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Projecting the World : Representing the "Foreign" in Classical Hollywood
The classical Hollywood films that were released between the 1930s and 1960s were some of the most famous products of global trade, crisscrossing borders and rising to international dominance. In analyzing a series of Hollywood films that illustrate moments of nuanced transnational engagement with t...
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| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Wayne State University Press,
2017.
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| Colección: | Book collections on Project MUSE.
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| Temas: | |
| Acceso en línea: | Texto completo |
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| 040 | |a MdBmJHUP |c MdBmJHUP | ||
| 100 | 1 | |a Anna Cooper; Russell Meeuf. | |
| 245 | 1 | 0 | |a Projecting the World : |b Representing the "Foreign" in Classical Hollywood |
| 264 | 1 | |b Wayne State University Press, |c 2017. | |
| 264 | 3 | |a Baltimore, Md. : |b Project MUSE, |c 2017 | |
| 264 | 4 | |c ©2017. | |
| 300 | |a 1 online resource. | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 490 | 0 | |a Contemporary approaches to film and media series | |
| 505 | 0 | |a Cover; Title Page; Copyright; Contents; Acknowledgments; Introduction: Classical Hollywood and Transnational Culture; Part 1: Islands and Identity; 1. Isles of Fright: Gothic Tropics and Island Horror; 2. Charlie Chan's Multicolored Passport: Territorial Hawaii and Classical Hollywood's Transnational "Foreign" Detective; 3. "The Jungle Is My Home": Questions of Belonging, Exile, and the Negotiation of Foreign Spaces in the Tarzan Films of Johnny Weissmuller; 4. Inhabiting the Space of the Other: Josef von Sternberg's Anatahan; Part 2: European Vacations | |
| 505 | 0 | |a 5. America's Travelogue Romance with Italy, 1953-19696. Prestige Film Aesthetics and Europeanized Hollywood in the 1950s; 7. "Our Love Is Here to Stay": Transatlantic Relations in 1950s Hollywood Musicals about Paris; Part 3: Desert and Savannah Adventures; 8. In the Foucauldian Mirror: Budd Boetticher's Mexico and the United States in the 1950s; 9. From the Pampas to the Jockey Club: Familiar Exoticism in Hollywood's Argentina; 10. John Wayne's Africa: European Colonialism versus U.S. Global Leadership in Legend of the Lost (1957); Contributors; Index | |
| 520 | |a The classical Hollywood films that were released between the 1930s and 1960s were some of the most famous products of global trade, crisscrossing borders and rising to international dominance. In analyzing a series of Hollywood films that illustrate moments of nuanced transnational engagement with the \"foreign, \" Projecting the World: Representing the \"Foreign\" in Classical Hollywood enriches our understanding of mid-twentieth-century Hollywood cinema as a locus of imaginative geographies that explore the United States relationship with the world. While previous scholarship has asserted the imperialism and racism at the core of classical Hollywood cinema, Anna Cooper and Russell Meeufs collection delves into the intricaciesand sometimes disruptionsof this assumption, seeing Hollywood films as multivalent and contradictory cultural narratives about identity and politics in an increasingly interconnected world. Projecting the World illustrates how Hollywood films negotiate shifting historical contexts of internationalization through complex narratives about transnational exchangea topic that has thus far been neglected in scholarship on classical Hollywood. The essays analyze the \"foreign\" with topics such as the 1930s island horror film, the 1950s Mexico-set bullfighting film, Hollywoods projection of \"exoticism\" on Argentina, and John Waynes film sets in Africa. Against the backdrop of expanding consumer capitalism and the growth of U.S. global power, Hollywood films such as Tarzan and Anatahan, as well as musicals about Paris, offered resonant images and stories that dramatized Americas international relationships in complicated ways. A fascinating exploration of an oft-overlooked aspect of classical Hollywood films, Projecting the World offers a series of striking new analyses that will entice cinema lovers, film historians, and those interested in the history of American neocolonialism | ||
| 588 | |a Description based on print version record. | ||
| 650 | 7 | |a National characteristics in motion pictures. |2 fast |0 (OCoLC)fst01033336 | |
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| 650 | 7 | |a Culture in motion pictures. |2 fast |0 (OCoLC)fst01902963 | |
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| 650 | 6 | |a Culture au cinema. | |
| 650 | 6 | |a Caracteristiques nationales au cinema. | |
| 650 | 0 | |a Mass media and culture. | |
| 650 | 0 | |a Motion picture industry |z United States. | |
| 650 | 0 | |a Motion pictures |z United States |x History |y 20th century. | |
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| 655 | 7 | |a Electronic books. |2 local | |
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| 945 | |a Project MUSE - Custom Collection | ||
| 945 | |a Project MUSE - 2017 Complete | ||
| 945 | |a Project MUSE - 2017 Film, Theater and Performing Arts | ||