The seminar will engage with major debates about “Hollywood” such as the degree to which the label “classical” can be applied to its texts and modes of production, the ways in which distribution and exhibition can be researched, the role of the production code in relation to auteurs and ideology, questions of periodization and genres, global Hollywood, and the persistence of Hollywood within contemporary media conglomerates.

 

 

 

 

 

 

 

 

Langer, Mark. “The Disney-Fleischer Dilemma: Product Differentiation and Technological Innovation.” Screen 33.4 (1992): 343-360.

 

 

 

Mahar, Karen Ward. “ ‘Doing a “Man’s Work” ’: The Rise of the Studio System and the Remasculization of Filmmaking.” Women Filmmakers in Early Hollywood. Baltimore: The Johns Hopkins University Press, 2006. 179-203.

 

American Cinema's Transitional Era: Audiences, Institutions, Practices. Eds. Charlie Keil and Shelley Stamp. Berkeley: University of California Press, 2004.

 

 

 

Maltby, Richard. “The Production Code and the Mythologies of ‘Pre-Code’ Hollywood.” The Classical Hollywood Reader. Ed. Steve Neale. London: Routledge, 2012. 237-248.

 

Association of Motion Picture Producers and The Motion Picture Producers and Distributors of America, “Code to Govern the Making of Talking, Synchronized and Silent Motion Pictures.” 1930.

Forman, Henry James. Our Movie Made Children. New York: Macmillan, 1934.

 

 

 

Biltereyst, Daniël, Philippe Meers and Lies Van de Vijver. “Social Class, Experiences of Distinction and Cinema in Postwar Ghent.” Explorations in New Cinema History: Approaches and Case Studies. Eds. Richard Maltby, Daniël Biltereyst, and Philippe Meers. Chichester, UK: Wiley-Blackwell, 2011. 101-124.

 

Kuhn, Annette. An Everyday Magic: Cinema and Cultural Memory. London: I.B.Tauris, 2002.

Stacey, Jackie. Star Gazing: Hollywood Cinema and Female Spectatorship. London: Routledge, 1994.

 

 

 

Williams, Linda. “Melodrama Revised.” Refiguring American Film Genres: History and Theory. Ed. Nick Browne. Berkeley: University of California Press, 1998. 42-88.

 

 

 

Kalmus, Natalie M. “Color Consciousness.” Journal of the Society of Motion Picture Engineers 25.2 (1935): 139-147.

 

 

 

 

Nystrom, Derek. “Hard Hats and Movie Brats: Auteurism and the Class Politics of the New Hollywood.” Cinema Journal 43.3 (Spring 2004): 18-41.

 

 

 

 

Bordwell, David. “Intensified Continuity: Visual Style in Contemporary American Film.” Film Quarterly 55.3 (Spring 2002): 16-28.

 

 

 

 

Elsaesser, Thomas. “James Cameron’s Avatar: Access for All.” New Review of Film and Television Studies 9.3 (2011): 247­–264.

 

 

 

 

 

 

 

 

 

 

Biskind, Peter. Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film. New York: Simon & Schuster, 2005.

Bordwell, David, Janet Staiger and Kristin Thompson. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. London: Routledge, 1985.

The Classical Hollywood Reader. Ed. Steve Neale. London: Routledge, 2012.

Contemporary Hollywood Cinema. Eds. Steve Neale and Murray Smith. London and New York: Routledge, 1998.

The Contemporary Hollywood Film Industry. Eds. Paul McDonald and Janet Wasko. Malden: Blackwell, 2008.

Elsaesser, Thomas. The Persistence of Hollywood. New York: Routledge, 2012.

History of the American Cinema. Ed. Charles Harpole. 10 vols. New York: Charles Scribner’s Sons, 1990-2000/Berkeley: University of California Press, 1994-2006.

Lewis, Jon. Hollywood v. Hard Core: How the Struggle Over Censorship Saved the Modern Film Industry. New York: New York University Press, 2002.

Miller, Toby, Nitin Govil, John McMurria, Richard Maxwell, and Ting Wang. Global Hollywood 2. London: BFI Palgrave Macmillan, 2005.

Refiguring American Film Genres: History and Theory. Ed. Nick Browne. Berkeley: University of California Press, 1998.

Thanouli, Eleftheria. Post-Classical Cinema: An International Poetics of Film Narration. London: Wallflower Press, 2009.