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Your search for 'Cinema and Performance Arts' in subject found 58 book(s).
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21. cover
Title: Light moving in time: studies in the visual aesthetics of avant-garde film online access is available to everyone
Author: Wees, William C. (William Charles) 1935-
Published: University of California Press,  1992
Subjects: Cinema and Performance Arts | Film
Publisher's Description: To view a film is to see another's seeing mediated by the technology and techniques of the camera. By manipulating the cinematic apparatus in unorthodox ways, avant-garde filmmakers challenge the standardized versions of seeing perpetuated by the dominant film industry and generate ways of seeing that are truer to actual human vision.Beginning with the proposition that the images of cinema and vision derive from the same basic elements - light, movement, and time - Wees argues that cinematic apparatus and human visual apparatus have significant properties in common. For that reason they can be brought into a dynamic, creative relationship which the author calls the dialectic of eye and camera. The consequences of this relationship are what Wees explores.Although previous studies have recognized the visual bias of avant-garde film, this is the first to place the visual aesthetics of avant-garde film in a long-standing, multidisciplinary discourse on vision, visuality, and art.   [brief]
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22. cover
Title: For documentary: twelve essays
Author: Vaughan, Dai
Published: University of California Press,  1999
Subjects: Cinema and Performance Arts | Anthropology | Photography | Popular Culture
Publisher's Description: These essays, which span twenty-five years of writing and a lifetime of experience, offer fresh and challenging insights into documentary. Dai Vaughan, one of the most highly regarded documentary editors to have worked in Britain in recent decades, makes his starting point plain: "Most of us would feel that the word 'documentary' had not justified its place in the dictionary if the films so called did not manifest some relationship with the world not shared by others." That elusive relationship is the subject of his eloquent reflections and analyses.As critic, Vaughan contrasts the Olympic Games films of Riefenstahl (1936) and Ichikawa (1964); as participant, he tells how the introduction of portable 16mm equipment gave rise to cinéma vérité and observational visual anthropology. The twin perspective of analyst and practitioner results in a radical restatement of the documentary project, one in which documentary is seen as engaging the viewer's freedom in a way that fiction does not. A chapter near the end, "From Today, Cinema Is Dead," is uncompromising in its pessimistic view that digitalization threatens the privileged relationship we have always granted between a photograph and its object. Film theorists and filmmakers, indeed everyone who cares about how our society represents itself to itself, will find For Documentary engrossing as well as illuminating.   [brief]
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23. cover
Title: Backstory 2: interviews with screenwriters of the 1940s and 1950s online access is available to everyone
Author: McGilligan, Patrick
Published: University of California Press,  1997
Subjects: Cinema and Performance Arts | Theatre
Publisher's Description: "Backstory" is the screenwriter's term for what happens in a plot before the screen story begins. In this companion volume to McGilligan's widely praised Backstory: Interviews with Screenwriters of Hollywood's Golden Age , fourteen studio scribes active in later decades rail and reminisce about their fifty-plus years of inventing and scripting movies. Richard Brooks, Garson Kanin and Ruth Gordon, Arthur Laurents, Ben Maddow, Stewart Stern, Daniel Taradash, and Philip Yordan are among the distinguished figures included.The 1940s were a period of transition for the motion picture industry, from an era of hope and glory and the upheavals of World War II to a postwar era of caution and confusion. The 1950s brought a great decline in the number of films produced and led to the extinction of that peculiar creature, the contract writer.The survivors of Hollywood's most productive years remain wonderfully talkative, however. In this lively collection of interviews they contribute useful writing tips, radical correctives to screen history and industry folklore, and just plain fascinating gossip. As a whole, the interviews provide a compelling biographical close-up of an entire generation of men and women whose talent, vision, and tenacity were critical to the institution we know as "Hollywood."   [brief]
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24. cover
Title: Overtones and undertones: reading film music
Author: Brown, Royal S
Published: University of California Press,  1994
Subjects: Cinema and Performance Arts | Film | Music
