The Imaginary Geography of Hollywood Cinema 1960-2000

Christian Long

Description

The Imaginary Geography of Hollywood Cinema 1960–2000 combines digital cartography with close readings of representative films from 1960 to 2000. Christian B. Long offers a unique history of twentieth-century Hollywood narrative cinema, one that is focused on the intersection of the geographies of narrative location, production, consumption and taste in the era before the rise of digital cinema. Long redraws the boundaries of film history, both literally and figuratively, by cataloging films’ narrative locations on digital maps in order to illustrate where Hollywood actually locates its narratives over time.

 

A PDF version of this book is available for free in open access via the OAPEN Library platform:The Imaginary Geography of Hollywood Cinema. It has been made available under a Creative Commons Attribution 4.0 International Public License and is part of Knowledge Unlatched.

Images and Maps

Acknowledgments

Introduction: Where Is Hollywood Cinema?

Chapter 1 Burt Reynolds Brings the New South to Hollywood

Chapter 2 New Hollywood, the Contemporary Midwest, and Collective Action

Chapter 3 Getting Around the Suburbs in the Blockbuster Era’s Big Hits

Colour Maps

Chapter 4 Politics for Couch Potatoes: Video Rental Success Stories

Chapter 5 Imagining More for Medium-Sized Cities, 1975–2000

Chapter 6 It’s Not Such a Small World After All: Disney Live Action Films in the 1960s

Conclusion: Where Isn’t Hollywood Cinema?

References

Notes

Index

Sujets

• Histoire
• Película fotográfica
• Post-war
• Historical geography
• General officer
• History of film
• General
• Cultural Studies
• California
• Film
• Hollywood

Informations

• Publié par: Intellect Books
• Date de parution: 05 octobre 2017
• Nombre de lectures: 0
• EAN13: 9781783208319
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

