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LEADER: 11154cam 2200937 a 4500
001 ocm29316804
003 OCoLC
005 20210819182744.0
008 931021m19949999caua b s001 0 eng
010 $a 93221688
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019 $a877407654$a889315838$a900271580$a900363271$a907726577
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035 $a(OCoLC)29316804$z(OCoLC)877407654$z(OCoLC)889315838$z(OCoLC)900271580$z(OCoLC)900363271$z(OCoLC)907726577
043 $an-us---
050 00 $aPN1993.5.U6$bH55 1994
082 00 $a791.43/0973$220
084 $a24.32$2bcl
245 00 $aHistory of the American cinema.
260 $aBerkeley :$bUniversity of California Press,$c1994-<2006>
300 $avolumes <1-10> :$billustrations ;$c26 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references and indexes.
505 0 $av. 1. The emergence of cinema, to 1907 / Charles Musser -- v. 2. The transformation of cinema, 1907-1915 / Eileen Bowser -- v. 3. An evening's entertainment, 1915-1928 / Richard Koszarski -- v. 4. The talkies, 1926-1931 / Donald Crafton -- v. 5. Grand design, 1930-1939 / Tino Balio -- v. 6. Boom and bust, 1940-1949 / Thomas Schatz -- v. 7. The Fifties: Transforming the screen, 1950-1959 / Peter Lev -- v. 8. The sixties, 1960-1969 / Paul Monaco -- v. 9. Lost illusions, 1970-1979 / David A. Cook -- v. 10. A new pot of gold, 1980-1989 / Stephen Prince.
505 00 $gv. 1. The emergence of cinema, to 1907 /$rCharles Musser -$gPart 1: Before cinema -$tToward a history of screen practice --$tThomas Edison and the amusement world --$tProjecting motion pictures: invention and innovation --$gPart 2: The novelty of the cinema: 1896-1897 -$tThe Vitascope --$tEarly motion-picture companies --$tThe proliferation of motion-picture companies and an assessment of the Novelty Year --$gPart 3: The exhibitor plays a creative role: 1897-1900 -$tFull-length programs: fights, passion plays, and travel --$tCommercial warfare and the Spanish American War: 1897-1898 --$tThe film industry achieves modest stability: 1898-1901 --$gPart 4: The production company assumes creative dominance: 1900-1905 -$tA period of commercial crisis: 1900-1903 --$tThe transition to story films: 1903-1904 --$tCinema flourishes within its existing commercial framework: 1904-1905 --$gPart 5: The beginnings of the Nickelodeon Era: 1905-1907 -$tNickels count: storefront theaters: 1905-1907 --$tProduction as the nickelodeon era begins: 1905-1907
505 00 $gv. 2. The transformation of cinema, 1907-1915 /$rEileen Bowser -$tThe nickelodeon --$tA Game of freeze-out --$the recruiting station of vice --$tThe films: alternate scenes --$tGeneral Filmco and the pushcart peddlers --$tActing: The camera's closer view --$tBrand names and stars --$tMovie palaces --$tTrademarks, titles, introductions --$tDetours on the way to Hollywood --$tThe genre film --$tThe feature film --$tThe lid comes off --$tRefining the product --$tScene dissection, spectacle, film as art
505 00 $gv. 3. An evening's entertainment, 1915-1928 /$rRichard Koszarski -$tAn industry and an art --$tGoing to the movies --$tCorporate organization --$tMaking movies --$tTechnology --$tThe show --$tWatching the screen --$tThe filmmakers --$tThe stars --$tThe envelope, please
505 00 $gv. 4. The talkies, 1926-1931 /$rDonald Crafton -$tIntroduction: The uncertainty of sound --$gPart 1: A new era in electrical entertainment -$tElectric affinities --$tVirtual Broadway, virtual orchestra: De Forest and Vitaphone --$tFox-case, Movietone, and the talking newsreel --$tEnticing the audience: Warner Bros. and Vitaphone --$tBattle of the giants: ERPI and RCA consolidate sound --$tThe big hedge: Hollywood's defensive strategies --$tBoom to bust --$tLabor troubles --$tInaudible technology --$tExhibition: Talkies change the Bijou --$gPart 2: Three Seasons: the films of 1928-1931 -$tThe new entertainment vitamin: 1928-1929 --$tTaming the talkies: 1929-1930 --$tThe well-tempered sound track: 1930-1931 --$tThe sound of Custard: shorts, travelogues, and animated cartoons --$tOutside the mainstream --$tForeign affairs --$gPart 3: Hearing the audience -$tThe voice squad --$tConstructive criticism: the fans' perspective --$tBuying Broadway: The Jazz Singer's reception --$t"The great ninety per cent"
505 00 $gv. 5. Grand design, 1930-1939 /$rTino Balio -$tIntroduction --$tSurviving the Great Depression --$tThe Production Code and the Hays Office /$rRichard Maltby --$tFeeding the maw of exhibition --$tTechnological change and classical film style /$rDavid Brodwell and Kristin Thompson --$tSelling stars --$tProduction trends --$tThe B film: Hollywood's other half /$rBrian Taves --$tThe poetics and politics of nonfiction: documentary film /$rCharles Wolfe --$tAvant-garde film /$rJan-Christopher Horak
