This book explores the ways in which Hollywood film cycles from the 1930s to the 1960s were shaped by their surrounding industrial contexts and market environments, to build an inclusive conception of the form, operation, and function of film cycles. By foregrounding patterns of distribution, spaces of exhibition, and modes of consumption as key components of the form and mechanics of cycles, this book develops a methodology for defining cycles based on an analysis of the industry and trade discourse. Applying her unique framework to six case studies of different cycles, Zoe Wallin blends a wide range of historical sources to analyze the many cultural, social, political, aesthetic, and industrial contexts relevant to these films. This book makes an important contribution to the literature in the area of film historiography, and will be of interest to any scholars of film studies, history and media studies.

With sequels, prequels, remakes, spin-offs, or copies of successful films or franchises dominating film and television production, it sometimes seems as if Hollywood is incapable of making an original film or TV show. These textual pluralities or multiplicities—while loved by fans who flock to them in droves—tend to be dismissed by critics and scholars as markers of the death of high culture. Cycles, Sequels, Spin-offs, Remakes, and Reboots takes the opposite view, surveying a wide range of international media multiplicities for the first time to elucidate their importance for audiences, industrial practices, and popular culture. The essays in this volume offer a broad picture of the ways in which cinema and television have used multiplicities to streamline the production process, and to capitalize on and exploit viewer interest in previously successful and/or sensational story properties. An impressive lineup of established and emerging scholars talk seriously about forms of multiplicity that are rarely discussed as such, including direct-to-DVD films made in Nigeria, cross-cultural Japanese horror remakes, YouTube fan-generated trailer mash-ups, and 1970s animal revenge films. They show how considering the particular bonds that tie texts to one another allows us to understand more about the audiences for these texts and why they crave a version of the same story (or character or subject) over and over again. These findings demonstrate that, far from being lowbrow art, multiplicities are actually doing important cultural work that is very worthy of serious study.

Studies of "Classic Hollywood" typically treat Hollywood films released from 1930 to 1960 as a single interpretive mass. Veronica Pravadelli complicates this idea. Focusing on dominant tendencies in box office hits and Oscar-recognized classics, she breaks down the so-called classic period into six distinct phases that follow Hollywood's amazingly diverse offerings from the emancipated females of the "Transition Era" and the traditional men and women of the conservative 1930s that replaced it to the fantastical Fifties movie musicals that arose after anti-classic genres like film noir and women's films. Pravadelli sets her analysis apart by paying particular attention to the gendered desires and identities exemplified in the films. Availing herself of the significant advances in film theory and modernity studies that have taken place since similar surveys first saw publication, she views Hollywood through strategies as varied as close textural analysis, feminism, psychoanalysis, film style and study of cinematic imagery, revealing the inconsistencies and antithetical traits lurking beneath Classic Hollywood's supposed transparency.

A series of movies that share images, characters, settings, plots, or themes, film cycles have been an industrial strategy since the beginning of cinema. While some have viewed them as "subgenres," mini-genres, or nascent film genres, Amanda Ann Klein argues that film cycles are an entity in their own right and a subject worthy of their own study. She posits that film cycles retain the marks of their historical, economic, and generic contexts and therefore can reveal much about the state of contemporary politics, prevalent social ideologies, aesthetic trends, popular desires, and anxieties. American Film Cycles presents a series of case studies of successful film cycles, including the melodramatic gangster films of the 1920s, the 1930s Dead End Kids cycle, the 1950s juvenile delinquent teenpic cycle, and the 1990s ghetto action cycle. Klein situates these films in several historical trajectories—the Progressive movement of the 1910s and 1920s, the beginnings of America's involvement in World War II, the "birth" of the teenager in the 1950s, and the drug and gangbanger crises of the early 1990s. She shows how filmmakers, audiences, film reviewers, advertisements, and cultural discourses interact with and have an impact on the film texts. Her findings illustrate the utility of the film cycle in broadening our understanding of established film genres, articulating and building upon beliefs about contemporary social problems, shaping and disseminating deviant subcultures, and exploiting and reflecting upon racial and political upheaval.

