America on Film
Representing Race, Class, Gender, and Sexuality at the Movies
|Authors and Corporations:||,|
|Title Statement:||HARRY M. BENSHOFF, PhD, is Professor of Media Arts at the University of North Texas. He received his...|
|Media Type:||Book, E-Book|
A comprehensive and insightful examination of the representation of diverse viewpoints and perspectives in American cinema throughout the 20th and 21st centuries -- -- America on Film: Representing Race, Class, Gender and Sexuality at the Movies, now in its third edition, is an authoritative and lively examination of diversity issues within American cinema. Celebrated authors and academics Harry M. Benshoff and Sean Griffin provide readers with a comprehensive discussion and overview of the industrial, socio-cultural, and aesthetic factors that contribute to cinematic representations of race, class, gender, sexuality, and ability. -- -- The book incorporates several different theoretical perspectives, including film genre, auteurism, cultural studies, Orientalism, the "male gaze," feminism, and queer theory. The authors examine each selected subject via representative films, figures, and movements. Each chapter also includes an in-depth analysis of a single film to illuminate and inform its discussion of the chosen topic. -- -- America on Film fearlessly approaches and tackles several controversial areas of representation in film, including the portrayal of both masculinity and femininity in film and African- and Asian-Americans in film. It devotes the entirety of Part V to an analysis of the depiction of sex and sexuality in American film, with a particular emphasis on the portrayal of homosexuality. Topics covered include: -- -- The structure and history of American filmmaking, including a discussion of the evolution of the business of Hollywood cinema -- African Americans and American film, with a discussion of BlacKkKlansman informing its examination of broader issues -- Asian, Latin/x, and Native Americans on film -- Classical Hollywood cinema and class, with an in-depth examination of The Florida Project -- Women in classical Hollywood filmmaking, including a discussion of the 1955 film, All that Heaven Allows -- -- Perfect for undergraduate and graduate students in film, media, and diversity-related courses, the book also belongs on the shelves of anyone interested in diversity issues in the context of American studies, communications, history, or gender studies. Lastly, it's ideal for use within corporate diversity training curricula and human relations training within the entertainment industry.
|Table of Contents:||Preface to the Third Edition xi Acknowledgments xiv How to Use This Book xvi About the Companion Website xviii Part I Culture and American Film 1 1 Introduction to the Study of Film Form and Representation 3 Film Form 3 American Ideologies: Discrimination and Resistance 6 Culture and Cultural Studies 12 Case Study: Two Lion Kings (1994 and 2019) 17 Questions for Discussion 21 Further Reading 21 2 The Structure and History of Hollywood Filmmaking 22 Hollywood vs. Independent Film 22 The Style of Hollywood Cinema 24 The Business of Hollywood 29 The History of Hollywood: The Movies Begin 31 The Classical Hollywood Cinema 35 World War II and Postwar Film 37 "New" Hollywood and the Blockbuster Mentality 40 Box: A Brief History of Television in the United States 42 21st-Century Convergence Culture 44 Questions for Discussion 47 Further Reading 47 Further Screening 48 Part II Race and Ethnicity and American Film 49 Introduction to Part II: What is Race? 3 The Concept of Whiteness and American Film 55 Seeing White 56 Bleaching the Green: The Irish in American Cinema 60 Looking for Respect: Italians in American Cinema 64 A Special Case: Jews and Hollywood 69 Case Study: The Jazz Singer (1927) 74 Veiled and Reviled: Arabs on Film in America 74 Conclusion: Whiteness and American Film Today 80 Questions for Discussion 81 Further Reading 81 Further Screening 82 4 African Americans and American Film 83 African Americans in Early Film 83 Blacks in Classical Hollywood Cinema 87 World War II and the Postwar Social Problem Film 89 The Rise and Fall of Blaxploitation Filmmaking 92 Box: Blacks on TV 94 Hollywood in the 1980s and the Arrival of Spike Lee 96 Black Independent vs. "Neo-Blaxploitation" Filmmaking in the 1990s 98 African Americans and the Oscars 100 Case Study: BlacKkKlansman (2018) 103 The Twenty-first Century: Smaller Films, Bigger Profits? 106 Conclusion 108 Questions for Discussion 109 Further Reading 109 Further Screening 110 5 Native Americans and American Film 111 The American "Indian" Before Film 112 Ethnographic Films and the Rise of the Hollywood Western 114 The Evolving Western 118 A Kinder, Gentler America? 121 Case Study: Smoke Signals (1998) 124 Conclusion: Twenty-first Century Indians? 125 Questions for Discussion 129 Further Reading 129 Further Screening 129 6 Asian Americans and American Film 130 Silent Film and Asian Images 131 Asians in Classical Hollywood Cinema 133 World War II and After: War Films, Miscegenation Melodramas, Kung Fu, and the Start of Asian American Independent Filmmaking 136 Towards a Global Hollywood: Asian American Actors and Filmmakers of the Last Thirty Years 141 Case Study: Crazy Rich Asians (2018) 146 Conclusion 148 Questions for Discussion 148 Further Reading 148 Further Screening 149 7 Latinos and American Film 150 The Greaser and the Latin Lover: Alternating Stereotypes 152 World War II and After: The Good Neighbor Policy 155 The 1950s to the 1970s: Back to Business as Usual? 159 Expanding Opportunities in the 1980s and 1990s 161 Case Study: My Family/Mi Familia (1995) 164 Latino Film in the 21st Century 166 Conclusion: Which Way Forward? 169 Questions for Discussion 171 Further Reading 172 Further Screening 172 Part III Class and American Film 173 Introduction to Part III: What is Class? 8 Classical Hollywood Cinema and Class 179 Setting the Stage: The Industrial Revolution 179 Early Cinema: The Rise of the Horatio Alger Myth 181 Hollywood and Unionization 185 Class in the Classical Hollywood Cinema 188 Case Study: The Grapes of Wrath (1940) 190 Conclusion: Recloaking Class Consciousness 192 Questions for Discussion 192 Further Reading 193 Further Screening 193 9 Cinematic Class Struggle After the Depression 194 From World War II to the Red Scare 194 From Opulence to Counterculture 197 Box: Class on Television 202 New Hollywood and the Resurrection of the Horatio Alger Myth 202 Corporate Hollywood and Labor in the 21st Century 208 Case Study: The Florida Project (2017) 213 Questions for Discussion 215 Further Reading 215 Further Screening 215 Part IV Gender and American Film 217 Introduction to Part IV: What is Gender? 10 Women in Classical Hollywood Filmmaking 223 Images of Women in Early Cinema 224 Early Female Filmmakers 228 Images of Women in 1930s Classical Hollywood 231 World War II and After 235 Case Study: All that Heaven Allows (1955) 238 Questions for Discussion 240 Further Reading 240 Further Screening 241 11 Exploring the Visual Parameters of Women in Film 242 Ways of Seeing 242 "Visual Pleasure and Narrative Cinema" 245 Case Study: Gilda (1946) 254 Conclusion: Complicating Mulvey's Arguments 255 Questions for Discussion 258 Further Reading 258 Further Screening 258 12 Masculinity in Classical Hollywood Filmmaking 259 Masculinity and Early Cinema 262 Masculinity and the Male Movie Star 263 World War II and Film Noir 268 Case Study: Dead Reckoning (1947) 273 Masculinity in 1950s American Film 274 Questions for Discussion 277 Further Reading 277 Further S...|