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More and more, just a few canonical classics, such as Michael Curtiz s Casablanca (1942) or Victor Fleming s Gone With The Wind (1939), are representing the entire output of an era to a new generation that knows little of the past, and is encouraged by popular media to live only in the eternal present. What will happen to the rest of the films that enchanted, informed and transported audiences in the 1930s, 1940s, and even as recently as the 1960s?

For the most part, these films will be forgotten, and their makers with them. Wheeler Winston Dixon argues that even obvious historical...

Illustrated with over 300 stills and illustrations, this book presents the history of international cinema. It also presents the sweep of cinema and its major events and technological developments, from the invention of the kinetoscope, through the introduction of sound and colour, to the computer-generated imagery of the twenty-first century.

More and more, just a few canonical classics, such as Michael Curtiz's "Casablanca" (1942) or Victor Fleming's "Gone With The Wind" (1939), are representing the entire output of an era to a new generation that knows little of the past, and is encouraged by popular media to live only in the eternal present. What will happen to the rest of the films that enchanted, informed and transported audiences in the 1930s, 1940s, and even as recently as the 1960s?

For the most part, these films will be forgotten, and their makers with them. Wheeler Winston Dixon argues that even obvious...

From the glossy monochrome of the classic Hollywood romance, to the gritty greyscale of the gangster picture, to film noir's moody interplay of light and shadow, black-and-white cinematography has been used to create a remarkably wide array of tones. Yet today, with black-and-white film stock nearly impossible to find, these cinematographic techniques are virtually extinct, and filmgoers' appreciation of them is similarly waning.

Black and White Cinema is the first study to consider the use of black-and-white as an art form in its own right, providing a comprehensive and...

Film Noir and the Cinema of Paranoia is an overview of 20th- and 21st-century noir and fatalist film practice from 1945 onwards. The book demonstrates the ways in which American cinema has inculcated a climate of fear in our daily lives, as reinforced, starting in the 1950s, by television, and later videocassettes, the web, and the Internet, to create, by the early 21st century a hypersurveillant atmosphere in which no one can avoid the barrage of images that continually assault our senses. The book begins with the return of American soldiers from World War II, 'liberated' from war in the...

straight / 'strāt (adj.) . . . without curves . . . correct . . . honest . . . not deviating from the normal . . . conventional . . . Heterosexual

Practically all mainstream cinema is "straight," and has been since its inception. In Straight, Wheeler Winston Dixon explores how heterosexual performativity has been constructed in film, from early cinema to the present day. In addition to discussing how cinematic visions of masculine and feminine desire have been commodified and sold to reinforce existing societal constructs, Dixon also documents the recent emergence of...

Noir. A shadow looms. The blow, a sharp surprise. Waking and sleeping, the fear is with us and cannot be contained. Paranoia.

Wheeler Winston Dixon's comprehensive work engages readers in an overview of noir and fatalist film from the mid-twentieth century to the present, ending with a discussion of television, the Internet, and dominant commercial cinema. Beginning with the 1940s classics, Film Noir and the Cinema of Paranoia moves to the "Red Scare" and other ominous expressions of the 1950s that contradicted an American split-level dream of safety and security. The...

From the glossy monochrome of the classic Hollywood romance, to the gritty greyscale of the gangster picture, to film noir's moody interplay of light and shadow, black-and-white cinematography has been used to create a remarkably wide array of tones. Yet today, with black-and-white film stock nearly impossible to find, these cinematographic techniques are virtually extinct, and filmgoers' appreciation of them is similarly waning.

Black and White Cinema is the first study to consider the use of black-and-white as an art form in its own right, providing a comprehensive and...

Death of the Moguls is a detailed assessment of the last days of the "rulers of film." Wheeler Winston Dixon examines the careers of such moguls as Harry Cohn at Columbia, Louis B. Mayer at MGM, Jack L. Warner at Warner Brothers, Adolph Zukor at Paramount, and Herbert J. Yates at Republic in the dying days of their once-mighty empires. He asserts that the sheer force of personality and business acumen displayed by these moguls made the studios successful; their deaths or departures hastened the studios' collapse. Almost none had a plan for leadership succession; they simply couldn't...

