Hollywood and the Culture Elite: How the Movies Became American, 1st Edition

  • Peter Decherney
  • Published By:
  • ISBN-10: 0231508514
  • ISBN-13: 9780231508513
  • DDC: 384.80973
  • Grade Level Range: College Freshman - College Senior
  • 272 Pages | eBook
  • Original Copyright 2007 | Published/Released July 2007
  • This publication's content originally published in print form: 2007

  • Price:  Sign in for price

About

Overview

Explores how Hollywood and cultural institutions worked together, amid ethnic diversity, the rise of mass entertainment, world war, and the global spread of American culture, to insure their own survival and profitability and to provide a coherent, though shifting, American identity.

Table of Contents

Front Cover.
Half Title Page.
Other Frontmatter.
Title Page.
Copyright Page.
Other Frontmatter.
Contents.
Acknowledgments.
Hollywood and the Culture Elite.
Introduction: How Film Became Art.
1: Vachel Lindsay and the Universal Film Museum.
2: Nationalism and Film Collecting from Edison to Lindsay.
3: Technologies of the Citizen I: A Short History of the Public Library.
4: Technologies of the Citizen II: A Short History of the Public Museum.
5: Vachel Lindsay, 1915: The Film Library as the New Hollywood.
6: Vachel Lindsay, 1922: The Film Museum as a New Public Sphere.
7: Overlapping Publics: Hollywood and Columbia University, 1915.
8: Screenwriting and the Commerce of Education.
9: Trial by Fire: Film Collecting as Upward Mobility.
10: Great Films and the Making of Americans.
11: Conclusion.
12: Mandarins and Marxists: Harvard and the Rise of Film Experts.
13: Hollywood's Collection; or, Might the Academy Awards Have Been Held at Harvard?.
14: A Cult of Authenticity: Elitism and Expertise.
15: Communism and the Fogg's Progeny in the Thirties.
16: Everyone's a Critic: Harry Alan Potamkin's Marxist Film Library.
17: Iris Barry, Hollywood Imperialism, and the Gender of the Nation.
18: Americanization and Englishness.
19: The Minority, the Mass, and the Film Society.
20: "It Exists to Please Women".
21: Conclusion: Iris Barry in America.
22: The Museum of Modern Art and the Roots of the Cultural Cold War.
23: "The Movies Come from America".
24: No Laughing Matter: The Sociology of Film.
25: Redbaiting and the Short Museum Careers of Jay Leyda and Luis Buñuel.
26: The Practice of Propaganda: MoMA and the CIAA.
27: The Theory of Propaganda: The Rockefeller Connection.
28: Siegfried Kracauer and the Library of Congress Film Project.
29: Conclusion: Into the Cold War.
30: The Politics of Patronage: How the NEA (Accidentally) Created American Avant-Garde Film.
31: How the U.S. Government Learned to Ignore Avant-Garde Film.
32: The Birth of the American Avant-Garde Filmmaker.
33: Mirroring the State: An Alternative History of the New American Cinema.
34: Jerome Hill's Circle.
35: An Avant-Garde Film Museum.
36: Conclusion: "The Age of the Foundation Film".
Conclusion: The Transformation of the Studio System.
Notes.
Index.