Neo-Noir as Post-Classical Hollywood Cinema suggests the terms “noir” and “neo-noir” have been rendered almost meaningless by overuse. The book seeks to re-establish a purpose for neo-noir films and re-consider the organization of 60 years of neo-noir films. Using the notion of post-classical, the book establishes how neo-noir breaks into many movements, some based on time and others based on thematic similarities. The combined movements then form a mosaic of neo-noir. The time-based movements examine Transitional Noir (1960s-early 1970s), Hollywood Renaissance Noir in the 1970s, Eighties Noir, Nineties Noir, and Digital Noir of the 2000s. The thematic movements explore Nostalgia Noir, Hybrid Noir, and Remake and Homage Noir. Academics as well as film buffs will find this book appealing as it deconstructs popular films and places them within new contexts.

Robert B. Ray examines the ideology of the most enduringly popular cinema in the world--the Hollywood movie. Aided by 364 frame enlargements, he describes the development of that historically overdetermined form, giving close readings of five typical instances: Casablanca, It's a Wonderful Life, The Man Who Shot Liberty Valance, The Godfather, and Taxi Driver. Like the heroes of these movies, American filmmaking has avoided commitment, in both plot and technique. Instead of choosing left or right, avant-garde or tradition, American cinema tries to have it both ways. Although Hollywood's commercial success has led the world audience to equate the American cinema with film itself, Hollywood filmmaking is a particular strategy designed to respond to specific historical situations. As an art restricted in theoretical scope but rich in individual variations, the American cinema poses the most interesting question of popular culture: Do dissident forms have any chance of remaining free of a mass medium seeking to co-opt them?

Many critics and fans refer to the 1990s as the decade that horror forgot, with few notable entries in the genre. Yet horror went mainstream in the '90s by speaking to the anxieties of American youth during one of the country's most prosperous eras. No longer were films made on low budgets and dependent on devotees for success. Horror found its way onto magazine covers, fashion ads and CD soundtrack covers. "Girl power" feminism and a growing distaste for consumerism defined an audience that both embraced and rejected the commercial appeal of these films. This in-depth study examines the youth subculture and politics of the era, focusing on such films as Buffy the Vampire Slayer (1992), Scream (1996), I Know What You Did Last Summer (1997), Idle Hands (1999) and Cherry Falls (2000).

As a period of film history, The American New Wave (ordinarily understood as beginning in 1967 and ending in 1980) remains a preoccupation for scholars and audiences alike. In traditional accounts, it is considered to be bookended by two periods of conservatism, and viewed as a (brief) period of explosive creativity within the Hollywood system. From Bonnie and Clyde to Heaven's Gate, it produced films that continue to be watched, discussed, analysed and poured over. It has, however, also become rigidly defined as a cinema of director-auteurs who made a number of aesthetically and politically significant films. This has led to marginalization and exclusion of many important artists and filmmakers, as well as a temporal rigidity about what and who is considered part of the 'New Wave proper'. This collection seeks to reinvigorate debate around this area of film history. It also looks in part to demonstrate the legacy of aesthetic experimentation and political radicalism after 1980 as part of the 'legacy' of the New Wave. Thanks to important new work that questions received scholarly wisdom, reveals previously marginalised filmmakers (and the films they made), considers new genres, personnel, and films under the banner of 'New Wave, New Hollywood', and reevaluates the traditional approaches and perspectives on the films that have enjoyed most critical attention, New Wave, New Hollywood: Reassessment, Recovery, Legacy looks to begin a new discussion about Hollywood cinema after 1967.

American Disaster Movies of the 1970s is the first scholarly book dedicated to the disaster cycle that dominated American cinema and television in the 1970s. Through examining films such as Airport (1970), The Poseidon Adventure (1972), Two-Minute Warning (1976) and The Swarm (1978), alongside their historical contexts and American contemporaneous trends, the disaster cycle is treated as a time-bound phenomenon. This book further contextualises the cycle by drawing on the longer cultural history of modernist reactions to modern anxieties, including the widespread dependence on technology and corporate power. Each chapter considers cinematic precursors, such as the 'ark movie', and contemporaneous trends, such as New Hollywood, vigilante and blaxploitation films, as well as the immediate American context: the end of the civil rights and countercultural era, the Watergate crisis, and the defeat in Vietnam.As Scott Freer argues, the disaster movie is a modern, demotic form of tragedy that satisfies a taste for the macabre. It is also an aesthetic means for processing painful truths, and many of the dramatized themes anticipate present-day monstrosities of modernity.

This publication is a major evaluation of the 1970s American cinema, including cult film directors such as Bogdanovich Altman and Peckinpah.