybridization in, 122–23
middle-class space and, 9
multimedia experience and, 9–10
narration and, 11–12
The Teddy Bears and, 13–14
Nixon, Richard, 71

O

Objective, Burma! (1945), 62–63
O’Brien, George, 40–41
O Brother, Where Art Thou (2000), 120
O'Connor, Sandra Day, 103
Odets, Clifford, 75
Office of Censorship, 66
Office of the Coordinator of Inter-American Affairs (CIAA), 68
Office of War Information (OWI), 66–69
The Old Dark House (1932), 31
Olympia (1938), 57
One, Two, Three (1961), 83
On the Waterfront (1954), 76, 76
Orange Is the New Black (2014–present), 128
Oscars. See Academy Awards
Our Movie-Made Children (Forman), 50

P

Paramount decision, 90–91, 92
Paramount Pictures Corporation, 20, 99
Parker, Dorothy, 56
Parufamet, 21
Phonofilm, 38
phonograph, 5
Pickford, Mary, 29–30, 45
Pinocchio (1940), 106
Pixar, 118, 120–21, 122
Planet of the Apes (2011–present), 119
Platoon (1986), 105
Platt, Polly, 95
Pleasantville (1998), 120
The Plow That Broke the Plains (1936), 55
Porter, Edwin S., 10, 13
Poverty Row studios, 86
Price, Vincent, 89
Private Snafu series, 63–64
Production Code, 81
Confessions of a Nazi Spy and, 50–61
establishment of, 44
guidelines of, 46–47
MPPDA and, 46
multivalent language and, 51–53, 52
precode era and, 47–48
replacement of, 93
SRC and, 48–49

R

Rand, Ayn, 72–73
Rankin, John, 77
rating system, 93
Reagan, Ronald, 57, 71, 74, 109
release windows, 105
Research Council of the Academy of Motion Picture Arts and Sciences, 63
Riefenstahl, Leni, 57
Riskin, Robert, 66
risky business, 2
The River (1938), 55
Robinson, Edward G., 59
Rockefeller, Nelson, 68
Rodriguez, Robert, 113
Roosevelt, Franklin Delano
Gabriel Over the White House and, 47–48
love of film by, 55
Warner Bros. and, 57–58, 62, 64
World War II and, 54
Yankee Doodle Dandy and, 62
Roosevelt, Theodore, 13

S

saloons, 9
Saludos Amigos (1942), 68
Sanders, George, 59, 60
Scarface (1932), 48–49
Scary Movie 3 (2003), 31
Schoonmaker, Thelma, 95
Scorsese, Martin, 95, 96
Scott, Randolph, 27, 28
Screen Guide for Americans (Rand), 72–73
sell through market, 104–5
Serkis, Andy, 119
Sex, Lies, and Videotape (1989), 112–13
Shaw, George Bernard, 39
Shaye, Robert, 112
She’s Gotta Have It (1986), 110, 111
shorts, 58, 63–64
silent soliloquies, 13
Silk Stockings (1957), 83
Sin City (2005), 119
Singin’ in the Rain (1952), 40
single studio contracts, 29, 30
Sky Captain and the World of Tomorrow (2004), 119
Snow White and the Seven Dwarfs (1937), 3, 121
Song of Russia (1944), 65, 72
Sony, 101, 102–3, 108, 114
Sorrell, Herbert K., 73–74
sound
challenges of, 43
Depression and, 43
Fox studio and, 39–40, 42
The Jazz Singer and, 41–42
Mamoulian and, 44
Movietone and, 39
Phonofilm and, 38
single format for, 42
Sunrise and, 40–41
synchronized, 37–40
technology challenges and, 37–44
Vitaphone and, 39
Warner Bros. and, 39–40, 42
Spielberg, Steven, 98, 99, 104
Stallone, Sylvester, 109
Stars Wars Episode I: The Phantom Menace (1999), 119, 124
star system
animated films and, 28–29
Chaplin and Pickford and, 29–30
consistency and, 26–27
freelancers and, 29
genre films and, 32
image construction and, 27–28
offscreen and, 27
single studio contracts and, 29, 30
studio system and, 25–30
Star Trek II: The Wrath of Kahn (1982), 118
Star Wars (1977), 117–18
Star Wars Episode I: The Phantom Menace (1999), 119
Star Wars: Return of the Jedi (1983), 118
Stewart, Donald Ogden, 56
Stewart, Jimmy, 30, 34
Studio Relations Committee (SRC), 48–49
studio system
birth of, 19–25
branding and, 25–26
consolidation within, 20
genre films and, 30–36
global dominance of, 21–22
Hollywoodizing and, 3
Ince and, 23
legal decisions impacting, 90–92
Los Angeles and, 19–20
MPPDA and, 22, 46–48, 50–51, 71
overview about, 19
risky business and, 2
star system and, 25–30
women and, 24, 24–25, 95, 110
zone clearance and, 20–21
Sundance, 111–12
Sunrise (1927), 40–41
Supreme Court
Burstyn v. Wilson, 91–92
censorship and, 44–45, 78, 91
Paramount decision, 90–91, 92
Sony Betamax decision, 103
Sutherland, Ivan, 116–17
synchronized sound, 37–40

