HIST 1301, 1302, 2321, 2322 - Historical Film Analysis (Dr. Melissa Esmacher): Film Related Books

Broad in scope, this interdisciplinary collection of original scholarship on historical film features essays that explore the many facets of this expanding field and provide a platform for promising avenues of research. Offers a unique collection of cutting edge research that questions the intention behind and influence of historical film Essays range in scope from inclusive broad-ranging subjects such as political contexts, to focused assessments of individual films and auteurs Prefaced with an introductory survey of the field by its two distinguished editors Features interdisciplinary contributions from scholars in the fields of History, Film Studies, Anthropology, and Cultural and Literary Studies

This best-selling text is a succinct guide to thinking critically and writing precisely about film.   Both an introduction to film study and a practical writing guide, this brief text introduces students to major film theories as well as film terminology, enabling them to write more thoughtfully and critically. With numerous student and professional examples, this engaging and practical guide progresses from taking notes and writing first drafts to creating polished essays and comprehensive research projects. Moving from movie reviews to theoretical and critical essays, the text demonstrates how an analysis of a film can become more subtle and rigorous as part of a compositional process.

Recent history--the very phrase seems like an oxymoron. Yet historians have been writing accounts of the recent past since printed history acquired a modern audience, and in the last several years interest in recent topics has grown exponentially. With subjects as diverse as Walmart and disco, and personalities as disparate as Chavez and Schlafly, books about the history of our own time have become arguably the most exciting and talked-about part of the discipline. Despite this rich tradition and growing popularity, historians have engaged in little discussion about the specific methodological, political, and ethical issues related to writing about the recent past. The twelve essays in this collection explore the challenges of writing histories of recent events where visibility is inherently imperfect, hindsight and perspective are lacking, and historiography is underdeveloped. Those who write about events that have taken place since 1970 encounter exciting challenges that are both familiar and foreign to scholars of a more distant past, including suspicions that their research is not historical enough, negotiation with living witnesses who have a very strong stake in their own representation, and the task of working with new electronic sources.

This is the second book in the (AND OTHER THINGS) series. The first one was about basketball and this one is about movies. Each Chpater here is a different movie question that needs to be answered. Sometimes the question is about a single movie. (Example: Who Gets It the Worst in Kill Bill?) Other times, the question is about mutliple movies that are all tied together by a certain theme. (Example: Who's in the Perfect Heist Movie Crew?) There's art in the book and also there are charts in there, too.

Film noir literally "black cinema" is the label customarily given to a group of black and white American films, mostly crime thrillers, made between 1940 and 1959. Today there is considerable dispute about what are the shared features that classify a noir film, and therefore which films should be included in this category. These problems are partly caused because film noir is a retrospective label that was not used in the 1940s or 1950s by the film industry as a production category and therefore its existence and features cannot be established through reference to trade documents. The Historical Dictionary of Film Noir is a comprehensive guide that ranges from 1940 to present day neo-noir. It consists of a chronology, an introductory essay, a bibliography, a filmography, and over 400 cross-referenced dictionary entries on every aspect of film noir and neo-noir, including key films, personnel (actors, cinematographers, composers, directors, producers, set designers, and writers), themes, issues, influences, visual style, cycles of films (e.g. amnesiac noirs), the representation of the city and gender, other forms (comics/graphic novels, television, and videogames), and noir's presence in world cinema. It is an essential reference work for all those interested in this important cultural phenomenon."

This definitive interdisciplinary collection by leading scholars probes the theoretical and historical contexts of films made about the American past, from silent film to the present. The book offers a fresh assessment of studio era historical filmmaking and its legacy across a range of genres.

Motion picture images have influenced the American mind since the earliest days of film, and many thoughtful people are becoming ever more concerned about that influence, as about the pervasive influence of television. In eras of economic instability and international conflict, the film industry has not hesitated to use motion pictures for definite propaganda purposes. During less troubled times, the American citizen's ability to deal with political and social issues has been enhanced or thwarted by images absorbed in the nation's theatres. Hollywood As Historian tracks the interaction of Americans with important motion picture productions. Considered are such topics as racial and sexual stereotyping, censorship of films, comedy as a tool for social criticism, the influence of great men and their screen images, and the use of film to interpret history.

This book serves as a fascinating guide to 100 war films from 1930 to the present. Readers interested in war movies will learn surprising anecdotes about these films and will have all their questions about the films' historical accuracy answered. This cinematic guide to war movies spans 800 years in its analysis of films from those set in the 13th century Scottish Wars of Independence (Braveheart) to those taking place during the 21st-century war in Afghanistan (Lone Survivor). World War II has produced the largest number of war movies and continues to spawn recently released films such as Dunkirk.

Conflicting interests and conflicting attitudes toward the war characterized the uneasy relationship between Washington and Hollywood during World War II. There was deep disagreement within the film-making community as to the stance towards the war that should be taken by one of America's most lucrative industries. Hollywood Goes to War reveals the powerful role played by President Franklin D. Roosevelt's Office of War Information--staffed by some of America's most famous intellectuals including Elmer Davis, Robert Sherwood, and Archibald MacLeish--in shaping the films that were released during the war years. Ironically, it was the film industry's own self-censorship system, the Hays Office and the Production Code Administration, that paved the way for government censors to cut and shape movies to portray an idealized image of a harmonious American society united in the fight against a common enemy.

Fully revised, updated, and extended, this compilation of interpretive essays and primary documents teaches students to read films as cultural artifacts within the contexts of actual past events. A new edition of this classic textbook, which ties movies into the broader narrative of US and film history Ten new articles which consider recently released films, as well as issues of gender and ethnicity Well-organized within a chronological framework with thematic treatments to provide a valuable resource for students of the history of American film Fourth edition includes completely new images throughout

By combining the study of films with the text-based primary sources, Screening America gives students clear guidance in studying, interpreting, and understanding the motion picture's significance as a primary source in investigating U.S. History.Students will come to understand history as not only the record of what governments did, but also the way in which people lived their lives, experienced the wider world, and engaged in leisure pursuits, from which we can learn much about the society in which they lived.

War has had a powerful impact on the film industry. But it is not only wars that affect films; films influence war-time behavior and incisively shape the way we think about the battles that have been waged. In The War Film, Robert Eberwein brings together essays by scholars using a variety of critical approaches to explore this enduringly popular film genre. Contributors examine the narrative and aesthetic elements of war films from four perspectives: consideration of generic conventions in works such as All Quiet on the Western Front, Bataan, and The Thin Red Line; treatment of race in various war films, including Glory, Home of the Brave, Platoon, and Hamburger Hill; aspects of gender, masculinity and feminism in The Red Badge of Courage, Rambo, Dogfight, and Courage under Fire; and analysis of the impact of contemporary history on the production and reception of films such as The Life and Times of Rosie the Riveter, Saving Private Ryan, and We Were Soldiers.