Publisher's Description: Since the days of silent films, music has been integral to the cinematic experience, serving, variously, to allay audiences' fears of the dark and to heighten a film's emotional impact. Yet viewers are often unaware of its presence. In this bold, insightful book, film and music scholar and critic Royal S. Brown invites readers not only to "hear" the film score, but to understand it in relation to what they "see."Unlike earlier books, which offered historical, technical, and sociopolitical analyses, Overtones and Undertones draws on film, music, and narrative theory to provide the first comprehensive aesthetics of film music. Focusing on how the film/score interaction influences our response to cinematic situations, Brown traces the history of film music from its beginnings, covering both American and European cinema. At the heart of his book are close readings of several of the best film/score interactions, including Psycho, Laura, The Sea Hawk, Double Indemnity, and Pierrot le Fou. In revealing interviews with Bernard Herrmann, Miklós Rósza, Henry Mancini, and others, Brown also allows the composers to speak for themselves. A complete discography and bibliography conclude the volume.   [brief]
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25. cover
Title: Moving places: a life at the movies online access is available to everyone
Author: Rosenbaum, Jonathan
Published: University of California Press,  1995
Subjects: Cinema and Performance Arts | Film | Autobiography
Publisher's Description: Moving Places is the brilliant account of a life steeped in and shaped by the movies - part autobiography, part film analysis, part social history. Jonathan Rosenbaum, one of America's most gifted film critics, began his moviegoing in the 1950s in small-town Alabama, where his family owned and managed a chain of theaters.Starting in the Deep South of his boyhood, Rosenbaum leads us through a series of "screen memories," making us aware of movies as markers of the past - when and where we saw them, with whom, and what we did afterward. The mood swings easily from sensual and poignant regret to screwball exuberance, punctuated along the way by a tribute to the glamorous Grace Kelly of Rear Window , a meditation on The Rocky Horror Picture Show and its improbable audience-community, and an extended riff on Rosenbaum's encounters with On Moonlight Bay .Originally published in 1980, Moving Places is reissued now both as a companion volume to the author's latest book and as a means of introducing a new generation of film buffs to this unique, often humorous exploration of one man's life at the movies.   [brief]
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26. cover
Title: Performance artists talking in the eighties: sex, food, money/fame, ritual/death
Author: Montano, Linda 1942-
Published: University of California Press,  2001
Subjects: Art | Art History | Cinema and Performance Arts
Publisher's Description: Performance artist Linda Montano, curious about the influence childhood experience has on adult work, invited other performance artists to consider how early events associated with sex, food, money/fame, or death/ritual resurfaced in their later work. The result is an original and compelling talking performance that documents the production of art in an important and often misunderstood community. Among the more than 100 artists Montano interviewed from 1979 to 1989 were John Cage, Suzanne Lacy, Faith Ringgold, Dick Higgins, Annie Sprinkle, Allan Kaprow, Meredith Monk, Eric Bogosian, Adrian Piper, Karen Finley, and Kim Jones. Her discussions with them focused on the relationship between art and life, history and memory, the individual and society, and the potential for individual and social change. The interviews highlight complex issues in performance art, including the role of identity in performer-audience relationships and art as an exploration of everyday conventions rather than a demonstration of virtuosity.   [brief]
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27. cover
Title: Window shopping: cinema and the postmodern
Author: Friedberg, Anne
Published: University of California Press,  1993
Subjects: Cinema and Performance Arts | Film | Popular Culture | Women's Studies
Publisher's Description: Departing from those who define postmodernism in film merely as a visual style or set of narrative conventions, Anne Friedberg develops the first sustained account of the cinema's role in postmodern culture. She explores the ways in which nineteenth-century visual experiences - photography, urban strolling, panorama and diorama entertainments - anticipate contemporary pleasures provided by cinema, video, shopping malls, and emerging "virtual reality" technologies.Comparing the visual practices of shopping, tourism, and film-viewing, Friedberg identifies the experience of "virtual" mobility through time and space as a key determinant of postmodern cultural identity. Evaluating the theories of Jameson, Lyotard, Baudrillard, and others, she adds critical insights about the role of gender and gender mobility in the configurations of consumer culture.A strikingly original work, Window Shopping challenges many of the existing assumptions about what exactly post modern is. This book marks the emergence of a compelling new voice in the study of contemporary culture.   [brief]
