This authoritative collection of introductory and specialized readings explores the rich and innovative history of this period in American cinema. Spanning an essential range of subjects from the early 1900s Nickelodeon to the decline of the studio system in the 1960s, it combines a broad historical context with careful readings of individual films. Charts the rise of film in early twentieth-century America from its origins to 1960, exploring mainstream trends and developments, along with topics often relegated to the margins of standard film histories Covers diverse issues ranging from silent film and its iconic figures such as Charlie Chaplin, to the coming of sound and the rise of film genres, studio moguls, and, later, the Production Code and Cold War Blacklist Designed with both students and scholars in mind: each section opens with an historical overview and includes chapters that provide close, careful readings of individual films clustered around specific topics Accessibly structured by historical period, offering valuable cultural, social, and political contexts Contains careful, close analysis of key filmmakers and films from the era including D.W. Griffith, Charles Chaplin, Buster Keaton, Erich von Stroheim, Cecil B. DeMille, Don Juan, The Jazz Singer, I Am a Fugitive from a Chain Gang, Scarface, Red Dust, Glorifying the American Girl, Meet Me in St. Louis, Citizen Kane, Bambi, Frank Capra's Why We Fightseries, The Strange Love of Martha Ivers, Rebel Without a Cause, Force of Evil, and selected American avant-garde and underground films, among many others. Additional online resources such as sample syllabi, which include suggested readings and filmographies for both general specialized courses, will be available online. May be used alongside American Film History: Selected Readings, 1960 to the Present, to provide an authoritative study of American cinema through the new millennium

Discusses the movies that were based on the following books: The last of the Mohicans by James Fenimore Cooper, The scarlet letter by Nathaniel Hawthorne, The house of the seven gables by Nathaniel Hawthorne, Moby Dick by Herman Melville, Little women by Louisa May Alcott, The adventures of Tom Sawyer by Mark Twain, Daisy Miller by Henry James, Washington Square by Henry James, The prince and the pauper by Mark Twain, The red badge of courage by Stephen Crane, Billy Budd by Herman Melville, The turn of the screw by Henry James, McTeague by Frank Norris, Sister Carrie by Theodore Dreiser, The wonderful wizard of Oz by L. Frank Baum, The Virginian by Owen Wister, The sea wolf by Jack London, Main Street by Sinclair Lewis, Alice Adams by Booth Tarkington, Babbitt by Sinclair Lewis, An American tragedy by Theodore Dreiser, The great Gatsby by F. Scott Fitzgerald, The sun also rises by Ernest Hemingway, Dodsworth by Sinclair Lewis, Little Caesar by W.R. Burnett, A farewell to arms by Ernest Hemingway, and The sound and the fury by William Faulkner.

Winner of the 2008 AERA Division B Outstanding Book Award Presenting the first complete history of the Progressive Education Association's Eight-Year Study, which took place during the 1930s and the 1940s, this book corrects common misinterpretations of one of the most important educational experiments of the twentieth century and explores the study's value for reexamining secondary education in America today.

Inventing Film Studies offers original and provocative insights into the institutional and intellectual foundations of cinema studies. Many scholars have linked the origins of the discipline to late-1960s developments in the academy such as structuralist theory and student protest. Yet this collection reveals the broader material and institutional forces—both inside and outside of the university—that have long shaped the field. Beginning with the first investigations of cinema in the early twentieth century, this volume provides detailed examinations of the varied social, political, and intellectual milieus in which knowledge of cinema has been generated. The contributors explain how multiple instantiations of film study have had a tremendous influence on the methodologies, curricula, modes of publication, and professional organizations that now constitute the university-based discipline. Extending the historical insights into the present, contributors also consider the directions film study might take in changing technological and cultural environments. Inventing Film Studies shows how the study of cinema has developed in relation to a constellation of institutions, technologies, practices, individuals, films, books, government agencies, pedagogies, and theories. Contributors illuminate the connections between early cinema and the social sciences, between film programs and nation-building efforts, and between universities and U.S. avant-garde filmmakers. They analyze the evolution of film studies in relation to the Museum of Modern Art, the American Film Council movement of the 1940s and 1950s, the British Film Institute, influential journals, cinephilia, and technological innovations past and present. Taken together, the essays in this collection reveal the rich history and contemporary vitality of film studies. Contributors: Charles R. Acland, Mark Lynn Anderson, Mark Betz, Zoë Druick, Lee Grieveson, Stephen Groening, Haden Guest, Amelie Hastie, Lynne Joyrich, Laura Mulvey, Dana Polan, D. N. Rodowick, Philip Rosen, Alison Trope, Haidee Wasson, Patricia White, Sharon Willis, Peter Wollen, Michael Zryd