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Motion picture images have influenced the American mind since the earliest days of film, and many thoughtful people are becoming ever more concerned about that influence, as about the pervasive influence of television. In eras of economic instability and international conflict, the film industry has not hesitated to use motion pictures for definite propaganda purposes. During less troubled times, the American citizen’s ability to deal with political and social issues has been enhanced or thwarted by images absorbed in the nation’s theatres. Hollywood As Historian tracks the interaction of Americans with important motion picture productions. Considered are such topics as racial and sexual stereotyping, censorship of films, comedy as a tool for social criticism, the influence of great men and their screen images, and the use of film to interpret history. Opportunities for future study are suggested for those who wish to conduct their own examinations of American film in a cultural context.
Hollywood As Historian benefits from a variety of approaches. Literary and historical influences are carefully related to The Birth of a Nation (1915) and Apocalypse Now (1979), two highly tendentious epics of war and cultural change. How political beliefs of filmmakers affected cinematic styles is illuminated in a short survey of documentary films made during the Great Depression. Historical distance has helped analysts to decode messages unintended by filmmakers in the study of The Snake Pit (1948) and Dr. Strangelove (1964). While pluralism of approach has been encouraged, balance has also been a goal: a concern for institutional and thematic considerations never obscures matters of film aesthetics. In twelve chapters dealing with more than sixteen films, Hollywood As Historian offers a versatile text for classes in popular culture, American studies, film history, or film as history. The visual awareness promoted by this text has immediate application, in that students can begin to consider the impact of motion pictures (and television) on their own lives.
The films considered: The Birth of a Nation (1915), The Plow that Broke the Plains (1936), The River (1937), March of Time (1935-1953), City Lights (1931), Modern Times (1936), The Great Dictator (1940), The Grapes of Wrath (1940), Native Land (1942), Wilson (1944), The Negro Soldier (1944), The Snake Pit (1948), On the Waterfront (1954), Dr. Strangelove (1964), Who’s Afraid of Virginia Woolf? (1966), and Apocalypse Now (1979).
Recommended reading for anyone concerned with the influence of popular culture on the public perception of history. -- American Journalism
A good text for a class in popular culture of film history. -- Film Quarterly
This far-ranging collection is a solid body of material which elevates the standard by which the future study of film as history can be measured. -- Film Study
Filled with provocative slants on a number of celluloid icons. -- Jerusalem Post
Hollywood As Historian is a scholarly and innovative work that many teachers will like and use successfully. The authors of the various essays display a keen understanding of the most recent developments in film history. . . . Can be used as a versatile text for classes in popular culture, American studies, or film and television history. -- History Teacher
A commendably comprehensive analysis of the issue of Hollywood's ability to shape our minds. . . . The essays are vital—both in the sense of being invigorating reading and in terms of their significance to the growing body of film criticism. -- Booklist
The University Press of Kentucky
Place of Publication
American films, Hollywood, Motion picture history, Movie history, Historical films
Film and Media Studies
Rollins, Peter C., "Hollywood As Historian: American Film in a Cultural Context" (1983). Film and Media Studies. 3.