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28. cover
Title: Cecil B. DeMille and American culture: the silent era online access is available to everyone
Author: Higashi, Sumiko
Published: University of California Press,  1994
Subjects: Cinema and Performance Arts | History | Film | Women's Studies
Publisher's Description: Cecil B. DeMille and American Culture demonstrates that the director, best remembered for his overblown biblical epics, was one of the most remarkable film pioneers of the Progressive Era. In this innovative work, which integrates cultural history and cultural studies, Sumiko Higashi shows how DeMille artfully inserted cinema into genteel middle-class culture by replicating in his films such spectacles as elaborate parlor games, stage melodramas, department store displays, Orientalist world's fairs, and civic pageantry. The director not only established his signature as a film author by articulating middle-class ideology across class and ethnic lines, but by the 1920's had become a trendsetter, with set and costume designs that influenced the advertising industry to create a consumer culture based on female desire. Drawing on a wealth of previously untapped material from the DeMille Archives and other collections, Higashi provides imaginative readings of DeMille's early feature films, viewing them in relation to the dynamics of social change, and she documents the extent to which the emergence of popular culture was linked to the genteel tradition.   [brief]
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29. cover
Title: Writing the character-centered screenplay
Author: Horton, Andrew
Published: University of California Press,  1994
Subjects: Cinema and Performance Arts | Film | Writing
Publisher's Description: "We need good screenwriters who understand character." Everywhere Andrew Horton traveled in researching this book - from Hollywood to Hungary - he heard the same refrain. Yet most of the standard how-to books on screenwriting follow the film industry's earlier lead in focusing almost exclusively on plot and formulaic structures.With this book, Horton, a film scholar and successful screenwriter, provides the definitive work on the character-based screenplay. Exceptionally wide-ranging - covering American, international, mainstream, and "off-Hollywood" films, as well as television - the book offers creative strategies and essential practical information.Horton begins by placing screenwriting in the context of the storytelling tradition, arguing through literary and cultural analysis that all great stories revolve around a strong central character. He then suggests specific techniques and concepts to help any writer - whether new or experienced - build more vivid characters and screenplays. Centering his discussion around four film examples - including Thelma & Louise and The Silence of the Lambs - and the television series, Northern Exposure , he takes the reader step-by-step through the screenwriting process, starting with the development of multi-dimensional characters and continuing through to rewrite. Finally, he includes a wealth of information about contests, fellowships, and film festivals.Espousing a new, character-based approach to screenwriting, this engaging, insightful work will prove an essential guide to all of those involved in the writing and development of film scripts.   [brief]
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30. cover
Title: A critical cinema 2: interviews with independent filmmakers
Author: MacDonald, Scott 1942-
Published: University of California Press,  1992
Subjects: Cinema and Performance Arts | Film | Women's Studies
Publisher's Description: This sequel to A Critical Cinema offers a new collection of interviews with independent filmmakers that is a feast for film fans and film historians. Scott MacDonald reveals the sophisticated thinking of these artists regarding film, politics, and contemporary gender issues.The interviews explore the careers of Robert Breer, Trinh T. Minh-ha, James Benning, Su Friedrich, and Godfrey Reggio. Yoko Ono discusses her cinematic collaboration with John Lennon, Michael Snow talks about his music and films, Anne Robertson describes her cinematic diaries, Jonas Mekas and Bruce Baillie recall the New York and California avant-garde film culture. The selection has a particularly strong group of women filmmakers, including Yvonne Rainer, Laura Mulvey, and Lizzie Borden. Other notable artists are Anthony McCall, Andrew Noren, Ross McElwee, Anne Severson, and Peter Watkins.   [brief]
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31. cover
Title: The new German cinema: music, history, and the matter of style online access is available to everyone
Author: Flinn, Caryl
Published: University of California Press,  2003
Subjects: Cinema and Performance Arts | German Studies | Music
