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Left of Hollywood : Cinema, Modernism, and the Emergence of U.S. Radical Film Culture / Chris Robé.

By: Material type: TextTextPublisher: Austin : University of Texas Press, [2021]Copyright date: ©2010Description: 1 online resource (308 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780292784734
Subject(s): DDC classification:
  • 791.436581
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Acknowledgments -- Introduction. Unfinished Promises to an Orphaned Time -- Chapter One. Montage, Realism, and the Male Gaze -- Chapter Two. Eisenstein in America: The ¡Que Viva México! Debates and Emergent Popular Front U.S. Film Theory and Criticism -- Chapter Three. Screening Race: The Antilynching Film, the Black Press, and U.S. Popular Front Film Criticism -- Chapter Four. Taking Hollywood Back: Gendered Histories of the Hollywood Costume Drama, the Biopic, and Jean Renoir’s La Marseillaise -- Conclusion. Fragments of the Future -- Notes -- Bibliography -- Index
Summary: In the 1930s as the capitalist system faltered, many in the United States turned to the political Left. Hollywood, so deeply embedded in capitalism, was not immune to this shift. Left of Hollywood offers the first book-length study of Depression-era Left film theory and criticism in the United States. Robé studies the development of this theory and criticism over the course of the 1930s, as artists and intellectuals formed alliances in order to establish an engaged political film movement that aspired toward a popular cinema of social change. Combining extensive archival research with careful close analysis of films, Robé explores the origins of this radical social formation of U.S. Left film culture. Grounding his arguments in the surrounding contexts and aesthetics of a few films in particular—Sergei Eisenstein's Que Viva Mexico!, Fritz Lang's Fury, William Dieterle's Juarez, and Jean Renoir's La Marseillaise—Robé focuses on how film theorists and critics sought to foster audiences who might push both film culture and larger social practices in more progressive directions. Turning at one point to anti-lynching films, Robé discusses how these movies united black and white film critics, forging an alliance of writers who championed not only critical spectatorship but also the public support of racial equality. Yet, despite a stated interest in forging more egalitarian social relations, gender bias was endemic in Left criticism of the era, and female-centered films were regularly discounted. Thus Robé provides an in-depth examination of this overlooked shortcoming of U.S. Left film criticism and theory.
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Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780292784734

Frontmatter -- Contents -- Acknowledgments -- Introduction. Unfinished Promises to an Orphaned Time -- Chapter One. Montage, Realism, and the Male Gaze -- Chapter Two. Eisenstein in America: The ¡Que Viva México! Debates and Emergent Popular Front U.S. Film Theory and Criticism -- Chapter Three. Screening Race: The Antilynching Film, the Black Press, and U.S. Popular Front Film Criticism -- Chapter Four. Taking Hollywood Back: Gendered Histories of the Hollywood Costume Drama, the Biopic, and Jean Renoir’s La Marseillaise -- Conclusion. Fragments of the Future -- Notes -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

In the 1930s as the capitalist system faltered, many in the United States turned to the political Left. Hollywood, so deeply embedded in capitalism, was not immune to this shift. Left of Hollywood offers the first book-length study of Depression-era Left film theory and criticism in the United States. Robé studies the development of this theory and criticism over the course of the 1930s, as artists and intellectuals formed alliances in order to establish an engaged political film movement that aspired toward a popular cinema of social change. Combining extensive archival research with careful close analysis of films, Robé explores the origins of this radical social formation of U.S. Left film culture. Grounding his arguments in the surrounding contexts and aesthetics of a few films in particular—Sergei Eisenstein's Que Viva Mexico!, Fritz Lang's Fury, William Dieterle's Juarez, and Jean Renoir's La Marseillaise—Robé focuses on how film theorists and critics sought to foster audiences who might push both film culture and larger social practices in more progressive directions. Turning at one point to anti-lynching films, Robé discusses how these movies united black and white film critics, forging an alliance of writers who championed not only critical spectatorship but also the public support of racial equality. Yet, despite a stated interest in forging more egalitarian social relations, gender bias was endemic in Left criticism of the era, and female-centered films were regularly discounted. Thus Robé provides an in-depth examination of this overlooked shortcoming of U.S. Left film criticism and theory.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)