LEADER 05585nam 22006734a 450 001 9910450232503321 005 20200520144314.0 010 $a1-282-76260-5 010 $a1-59734-656-X 010 $a9786612762604 010 $a0-520-93632-9 024 7 $a10.1525/9780520936324 035 $a(CKB)1000000000003727 035 $a(EBL)222987 035 $a(OCoLC)475926854 035 $a(SSID)ssj0000172589 035 $a(PQKBManifestationID)11155671 035 $a(PQKBTitleCode)TC0000172589 035 $a(PQKBWorkID)10162553 035 $a(PQKB)10387311 035 $a(OCoLC)56025097 035 $a(MdBmJHUP)muse30346 035 $a(DE-B1597)518963 035 $a(DE-B1597)9780520936324 035 $a(Au-PeEL)EBL222987 035 $a(CaPaEBR)ebr10062331 035 $a(CaONFJC)MIL276260 035 $a(MiAaPQ)EBC222987 035 $a(dli)HEB08084 035 $a(MiU)MIU01000000000000009841819 035 $a(EXLCZ)991000000000003727 100 $a20020126d2002 uy 0 101 0 $aeng 135 $aurnn#---|u||u 181 $ctxt 182 $cc 183 $acr 200 00$aHollywood quarterly $efilm culture in postwar America, 1945-1957 /$fedited by Eric Smoodin and Ann Martin 205 $a1st ed. 210 $aBerkeley $cUniversity of California$dc2002 215 $a1 online resource (422 p.) 300 $aDescription based upon print version of record. 311 0 $a0-520-23273-9 311 0 $a0-520-23274-7 320 $aIncludes bibliographical references and indexes. 327 $tHollywood Quarterly --$tFront matter --$tContents --$tAcknowledgments --$tIntroduction: The Hollywood Quarterly, 1945-1957 --$tEditorial Statement --$t1. The Avant-Garde --$tExperimental Cinema in America. Part One: 1921-1941 --$tExperimental Cinema in America. Part Two: The Postwar Revival --$tThe Avant-Garde Film Seen from Within --$tCinema 16: A Showcase for the Nonfiction Film --$t2. Animation --$tAnimation Learns a New Language --$tMusic and the Animated Cartoon --$tNotes on Animated Sound --$tMr. Magoo as Public Dream --$t3. Documentary --$tPostwar Patterns --$tThe Documentary and Hollywood --$tTime Flickers Out: Notes on the Passing of the March of Time --$t4. Radio --$tThe Case of David Smith --$tRadio's Attraction for Housewives --$tA New Kind of Diplomacy --$t5. Practice --$tA Costume Problem: From Shop to Stage to Screen --$tPerformance under Pressure --$tDesigning The Heiress --$tThe Limitations of Television --$t6. Television --$tHollywood in the Television Age --$tYou and Television --$tChildren's Television Habits and Preferences --$tHow to Look at Television --$t7. The Hollywood Picture --$tWhy Wait for Posterity? --$tHollywood-Illusion and Reality --$tNegro Stereotypes on the Screen --$tToday's Hero: A Review --$tAn Exhibitor Begs for "B's" --$tA Word of Caution for the Intelligent Consumer of Motion Pictures --$tThere's Really No Business Like Show Business --$tThere's Still No Business Like It --$tHollywood's Foreign Correspondents --$t8. Scenes from Abroad --$tAdvanced Training for Film Workers: Russia --$tAdvanced Training for Film Workers: France --$tThe Global Film --$tThe Postwar French Cinema --$tWhen in Rome . . . --$t9. Notes and Communications --$tJ'Accuse --$tJe Confirme --$tThe Cinémathèque Française --$tJean Vigo --$tTwo Views of a Director-Billy Wilder --$tDialogue Between the Moviegoing Public and a Witness for Jean Cocteau --$tSelected Names Index --$tSelected Titles Index 330 $aThe first issue of Hollywood Quarterly, in October 1945, marked the appearance of the most significant, successful, and regularly published journal of its kind in the United States. For its entire life, the Quarterly held to the leftist utopianism of its founders, several of whom would later be blacklisted. The journal attracted a collection of writers unmatched in North American film studies for the heterogeneity of their intellectual and practical concerns: from film, radio, and television industry workers to academics; from Sam Goldwyn, Edith Head, and Chuck Jones to Theodor Adorno and Siegfried Kracauer. For this volume, Eric Smoodin and Ann Martin have selected essays that reflect the astonishing eclecticism of the journal, with sections on animation, the avant-garde, and documentary to go along with a representative sampling of articles about feature-length narrative films. They have also included articles on radio and television, reflecting the contents of just about every issue of the journal and exemplifying the extraordinary moment in film and media studies that Hollywood Quarterly captured and helped to create. In 1951, Hollywood Quarterly was renamed the Quarterly of Film, Radio, and Television, and in 1958 it was replaced by Film Quarterly, which is still published by the University of California Press. During those first twelve years, the Quarterly maintained an intelligent, sophisticated, and critical interest in all the major entertainment media, not just film, and in issue after issue insisted on the importance of both aesthetic and sociological methodologies for studying popular culture, and on the political significance of the mass media. 606 $aMotion pictures$zUnited States 615 0$aMotion pictures 676 $a791.43/0973/09044 701 $aSmoodin$b Eric Loren$0935211 701 $aMartin$b Ann$f1940-$01007267 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910450232503321 996 $aHollywood quarterly$92320199 997 $aUNINA