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Paris in the Dark
In Paris in the Dark Eric Smoodin takes readers on a journey through the streets, cinemas, and theaters of Paris to sketch a comprehensive picture of French film culture during the 1930s and 1940s. Drawing on a wealth of journalistic sources, Smoodin recounts the ways films moved through the city, the favored stars, and what it was like to go to the movies in a city with hundreds of cinemas. In a single week in the early 1930s, moviegoers might see Hollywood features like King Kong and Frankenstein, the new Marlene Dietrich and Maurice Chevalier movies, and any number of films from Italy, Germany, and Russia. Or they could frequent the city's ciné-clubs, which were hosts to the cinéphile subcultures of Paris. At other times, a night at the movies might result in an evening of fascist violence, even before the German Occupation of Paris, while after the war the city's cinemas formed the space for reconsolidating French film culture. In mapping the cinematic geography of Paris, Smoodin expands understandings of local film exhibition and the relationships of movies to urban space.
Snow White and the Seven Dwarfs
On release in the 1930s, Snow White became a milestone in animated film, Disney production and the US box office. Today its fans cross generations and continents, proving that this tale of the loveable, banished princess and her seven outstanding friends possesses a special magic that makes it both an all-time Disney great and a true film classic.
Regarding Frank Capra
In this innovative historical examination of the American movie audience, Eric Smoodin focuses on reactions to the films of Frank Capra. Best known for his Hollywood features—including It Happened One Night, It’s a Wonderful Life, and Mr. Smith Goes to Washington—Capra also directed educational films, military films, and documentaries. Based on his analysis of the reception of a broad range of Capra’s films, Smoodin considers the preferences and attitudes toward Hollywood of the people who watched movies during the “Golden Age” of studio production, from 1930 to 1960. Drawing on archival sources including fan letters, exhibitor reports, military and prison records, government and...
Disney Discourse
Hirohito and his Mickey Mouse watch, Goofy and Donald as our "Goodwill Ambassadors:" Disney Discourse is an interdisciplinary examination of the founder and his empire. These essays use an interdisciplinary approach to read through Disney's domestic cultural production "innocent" national icons, as well as theme parks, cartoons and television to analyze the global impact of American popular culture, the politics of Disney, and the complex reception Disney productions have received around the world. The Disney corporation's ever-increasing visibility the opening of Euro Disney and new stores in malls and vast influence over global culture demands critical attention not only in film and television studies, but in international diplomacy, architecture, economics and other related fields. Disney Discourse consolidates the best of the current work on Disney and provides a representative sample of past analyses of the Disney empire. Contributors: Julianne Burton-Carvajal, Lisa Cartwright, Brian Goldfarb, Richard deCordova, Douglas Gomery, David Kunzle, Jon Lewis, Moya Luckett, Richard Neupert, Susan Ohmer, José Piedra, Mitsuhiro Yoshimoto, Alexander Wilson.
Animating Culture
Long considered "children's entertainment" by audiences and popular media, Hollywood animation has received little serious attention. Eric Smoodin's Animating Culture is the first and only book to thoroughly analyze the animated short film. Usually running about seven or eight minutes, cartoons were made by major Hollywood studios--such as MGM, Warner Bros., and Disney--and shown at movie theaters along with a newsreel and a feature-length film. Smoodin explores animated shorta and the system that mass-produced them. How were cartoons exhibited in theaters? How did they tell their stories? Who did they tell them to? What did they say about race, class, and gender? How were cartoons related t...
Paris in the Dark
In Paris in the Dark Eric Smoodin takes readers on a journey through the streets, cinemas, and theaters of Paris to sketch a comprehensive picture of French film culture during the 1930s and 1940s. Drawing on a wealth of journalistic sources, Smoodin recounts the ways films moved through the city, the favored stars, and what it was like to go to the movies in a city with hundreds of cinemas. In a single week in the early 1930s, moviegoers might see Hollywood features like King Kong and Frankenstein, the new Marlene Dietrich and Maurice Chevalier movies, and any number of films from Italy, Germany, and Russia. Or they could frequent the city's ciné-clubs, which were hosts to the cinéphile subcultures of Paris. At other times, a night at the movies might result in an evening of fascist violence, even before the German Occupation of Paris, while after the war the city's cinemas formed the space for reconsolidating French film culture. In mapping the cinematic geography of Paris, Smoodin expands understandings of local film exhibition and the relationships of movies to urban space.
Looking Past the Screen
Film scholarship has long been dominated by textual interpretations of specific films. Looking Past the Screen advances a more expansive American film studies in which cinema is understood to be a social, political, and cultural phenomenon extending far beyond the screen. Presenting a model of film studies in which films themselves are only one source of information among many, this volume brings together film histories that draw on primary sources including collections of personal papers, popular and trade journalism, fan magazines, studio publications, and industry records. Focusing on Hollywood cinema from the teens to the 1970s, these case studies show the value of this extraordinary ran...
Snow White and the Seven Dwarfs
"On release in the 1930s, Snow White became a milestone in animated film, Disney production and the US box office. Today its fans cross generations and continents, proving that this tale of the loveable, banished princess and her seven outstanding friends possesses a special magic that makes it both an all-time Disney great and a true film classic."--Bloomsbury publishing.
Hollywood Quarterly
The 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 a...
The American Film History Reader
The American Film History Reader brings together 18 essays dating back to early efforts to historicize the medium through to contemporary work focusing on technology and industry history. The collection includes some of the most significant US film history essays written in the last 90 years, and are organized into six thematic sections focusing on: Industrial Practice, Technology, Reception, Films and Filmmakers, Censorship and Regulation, and Stardom. Each section includes a comprehensive introduction by the editors, introducing each essay individually, and providing context for the readings, along with suggestions for related viewings and an annotated list of further reading.