Publisher's Description: When New German cinema directors like R. W. Fassbinder, Ulrike Ottinger, and Werner Schroeter explored issues of identity - national, political, personal, and sexual - music and film style played crucial roles. Most studies of the celebrated film movement, however, have sidestepped the role of music, a curious oversight given its importance to German culture and nation formation. Caryl Flinn's study reverses this trend, identifying styles of historical remembrance in which music participates. Flinn concentrates on those styles that urge listeners to interact with difference - including that embodied in Germany's difficult history - rather than to "master" or "get past" it. Flinn breaks new ground by considering contemporary reception frameworks of the New German Cinema, a generation after its end. She discusses transnational, cultural, and historical contexts as well as the sexual, ethnic, national, and historical diversity of audiences. Through detailed case studies, she shows how music helps filmgoers engage with a range of historical subjects and experiences. Each chapter of The New German Cinema examines a particular stylistic strategy, assessing music's role in each. The study also examines queer strategies like kitsch and camp and explores the movement's charged construction of human bodies on which issues of ruination, survival, memory, and pleasure are played out.   [brief]
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32. cover
Title: Overhearing film dialogue
Author: Kozloff, Sarah
Published: University of California Press,  2000
Subjects: Cinema and Performance Arts | Literary Theory and Criticism | American Studies | Film
Publisher's Description: Since the birth of cinema, film has been lauded as a visual rather than a verbal medium; this sentiment was epitomized by John Ford's assertion in 1964 that, "When a motion picture is at its best, it is long on action and short on dialogue." Little serious work has been done on the subject of film dialogue, yet what characters say and how they say it has been crucial to our experience and understanding of every film since the coming of sound. Through informative discussions of dozens of classic and contemporary films - from Bringing Up Baby to Terms of Endearment, from Stagecoach to Reservoir Dogs --this lively book provides the first full-length study of the use of dialogue in American film. Sarah Kozloff shows why dialogue has been neglected in the analysis of narrative film and uncovers the essential contributions dialogue makes to a film's development and impact. She uses narrative theory and drama theory to analyze the functions that dialogue typically serves in a film. The second part of the book is a comprehensive discussion of the role and nature of dialogue in four film genres: westerns, screwball comedies, gangster films, and melodramas. Focusing on topics such as class and ethnic dialects, censorship, and the effect of dramatic irony, Kozloff provides an illuminating new perspective on film genres.   [brief]
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33. cover
Title: Redefining Black film
Author: Reid, Mark (Mark A.)
Published: University of California Press,  1993
Subjects: Cinema and Performance Arts | Film | African American Studies
Publisher's Description: Can films about black characters, produced by white filmmakers, be considered "black films"? In answering this question, Mark Reid reassesses black film history, carefully distinguishing between films controlled by blacks and films that utilize black talent, but are controlled by whites. Previous black film criticism has "buried" the true black film industry, Reid says, by concentrating on films that are about, but not by, blacks.Reid's discussion of black independent films - defined as films that focus on the black community and that are written, directed, produced, and distributed by blacks - ranges from the earliest black involvement at the turn of the century up through the civil rights movement of the Sixties and the recent resurgence of feminism in black cultural production. His critical assessment of work by some black filmmakers such as Spike Lee notes how these films avoid dramatizations of sexism, homophobia, and classism within the black community.In the area of black commercial film controlled by whites, Reid considers three genres: African-American comedy, black family film, and black action film. He points out that even when these films use black writers and directors, a black perspective rarely surfaces.Reid's innovative critical approach, which transcends the "black-image" language of earlier studies - and at the same time redefines black film - makes an important contribution to film history. Certain to attract film scholars, this work will also appeal to anyone interested in African-American and Women's Studies.   [brief]
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34. cover
Title: Hitchcock on Hitchcock: selected writings and interviews
Author: Hitchcock, Alfred 1899-
Published: University of California Press,  1995
Subjects: Cinema and Performance Arts | Film
