Within Our Gates

Within Our Gates

Author: Alan Gevinson

Publisher: Univ of California Press

Published: 1997

Total Pages: 1588

ISBN-13: 9780520209640

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"[These volumes] are endlessly absorbing as an excursion into cultural history and national memory."--Arthur Schlesinger, Jr.


The 1931-1940: American Film Institute Catalog of Motion Pictures Produced in the United States

The 1931-1940: American Film Institute Catalog of Motion Pictures Produced in the United States

Author: American Film Institute

Publisher: Univ of California Press

Published: 1993

Total Pages: 1198

ISBN-13: 9780520079083

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"The entire field of film historians awaits the AFI volumes with eagerness."--Eileen Bowser, Museum of Modern Art Film Department Comments on previous volumes: "The source of last resort for finding socially valuable . . . films that received such scant attention that they seem 'lost' until discovered in the AFI Catalog."--Thomas Cripps "Endlessly absorbing as an excursion into cultural history and national memory."--Arthur Schlesinger, Jr.


The American Film Institute Catalog of Motion Pictures Produced in the United States

The American Film Institute Catalog of Motion Pictures Produced in the United States

Author: American Film Institute

Publisher: Univ of California Press

Published: 1997

Total Pages: 1712

ISBN-13: 9780520209695

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After more than fifteen years, this initial volume of the American Film Institute Catalog series is again in print. The 1920s set covers the important filmmaking period when "movies" became "talkies," and the careers of many influential directors and actors were launched. Films such as Wings, The Phantom of the Opera, All Quiet on the Western Front, and The Jazz Singer are included in this volume.


Hollywood Vault

Hollywood Vault

Author: Eric Hoyt

Publisher: Univ of California Press

Published: 2014-07-03

Total Pages: 286

ISBN-13: 0520282647

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Hollywood Vault is the story of how the business of film libraries emerged and evolved, spanning the silent era to the sale of feature libraries to television. Eric Hoyt argues that film libraries became valuable not because of the introduction of new technologies but because of the emergence and growth of new markets, and suggests that studying the history of film libraries leads to insights about their role in the contemporary digital marketplace. The history begins in the mid-1910s, when the star system and other developments enabled a market for old films that featured current stars. After the transition to films with sound, the reissue market declined but the studios used their libraries for the production of remakes and other derivatives. The turning point in the history of studio libraries occurred during the mid to late 1940s, when changes in American culture and an industry-wide recession convinced the studios to employ their libraries as profit centers through the use of theatrical reissues. In the 1950s, intermediary distributors used the growing market of television to harness libraries aggressively as foundations for cross-media expansion, a trend that continues today. By the late 1960s, the television marketplace and the exploitation of film libraries became so lucrative that they prompted conglomerates to acquire the studios. The first book to discuss film libraries as an important and often underestimated part of Hollywood history, Hollywood Vault presents a fascinating trajectory that incorporates cultural, legal, and industrial history.


The Public Domain

The Public Domain

Author: Stephen Fishman

Publisher: NOLO

Published: 2000

Total Pages: 558

ISBN-13: 9780873374330

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Explains how to find and use creative works without permission or fees, describing how to recognize whether or not a work is in the public domain.


Film Manifestos and Global Cinema Cultures

Film Manifestos and Global Cinema Cultures

Author: Scott MacKenzie

Publisher: University of California Press

Published: 2021-01-21

Total Pages: 674

ISBN-13: 0520377478

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Film Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focusing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European “waves” and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme ‘95); Latin American Third Cinemas (Birri, Sanjinés, Espinosa, Solanas); radical art and the avant-garde (Buñuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollaín, Debord, Hermosillo, Isou, Kieslowski, Painlevé, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture.