LEADER 03788nam 2200601 a 450 001 9910826231203321 005 20230126202556.0 010 $a0-292-73541-3 024 7 $a10.7560/726802 035 $a(CKB)2550000000073465 035 $a(OCoLC)771288303 035 $a(CaPaEBR)ebrary10519726 035 $a(SSID)ssj0000550913 035 $a(PQKBManifestationID)11381823 035 $a(PQKBTitleCode)TC0000550913 035 $a(PQKBWorkID)10524477 035 $a(PQKB)10154914 035 $a(MiAaPQ)EBC3443575 035 $a(MdBmJHUP)muse599 035 $a(Au-PeEL)EBL3443575 035 $a(CaPaEBR)ebr10519726 035 $a(DE-B1597)587260 035 $a(OCoLC)1280945447 035 $a(DE-B1597)9780292735415 035 $a(EXLCZ)992550000000073465 100 $a20110606d2011 ub 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aAmerican film cycles$b[electronic resource] $ereframing genres, screening social problems, and defining subcultures /$fAmanda Ann Klein 205 $a1st ed. 210 $aAustin $cUniversity of Texas Press$dc2011 215 $a1 online resource (256 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-292-72680-5 320 $aIncludes bibliographical references and index. 327 $aIntroduction: love at first sight -- Real gangsters do cry: a cyclical approach to film genres -- Real gangsters do cry: understanding how film cycles change over time -- I was a teenage film cycle: the relationship between youth subcultures and film cycles -- Not only screen but the projector as well: the relationship between race and film cycles -- Conclusion: love, disdain, and the future of cycle studies. 330 $aA series of movies that share images, characters, settings, plots, or themes, film cycles have been an industrial strategy since the beginning of cinema. While some have viewed them as "subgenres," mini-genres, or nascent film genres, Amanda Ann Klein argues that film cycles are an entity in their own right and a subject worthy of their own study. She posits that film cycles retain the marks of their historical, economic, and generic contexts and therefore can reveal much about the state of contemporary politics, prevalent social ideologies, aesthetic trends, popular desires, and anxieties. American Film Cycles presents a series of case studies of successful film cycles, including the melodramatic gangster films of the 1920s, the 1930s Dead End Kids cycle, the 1950s juvenile delinquent teenpic cycle, and the 1990s ghetto action cycle. Klein situates these films in several historical trajectories?the Progressive movement of the 1910s and 1920s, the beginnings of America's involvement in World War II, the "birth" of the teenager in the 1950s, and the drug and gangbanger crises of the early 1990s. She shows how filmmakers, audiences, film reviewers, advertisements, and cultural discourses interact with and have an impact on the film texts. Her findings illustrate the utility of the film cycle in broadening our understanding of established film genres, articulating and building upon beliefs about contemporary social problems, shaping and disseminating deviant subcultures, and exploiting and reflecting upon racial and political upheaval. 606 $aFilm genres$zUnited States 606 $aMotion pictures$xSocial aspects$zUnited States 615 0$aFilm genres 615 0$aMotion pictures$xSocial aspects 676 $a302.23/43 700 $aKlein$b Amanda Ann$f1976-$01723221 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910826231203321 996 $aAmerican film cycles$94124285 997 $aUNINA