Publisher's Description: Gathered here for the first time are Alfred Hitchcock's reflections on his own life and work. In this ample selection of largely unknown and formerly inaccessible interviews and essays, Hitchcock provides an enlivening commentary on a career that spanned decades and transformed the history of the cinema. Bringing the same exuberance and originality to his writing as he did to his films, he ranges from accounts of his own life and experiences to techniques of filmmaking and ideas about cinema in general. Wry, thoughtful, witty, and humorous - as well as brilliantly informative - this selection reveals another side of the most renowned filmmaker of our time.Sidney Gottlieb not only presents some of Hitchcock's most important pieces, but also places them in their historical context and in the context of Hitchcock's development as a director. He reflects on Hitchcock's complicated, often troubled, and continually evolving relationship toward women, both on and off the set. Some of the topics Hitchcock touches upon are the differences between English and American attitudes toward murder, the importance of comedy in film, and the uses and techniques of lighting. There are also many anecdotes of life among the stars, reminiscences from the sets of some of the most successful and innovative films of this century, and incisive insights into working method, film history, and the role of film in society.Unlike some of the complex critical commentary that has emerged on his life and work, the director's own writing style is refreshingly straightforward and accessible. Throughout the collection, Hitchcock reveals a delight and curiosity about his medium that bring all his subjects to life.   [brief]
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35. cover
Title: Cross-cultural filmmaking: a handbook for making documentary and ethnographic films and videos
Author: Barbash, Ilisa 1959-
Published: University of California Press,  1997
Subjects: Cinema and Performance Arts | Ethnic Studies | Photography
Publisher's Description: This extraordinary handbook was inspired by the distinctive concerns of anthropologists and others who film people in the field. The authors cover the practical, technical, and theoretical aspects of filming, from fundraising to exhibition, in lucid and complete detail - information never before assembled in one place. The first section discusses filmmaking styles and the assumptions that frequently hide unacknowledged behind them, as well as the practical and ethical issues involved in moving from fieldwork to filmmaking. The second section concisely and clearly explains the technical aspects, including how to select and use equipment, how to shoot film and video, and the reasons for choosing one or the other, and how to record sound. Finally, the third section outlines the entire process of filmmaking: preproduction, production, postproduction, and distribution. Filled with useful illustrations and covering documentary and ethnographic filmmaking of all kinds, Cross-Cultural Filmmaking will be as essential to the anthropologist or independent documentarian on location as to the student in the classroom.   [brief]
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36. cover
Title: Echo and Narcissus: women's voices in classical Hollywood cinema online access is available to everyone
Author: Lawrence, Amy
Published: University of California Press,  1991
Subjects: Cinema and Performance Arts | Film | Women's Studies
Publisher's Description: Do women in classical Hollywood cinema ever truly speak for themselves? In Echo and Narcissus , Amy Lawrence examines eight classic films to show how women's speech is repeatedly constructed as a "problem," an affront to male authority. This book expands feminist studies of the representation of women in film, enabling us to see individual films in new ways, and to ask new questions of other films.Using Sadie Thompson (1928), Blackmail (1929), Rain (1932), The Spiral Staircase , Sorry,Wrong Number , Notorious , Sunset Boulevard (1950) and To Kill a Mockingbird (1962), Lawrence illustrates how women's voices are positioned within narratives that require their submission to patriarchal roles and how their attempts to speak provoke increasingly severe repression. She also shows how women's natural ability to speak is interrupted, made difficult, or conditioned to a suffocating degree by sound technology itself. Telephones, phonographs, voice-overs, and dubbing are foregrounded, called upon to silence women and to restore the primacy of the image.Unlike the usage of "voice" by feminist and literary critics to discuss broad issues of authorship and point of view, in film studies the physical voice itself is a primary focus. Echo and Narcissus shows how assumptions about the "deficiencies" of women's voices and speech are embedded in sound's history, technology, uses, and marketing. Moreover, the construction of the woman's voice is inserted into the ideologically loaded cinematic and narrative conventions governing the representation of women in Hollywood film.   [brief]
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37. cover
Title: Mass mediations: new approaches to popular culture in the Middle East and beyond online access is available to everyone
Author: Armbrust, Walter
Published: University of California Press,  2000