Film Noir and the Cinema of Paranoia is an overview of 20th- and 21st-century noir and fatalist film practice from 1945 onwards. The book demonstrates the ways in which American cinema has inculcated a climate of fear in our daily lives, as reinforced, starting in the 1950s, by television, and later videocassettes, the web, and the Internet, to create, by the early 21st century a hypersurveillant atmosphere in which no one can avoid the barrage of images that continually assault our senses. The book begins with the return of American soldiers from World War II, 'liberated' from war in the...

Covering over 100 feature films in critical depth and detail, this reader provides an excellent introduction to American genre filmmaking since 1990. These previously unpublished essays by prominent film scholars each address a different film genre--from science fiction to romance to '90s noir--as well as the ways in which genre filmmaking as a whole has been changed by the new technologies and market forces that are shaping the future of cinema.

One of the peculiar aspects of recent American genre filmmaking is its apparent facelessness, its desire to subsume itself into the larger...

Using the media's coverage of the death of Princess Diana as a departing point, Wheeler Dixon presents a sharply critical assessment of the current state of movies--from the cult of celebrity, to the nature of public surveillance, to the role of print and television media in shaping our shared consciousness--unveiling our fascination with disaster. Dixon argues that movies such as James Cameron's Titanic replay the same Hollywood disaster plotlines with greater wizardry and less humanity than the films of fifty years ago. Contemporary cinema has become simply a memory of itself. Dixon...

The 1940s was a watershed decade for American cinema and the nation. At the start of the decade, Hollywood, shaking off the Depression launched an wave of production, generating some of its most memorable classics, including "Citizen Kane", "Rebecca", "The Lady Eve", "Sergeant York", and "How Green Was My Valley".

Re-Viewing British Cinema, 1900-1992 is a collection of essays on British cinema history and practice. It offers both the casual reader and the film scholar a different view of British filmmaking during the past century. Arranged in chronological order, the book explores those areas of British cinema that have not been fully examined in other works and also offers fresh interpretations of a number of classic films. From the work of Frederic Villiers, the pioneering British newsreel cameraman who at the turn of the century brought home images of battlefield carnage, to essays on the British...

Tracing the entire career of the British director Terence Fisher, best known for his Gothic horror films for Hammer--such as The Curse of Frankenstein (1957) and Dracula (1958)--The Films of Terence Fisher covers not only his horror films, but also his film noirs, comedies, and early apprenticeship work to create a full picture of Fisher's life and work.

Brimming with rare stills, interviews, and detailed analysis of Fisher's films--both for Hammer as well as his earlier work--this is the ultimate "one-stop" book on Terence Fisher, both in his horror films, and his...

Telling for the first time, the short story of the cinema of shadows and light.

Death of the Moguls is a detailed assessment of the last days of the "rulers of film." Wheeler Winston Dixon examines the careers of such moguls as Harry Cohn at Columbia, Louis B. Mayer at MGM, Jack L. Warner at Warner Brothers, Adolph Zukor at Paramount, and Herbert J. Yates at Republic in the dying days of their once-mighty empires. He asserts that the sheer force of personality and business acumen displayed by these moguls made the studios successful; their deaths or departures hastened the studios' collapse. Almost none had a plan for leadership succession; they simply couldn't...

The 1940s was a watershed decade for American cinema and the nation. Shaking off the grim legacy of the Depression, Hollywood launched an unprecedented wave of production, generating some of its most memorable classics, including Citizen Kane, Rebecca, The Lady Eve, Sergeant York, and How Green Was My Valley. In 1942, Hollywood joined the national war effort with a vengeance, creating a series of patriotic and escapist films, such as Casablanca, Mrs. Miniver, The Road to Morocco, and Yankee Doodle Dandy. With the end of the war, returning GIs faced a new America, in which the country had been...

The Exploding Eye explores the work of lesser-known American experimental filmmakers whose work has been excluded from the dominant film canon. Although the works of such artists as Michael Snow, Stan Brakhage, Bruce Conner, Robert Nelson, and Maya Deren are well-known to the contemporary scholar of independent cinema, there is an entire body of work created in the American experimental cinema that has been overlooked, work of considerable beauty and influence that was enthusiastically received when first released and that is still available for viewing today, awaiting long-overdue...