T

Tarnation (2003), 114
Taylor, Elizabeth, 93, 94
The Teddy Bears (1907), 13–14
television
color and, 86–87
movie libraries sold to, 89–90
movie studios making shows for, 90
New Hollywood and, 85–90
Poverty Row studios and, 86
widescreen and, 88
Temple, Shirley, 57
tent-pole franchises, 3, 125
Terminator 2: Judgment Day (1991), 118–19
Textual Poachers (Jenkins), 123–24
This Is Cinerama (1952), 87
3-D, 88–89
The Three Caballeros (1944), 68
time shifting, 103
Total Recall (1990), 118
Toy Story (1995), 121, 122
Transmedia storytelling, 3, 5, 125–26
Travolta, John, 98
Triumph of the Will (1935), 64
Trumbo, Dalton, 78, 79–80
The Trust
decline of, 17–18
establishment of, 15
National Board of Review and, 15–16
standardization by, 15–16
Twentieth Century Fox, 39–40, 42, 88, 90, 128

U

Ufa studio, 21
“The Ultimate Display” (Sutherland), 117
Uncle Tom’s Cabin (1903), 12
United Services Organization (USO), 57
Universal Studios, 31–32

V

Vertigo (1958), 117
video assist, 102
Vitaphone, 39
Vitascope, 7

W

Waldorf Statement, 78
The Walt Disney Company, 3, 28–29, 57, 63, 68, 73–74, 90, 103, 106, 114, 115, 117, 121, 122, 128
Warner, Jack, 56, 73
Warner Bros.
combat films and, 62–63
Confessions of a Nazi Spy and, 59–61, 60
gangster films and, 31
Mission to Moscow and, 64–65
Private Snafu series, 63–64
Roosevelt, Franklin Delano, and, 57–58, 62, 64
shorts, 58, 63–64
sound and, 39–40, 42
transmedia and, 3
World War II and, 57–65
Yankee Doodle Bugs and, 62
Yankee Doodle Dandy and, 61–62
Wasserman, Lew, 99, 103, 104
Wayne, John, 34, 82
Webb-Pomerene Act (1918), 22
Weinstein, Bob, 112–13
Weinstein, Harvey, 112–13
Welles, Orson, 55, 56, 68
westerns, 30, 31, 32, 34–35, 36, 81–82
Westworld (1973), 117
What Dreams May Come (1998), 120
Whedon, Joss, 126
Who’s Afraid of Virginia Woolf? (1966), 93, 94
widescreen, 87–88
Williams, Esther, 32
Wings (1927), 40
World War II, 54–69
government agencies and, 65–69
politics and, 55–57
Roosevelt, Franklin Delano, and, 54
Warner Bros. and, 57–65
Wyler, William, 57, 72, 77

Y

Yankee Doodle Bugs (1954), 62
Yankee Doodle Dandy (1942), 61–62, 64, 67
You, John Jones! (1943), 64
Young Frankenstein (1974), 31
Young Sherlock Holmes (1985), 118
YouTube, 124, 125, 128

Z

zone clearance, 20–21
Zukor, Adolph, 10, 17, 19, 20, 97