505 00 $gv. 6. Boom and bust, 1940-1949 /$rThomas Schatz -$tIntroduction --$gPart 1: The prewar era:$tThe motion picture industry in 1940-1941 --$tThe Hollywood studio system in 1940-1941 -- Prewar stars, genres, and production trends --$gPart 2: The war era:$tThe motion picture industry during World War II --$tThe Hollywood studio system 1942-1945 --$tWartime stars, genres, and production trends --$tRegulating the screen: the Office of War Information and the Production Code Administration /$rClayton R. Koppes --$gPart 3: The postwar era:$tThe postwar motion picture industry, SAG, HUAC, and postwar Hollywood /$rGorham Kindem --$tThe Hollywood studio system, 1946-1949 --$tPostar stars, genres, and production trends --$gPart 4: Ancillary developments -$tDocumenting the 1940s /$rThoms Doherty --$tExperimental and avant-garde cinema in the 1940s /$rLauren Robinovitz
505 00 $gv. 7. The Fifties: Transforming the screen, 1950-1959 /$rPeter Lev -$tThe American film industry in the early 1950s --$tGenres and production trends, 1950-1954 --$tHUAC, the Blacklist, and the decline of social cinema /$rBrian Neve --$tCensorship and self-regulation --$tTechnology and spectacle --$tHollywood and television in the 1950s: the roots of diversification /$rJanet Wasko --$tHollywood international --$tScience fiction films and cold war anxiety /$rVictoria O'Donnell --$tThe film industry in the late 1950s --$tGenres and production trends, 1955-1959 --$tAmerican documentary in the 1950s --$t"Unquiet years": Experimental cinema in the 1950s /$rGreg S. Faller
505 00 $gv. 8. The sixties, 1960-1969 /$tPaul Monaco -$tHollywood faces new challenges --$tChanging patterns of production and the arrival of the conglomerates --$tThe runaway audience and the changing world of movie exhibition --$tThe waning production code and the rise of the ratings system --$tThe camera eye --$tThe cutter's room --$tSound and music --$tThe twilight of the goddesses: Hollywood actresses in the 1960s --$tMale domination of the Hollywood screen --$tThe establishment judges: Academy Awards for best picture --$tLandmark movies of the 1960s and the cinema of sensation --$tThe nonfiction film /$rRichard M. Barsam --$t"What went wrong?": the American avant-garde cinema of the 1960s /$rWalter Metz
505 00 $gv. 9 Lost illusions: American cinema in the shadow of Watergate and Vietnam, 1970-1979 /$rDavid A. Cook -$tIntroduction: A decade of change --$tFormative industry trends 1970-1979 --$tManufacturing the blockbuster: the "newest art form of the twentieth century" --$tThe auteur cinema: directors and directions in the "Hollywood Renaissance" --$tGenres I: Revision, transformation, and revival --$tGenres II: Exploitation and Allusion --$tOrders of magnitude I: majors, mini-majors, "instant majors," and independents --$tOrders of magnitude II: costs, agents, stars --$tTechnological innovation and aesthetic response --$tMotion picture exhibition in 1970s America /$rDouglas Gomery --$tLooking back and turning inward: American documentary films of the seventies /$rWilliam Rothman --$tAvant-garde cinema of the seventies /$rRobin Blaetz
505 00 $gv. 10. A new pot of gold, 1980-1989 /$rStephen Prince -$tThe industry at the dawn of the decade --$tMerger mania --$tThe brave new ancillary world --$tIndependents, packaging, and inflationary pressure in 1980s Hollywood /$rJustin Wyatt --$tThe talent oligopoly --$tThe filmmakers --$tGenres and production cycles --$tMovies and morality --$tAmerican documentary in the 1980s /$rCarl Plantings --$tExperimental cinema in the 1980s /$rScott MacDonald
520 8 $aCovering a tumultuous period of the 1950s, this work explores the divorce of movie studios from their theater chains, the panic of the blacklist era, the explosive emergence of science fiction as the dominant genre, and the rise of television and Hollywood's response with widescreen spectacles.
650 0 $aMotion pictures$zUnited States$xHistory.
650 0 $aMotion picture industry$zUnited States$xHistory.
650 7 $aMotion picture industry.$2fast$0(OCoLC)fst01027150
650 7 $aMotion pictures.$2fast$0(OCoLC)fst01027285
651 7 $aUnited States.$2fast$0(OCoLC)fst01204155
650 17 $aFilmkunst.$2gtt
651 7 $a7.150.$2gtt
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
700 1 $aMusser, Charles,$eauthor.
700 1 $aBalio, Tino,$eauthor.
700 1 $aCook, David A.,$eauthor.
700 1 $aKoszarski, Richard,$eauthor.
700 1 $aCrafton, Donald,$eauthor.
700 1 $aLev, Peter,$eauthor.
700 1 $aPrince, Stephen,$eauthor
700 1 $aSchatz, Thomas,$eauthor.
700 1 $aBowser, Eileen,$eauthor.
938 $aBaker & Taylor$bBKTY$c34.95$d34.95$i0520085337$n0002421265$sactive$zB&T Title: The Emergence of Cinema
938 $aBaker & Taylor$bBKTY$c27.50$d27.50$i0520085353$n0002421285$sactive$zB&T Title: An Evening's Entertainment
938 $aBrodart$bBROD$n46656847$c$39.95
938 $aBaker and Taylor$bBTCP$n93221688
938 $aIngram$bINGR$n9780520085336
029 1 $aAU@$b000023479588
029 1 $aHR0$b0520085337
029 1 $aUNITY$b084487151
994 $aZ0$bP4A
948 $hNO HOLDINGS IN P4A - 83 OTHER HOLDINGS