Subjects: Middle Eastern Studies | Anthropology | Cultural Anthropology | Media Studies | Music | Cinema and Performance Arts
Publisher's Description: Offering a stimulating diversity of perspectives, this collection examines how popular culture through mass media defines the scale and character of social interaction in the Middle East. The contributors approach popular culture broadly, with an interest in how it creates new scales of communication and new dimensions of identity that affect economics, politics, aesthetics, and performance. Reflected in these essays is the fact that mass media are as ubiquitous in Cairo and Karachi as in Los Angeles and Detroit. From Persian popular music in Beverly Hills to Egyptians' reaction to a recent film on Gamal Abdel Nasser; from postmodern Turkish novels to the music of an Israeli transsexual singer, the essays illustrate the multiple contexts of modern cultural production. The unfolding of modernity in colonial and postcolonial societies has been little analyzed until now. In addressing transnational aspects of Middle Eastern societies, the contributors also challenge conventional assumptions about the region and its relation to the West. The volume will have wide appeal both to Middle Eastern scholars and to readers interested in global and cultural studies.   [brief]
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38. cover
Title: Buñuel and Mexico: the crisis of national cinema
Author: Acevedo-Muñoz, Ernesto R 1968-
Published: University of California Press,  2003
Subjects: Cinema and Performance Arts | Latin American History | Latin American Studies
Publisher's Description: Though Luis Buñuel, one of the most important filmmakers of the twentieth century, spent his most productive years as a director in Mexico, film histories and criticism invariably pay little attention to his work during this period. The only English-language study of Buñuel's Mexican films, this book is the first to explore a significant but neglected area of this filmmaker's distinguished career and thus to fill a gap in our appreciation and understanding of both Buñuel's achievement and the history of Mexican film. Ernesto Acevedo-Muñoz considers Buñuel's Mexican films - made between 1947 and 1965 - within the context of a national and nationalist film industry, comparing the filmmaker's employment of styles, genres, character types, themes, and techniques to those most characteristic of Mexican cinema. In this study Buñuel's films emerge as a link between the Classical Mexican cinema of the 1930s through the 1950s and the "new" Cinema of the 1960s, flourishing in a time of crisis for the national film industry and introducing some of the stylistic and conceptual changes that would revitalize Mexican cinema.   [brief]
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39. cover
Title: Endless night: cinema and psychoanalysis, parallel histories
Author: Bergstrom, Janet 1946-
Published: University of California Press,  1999
Subjects: Cinema and Performance Arts | Art Theory | Psychology
Publisher's Description: The "endless night" that film theory and psychoanalysis share is the darkness that these two disciplines face in their quest for the logics of intelligibility. This collection emphasizes the history of theory to demonstrate that film theory must be written with a strong sense of historical consciousness, curiosity, and archaeological craft. The volume brings together film theorists and practicing psychoanalysts to encourage an exchange of views between disciplines that encounter each other all too rarely.   [brief]
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40. cover
Title: The red rooster scare: making cinema American, 1900-1910
Author: Abel, Richard 1941-
Published: University of California Press,  1999
Subjects: Cinema and Performance Arts | Cultural Anthropology | Sociology
Publisher's Description: Only once in cinema history have imported films dominated the American market: during the nickelodeon era in the early years of the twentieth century, when the Pathé company's "Red Rooster" films could be found "everywhere." Through extensive original research, Richard Abel demonstrates how crucial French films were in making "going to the movies" popular in the United States, first in vaudeville houses and then in nickelodeons.Abel then deftly exposes the consequences of that popularity. He shows how, in the midst of fears about mass immigration and concern that women and children (many of them immigrants) were the principal audience for moving pictures, the nickelodeon became a contested site of Americanization. Pathé's Red Rooster films came to be defined as dangerously "foreign" and "alien" and even "feminine" (especially in relation to "American" subjects like westerns). Their impact was thwarted, and they were nearly excluded from the market, all in order to ensure that the American cinema would be truly American. The Red Rooster Scare offers a revealing and readable cultural history of American cinema's nationalization, by one of the most distinguished historians of early cinema.   [brief]
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