Movies in American History: An Encyclopedia, Volumes 1-3
Philip C. DiMare
Format: PDF / Kindle (mobi) / ePub
Movies in American History: An Encyclopedia is a reference text focused on the relationship between American society and movies and filmmaking in the United States from the late 19th century through the present. Beyond discussing many important American films ranging from Birth of a Nation to Star Wars to the Harry Potter film series, the essays included in the volumes explore sensitive issues in cinema related to race, class, and gender, authored by international scholars who provide unique perspectives on American cinema and history.
Written by a diverse group of distinguished scholars with backgrounds in history, film studies, culture studies, science, religion, and politics, this reference guide will appeal to readers new to cinema studies as well as film experts. Each encyclopedic entry provides data about the film, an explanation of the film's cultural significance and influence, information about significant individuals involved with that work, and resources for further study.
Thomas, Bob, and Don Graham. Walt Disney: The Art of Animation: The Story of the Disney Studio Contribution to a New Art. New York: Golden Press, 1958. —Daniela Ribitsch 25 Batman BATMAN. Tim Burton’s 1989 film Batman brought the fictional hero to a postReagan-era America. Originally created by Bob Kane for DC Comics in 1939 as part of the burgeoning “superhero” genre, the character of The Batman had gone through several incarnations prior to the release of the film. Inspired by Frank
Bang Bang.” Thunderball (1965) made even more money than Goldfinger. Competitors rushed to imitate these outrageous, fast-paced, gadget-riddled, global spectacles featuring trendy violence, witty dialogue, voluptuous damsels, and megalomaniacal villains. ‘Bondmania’ peaked with Connery’s last Bond, You Only Live Twice (1967). On Her Majesty’s Secret Service (1969) introduced unknown Australian actor George Lazenby as Connery’s replacement. Broccoli and Saltzman decided to curb the science fiction
of representation. Nothing really escapes the camera’s eye in Citizen Kane, and it is precisely this type of photographic hyperrealism that allowed Welles to dwell on certain objects that take on emotionally charged significance. Chief among those objects is the glass ball/paperweight that Kane fixates on when his second wife, Susan Alexander Kane (Dorothy Comingore), leaves him, and that drops from his hand at the moment of his death, shattering on the floor as he mutters “Rosebud” for the last
played out on the screen, could not save the picture; indeed, because the stars were less than discreet about their affair, their relationship may have angered audiences, keeping them away from theaters. In the end, the dismal failure of Cleopatra effectively brought a close to the studio-financed, big-budget epic. With the development of computer-generated imagery, however, making filmic spectacle possible without the expense of “casts of thousands,” the historical epic returned in 2000 with the
and guard begin to establish a bond, one that becomes so intimate that Jody asks Fergus to make sure his girlfriend, Dil (Jaye Davidson), is safe in case he should die. Fergus is ultimately ordered to execute Jody, although he is unable to carry out the task. Head covered by a sack and hands tied behind his back, Jody desperately tries to escape; eventually stumbling onto a road, he is run down and killed by a British military vehicle. Disturbed by what he has seen, and by his role in it, Fergus