| Formatted contents note |
Introduction; Hollywood in the screen ages<br/>Now playing<br/>Movies in the twenty-first century<br/>The screen ages: The myth of Hollywood's "Golden Age"<br/>The same movie on different screens: The event-centered approach to movie history<br/>Case study 0.1: Schindler's List and Castlemont High School<br/>The structure of Screen Ages<br/>1. Beginnings: Multiple cinemas, multiple audiences. 1895-1907<br/>Now playing<br/>Vitascope debuts at Koster and Bial's Music Hall, New York City, April 23, 1896<br/>A day at a Mutoscope peep show, St Louis, Missouri, 1900<br/>The Great Train Robbery plays at the Nickelodeon theater, Pittsburgh, 1905<br/>Screen ages<br/>The invention of "the movies" *<br/>Beginnings: Pre-cinema<br/>Photography and nineteenth-century screen shows<br/>Eadweard Muybridge and the first movies<br/>The beginnings of mass media in nineteenth-century Arfierica<br/>The movies begin in America<br/>Competition and diversity: Taking control of events<br/>Controlling the movies: Edison and the Motion Picture Patents Company<br/>In development<br/>The invention of "the movies" and the first narrative genres<br/>Actualities and the documentary tradition<br/>Case study 1.1: From Kinetoscopes to YouTube<br/>From actuality to melodrama: The Life of an American Fireman<br/>Turn-of-the-century genres of gender: Muscle men and dancing girls<br/>Case study 1.2: An early movie scandal: "The Kiss"<br/>The names above and below the title<br/>Thomas Edison and the cult{ure) of invention<br/>Alice Guy-Blache and women in film<br/>Edwin S. Porter and the artisanal screen age<br/>Explore further<br/>2. Becoming "the movies": The nickelodeon age, 1908-1915<br/>Now playing , r- • a .<br/>Joseph Medill Patterson reports on "The Nickelodeons," Saturday Evening Post,<br/>November 23, 1907<br/>. Los Angeles nickelodeon showing of Kid Auto Races at Venice, 1914<br/>Cahiria premieres at the Knickerbocker Theatre, New York City, June 1, 1914<br/>Screen ages<br/>A new medium for a new America<br/>Growing demand and the rise of the independents<br/>The movies go west<br/>In focus: Early censorship and the question of who goes to the movies<br/>The National Board of Censorship and the Mutual case<br/>In development<br/>Comedies, westerns, and melodramas: The genres of the nickelodeon age<br/>The western<br/>Slapstick comedy<br/>Case study 2.1: The problem of slapstick<br/>Gender genres: The New Woman<br/>The names above and below the title<br/>Florence Lawrence and the invention of the "movie star"<br/>D. W. Griffith<br/>Lois Weber: Lost pioneer of early cinema<br/>Case study 2.2: Telling stories with pictures: Lois Weber's Suspense<br/>Explore further-<br/>Movie palaces, corner theaters, and tent shows: The silent era and the first<br/>Hollywood, 1915-192S<br/>Now playing<br/>The premiere of The Clansman, later The Birth uf a Nation, at dune's Auditorium,<br/>Los Angeles, February 8, 1915<br/>Case study 3.1: To screen or not to screen - the problem of The Birth of a Nation<br/>A typical silent bill at a small-town movie theater, 1920<br/>Case study 3.2: "Silent" movies? The role of sound in the silent era<br/>A screening of The ]azz Singer at the Garrick Theatre, downtown Chicago, December 1927<br/>Screen ages<br/>In the silent era: Liberation and repression<br/>The business of the movies: The rise of the studio system and vertical integration<br/>Counter-reactions to vertical integration: Star power<br/>Liberation arid repression II: Celebrity, scandal, and censorship<br/>The .VIPPDA and self-censorship<br/>In development ..<br/>.VIelodrama ■<br/>Movies as art/art movies<br/>Erich Von Stroheim<br/>F. W. Murnau<br/>Genres of gentler: The girl next door, the vamp, and the flapper<br/>The names above and below the title<br/>.Mary Pickford<br/>Oscar Micheaux and bLick cinema<br/>Three giants of silent comedy: Charlie Chaplin, Buster Keaton, Harold Lloyd<br/>Charlie Chaplin<br/>Buster Keaton<br/>Harold Lloyd<br/>Explore further<br/>4. The studios era: Dominance and diversity in the Golden Age of<br/>Hollywood, 1929-1948<br/>Now playing<br/>A pre-Code screening of The Public Enemy at the Strand Theatre, New York, 1931<br/>A ten-year-old Martin Luther King, Jr., dressed as a plantation field hand, sings in a<br/>black Baptist choir at the Atlanta premiere of Cone with the Wind,<br/>December 14, 1939<br/>A Saturday afternoon matinee, 1943<br/>Screen ages<br/>The movies in Depression-era America<br/>The studio system<br/>Studio factories and house sr>'les<br/>Overview of house styles: The Big Five<br/>Metro Goldwyn Mayer: Glitz and glamor<br/>Case study 4.1: The Wizard of Oz and the Great Depression<br/>Paramount Pictures: Polish and sophistication<br/>Warner Brothers: Gritt>' realism<br/>20th Century Fox: Ail-American populism<br/>RKO: Variety and experimentation<br/>The "Little Three": Universal, Columbia, and United Artists<br/>Universal Pictures<br/>Columbia Pictures<br/>United Artists<br/>Poverty Row and independent filmmaking<br/>Hollywood and World War II £<br/>The trauma of war -<br/>Censorship and the Production Code<br/>The Paramount Decision and the end of the studios era<br/>In development<br/>i<br/>Genres of gender: Film noir, the hardboiled detective, and the femme fatale<br/>Case study 4,2: The Production Code in action: The case of Double Indemnity<br/>Animation in the studios era<br/>The names above and below the title<br/>Orson Welles<br/>Walt Disney<br/>Dorothy Arzner<br/>Explore further<br/>5. Theaters, drive-ins, and living rooms: Changing screens, changing movies,<br/>1949-1966 r<br/>Now playing<br/>The premiere of The Ten Comniandments at the Criterion Theatre, New York City,<br/>November 8, 1956<br/>A showing of Beach Party at a drive-in theater, 1963 ^<br/>A television episode of Alfred Hitchcock Presents^ Jamjary 3, 1960<br/>Screen ages<br/>1949-1966: Conformity and contention<br/>Hollywood after the Paramount Decision: Divestment and diversification<br/>The rise of the agents: MCA, Universal, and diversification<br/>McCarthyism, the Cold War, and the blacklist<br/>Hollywood and the world<br/>International inlluences<br/>The end of the Production Code and the beginnings of the ratings system<br/>In development<br/>The western<br/>Science fiction<br/>Genres of gender in the 1950s and early 1960s: Marilyn Monroe and<br/>James Dean/R(Kk Hudson and Doris Day<br/>Case study 5.1: A new kind of acting: Movies and the Method<br/>The names above and below the title<br/>John Ford<br/>Nicholas Ray<br/>Case study 5.2: Constructing the teenager: Images of youth in 1950s screen experiences<br/>Alfred Hitchcock<br/>Explore further<br/>6. Movies big and small: Art movies, blockbusters, and the new Hollvwood,<br/>1967-19S0<br/>Now playing<br/>Watching Naslwille at a suburban multiplex, summer 1975<br/>A college film society screening of The Godfather, October 1976<br/>Star Wars premieres at Mann's Chinese Theatre, Hollywood, May 1977<br/>Case study 6.1: Star Wars and its sources<br/>Screen ages<br/>The turning point<br/>Screen experiences big and small<br/>The ratings system<br/>Vietnam and the end of the American empire<br/>Getting bigger by getting smaller<br/>Case study 6.2: Youth culture and Hollywood: The case of Easy Rider<br/>Sequels and franchises<br/>In development<br/>Comedy in the 1970s: Woody Allen and .Mel Brooks<br/>Blaxploitarion movies<br/>Genres of gender: Nontraditional leading men: Dustin Hoffman, Al Pacino, Richard Dreyfuss<br/>Dustin Hoffman<br/>Al Pacino<br/>Richard Dreyfuss<br/>The names above and below the title<br/>Jane Fonda<br/>Steven Spielberg<br/>.Vlartin Scorsese J<br/>Explore further<br/>7. Shopping malls, video stores, and cable TV: Movies in tbe franchise era,<br/>1981-1997<br/>Now playing<br/>Sex. Lies, and Videotape screens at the Utah/US Film Festival, January 1989<br/>A family watches Raiders of the Lost Ark on HBO in their home, 1984<br/>College students "watch a VHS copy of Pidp Fiction in their college dorm room, 1997<br/>Screen ages<br/>Opposing forces in the franchise era<br/>The movie business in the 1980s<br/>.Vlovies in the 1980s and 1990s: Bigger, louder, costlier<br/>The example of Ramho<br/>Alternatives to the blockbuster: The rise of indie movies<br/>Case study 7.1: What makes an indie movie an indie movie?<br/>In development<br/>Slasher movies<br/>Case study 7.2: Why do we like horror movies?<br/>John Hughes and new teen movies<br/>Cienres of gender: The bodybuilder hero<br/>The names above and below the title<br/>Spike Lee<br/>Susan Scidelman, Amy Heckerling, .Martha Coolidge<br/>Quentin Tarantino<br/>Explore further<br/>8. The digital era: Back to the future, 1994-present<br/>Now playing<br/>Titanic plays on a small screen embedded in the back of an airplane seat, 1998<br/>Two high school students watch a VHS cassette of The Phantom Edit on a hoi ■<br/>entertainment center, 2001<br/>A college film student watches The Rirth of a Nation on YouTube, 2010<br/>Screen ages<br/>The digital age: A new dawn of cinema<br/>Freedom and control: The push and pull of the digital age<br/>Globalization, 9/11, and the movies<br/>The continuing importance of DIY and indie cinema<br/>From The Matrix to Her: Fear and hope for the future<br/>In development<br/>Television versus movies/television as movies<br/>The comic-book movie<br/>Bromanccs and chick flicks<br/>The names above and below the title<br/>Kathryn Bigelow<br/>Wes Anderson<br/>Lena Dunham<br/>The persistence of the indie ideal<br/>Gender and the movies i<br/>Case study 8.1: Pick a "typical" movie 'i<br/>Multiple screens/multiple "movies": Everything is cinema •<br/>Accessibility and unpredictability: Everyone's a moviemaker<br/>Case study 8.2: The future of the movies<br/>Explore further |