First published in the UK in 2017 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2017 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2017 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover designer: Aleksandra Szumlas
Copy-editor: MPS Technologies
Production editor: Jessica Lovett
Typesetting: John Teehan
ISBN 978-1-78320-829-6
ePDF ISBN 978-1-78320-830-2
ePub ISBN 978-1-78320-831-9
Printed and bound by Short Run.
Contents
Images and Maps
Acknowledgments
Introduction: Where Is Hollywood Cinema?
Chapter 1 Burt Reynolds Brings the New South to Hollywood
Chapter 2 New Hollywood, the Contemporary Midwest, and Collective Action
Chapter 3 Getting Around the Suburbs in the Blockbuster Era’s Big Hits
Colour Maps
Chapter 4 Politics for Couch Potatoes: Video Rental Success Stories
Chapter 5 Imagining More for Medium-Sized Cities, 1975–2000
Chapter 6 It’s Not Such a Small World After All: Disney Live Action Films in the 1960s
Conclusion: Where Isn’t Hollywood Cinema?
References
Notes
Index
Images and Maps
Image 1. Malcolm X in Omaha, Nebraska.
Image 2. Malcolm X George Wallace in the school house door.
Image 3. Malcolm X US flag at Boston bussing protest.
Image 4. Malcolm X Nelson Mandela.
Image 5. Malcolm X travelling shot in crowd, scene 1.
Image 6. Malcolm X travelling shot in crowd, scene 2.
Image 7. Deliverance building a hydroelectric dam.
Image 8. Sharky’s Machine ‘I’m freezing to death’ in Atlanta.
Image 9. Sharky’s Machine Peachtree Plaza Hotel and film title.
Image 10. Sharky’s Machine surveillance, reflected buildings and highway.
Image 11. Sharky’s Machine surveillance and Peachtree Plaza Hotel.
Image 12. Sharky’s Machine Peachtree Plaza Hotel dissolve.
Image 13. Semi-Tough Miami establishing shot.
Image 14. Smokey and the Bandit Cledus’s house.
Image 15. Sharky’s Machine Sharky’s childhood home.
Image 16. Five Easy Pieces in southern California oil field.
Image 17. The Wild Angels oil field stretches out during credits.
Image 18. The Last Picture Show Duane’s work truck, Marshal Oil Odessa.
Image 19. Badlands drilling for oil.
Image 20. Badlands trip gas from the pipeline.
Image 21. Medium Cool ‘you want to talk to someone?’
Image 22. Medium Cool explanation with no reaction shot.
Image 23. Medium Cool first direct address.
Image 24. Medium Cool second direct address.
Image 25. Medium Cool second direct address, making finger gun.
Image 26. Medium Cool rhyming shot.
Image 27. Blue Collar capital dwarfs labour.
Image 28. Blue Collar final image in freeze frame.
Image 29. Ferris Bueller’s Day Off Wrigley Field establishing shot.
Image 30. Wayne’s World The Mirthmobile in the suburbs.
Image 31. Wayne’s World cars on a spike sculpture.
Image 32. Wayne’s World Stan Mikita’s Donuts, Aurora, Illinois.
Image 33. The Flamingo Kid Marine Parkway Bridge.
Image 34. Gorky Park Lenin portrait makes Helsinki Moscow.
Image 35. Gorky Park Arkady’s apartment building.
Image 36. The Emerald Forest building a hydroelectric dam in Brazil.
Image 37. Under Fire Chad, Africa, for the geographically illiterate.
Image 38. Under Fire Alex gets shot in POV shot.
Image 39. Nashville Welcome to Nashville.
Image 40. Coal Miner’s Daughter Grand Ole Opry establishing shot 1.
Image 41. Coal Miner’s Daughter Grand Ole Opry establishing shot 2.
Image 42. Wag the Dog Nashville skyline establishing shot.
Image 43. Wag the Dog Nashville establishing shot 2.
Image 44. Rain Man Las Vegas cranes.
Image 45. Casino Catholic School and baseball field.
Image 46. Bob Roberts limited view of Pittsburgh.
Image 47. In Search of the Castaways Māori carving with ping pong ball eyes.
Image 48. In Search of the Castaways Rangatira (Chief) Inia Te Wiata and marker pen moko’d toa (warriors).
Image 49. Bon Voyage! Eiffel Tower in establishing shot.
Image 50. Bon Voyage! Eiffel Tower in home movies.
Image 51. Bon Voyage! peeping tom/ Peeping Tom .
Image 52. Monkeys Go Home! slogan that echoes French revolution.
Image 53. Monkeys Go Home! slogan that echoes anti-imperialist call.
Image 54. Monkeys Go Home! free labour.
Map 1. African Americans Nominated for an Oscar.
Map 2. Cities in Kerner Report and National Park Service Civil Rights Historic Sites.
Map 3. African American Prestige Films and History.
Map 4. Box Office Hits 1970–1981.
Map 5. Box Office Hits 1970–1981 – South.
Map 6. Box Office Hits 1970–1981 – South.
Map 7. New Hollywood Films.
Map 8. New Hollywood Films.
Map 9. Top 10 Hits before Jaws’ Release.
Map 10. Top 10 Hits after Jaws’ Release.
Map 11. Top 25 Video Rentals Compared to Top 25 Box Office.
Map 12. Top 25 Video Rentals Compared to Top 25 Box Office – New York Area.
Map 13. Top 25 Video Rentals Compared to Top 25 Box Office – Europe.
Map 14. Top 25 Video Rentals Compared to Top 25 Box Office – Central and South America.
Map 15. First-Fifth Order Cities (based on Borchert, 1967).
Map 16. Prestige Films Set in 20 Largest US Cities.
Map 17. Cities in the 100-Largest List that Do Not Appear in Prestige Films.
Map 18. Prestige Films Set in Medium-Sized Cities.
Map 19. Disney Films Setting.
Map 20. Disney Films Set in Europe.
Map 21. Disney Films Set in Asia-Pacific.
Map 22. Poorest Counties and Box Office and Prestige Film Settings.
Acknowledgments
I’ve followed Jennifer Clement from New Hampshire to Nashville to Christchurch to Brisbane, and I’ll keep following her anywhere she goes. Her love, patience, encouragement, and critical eye made this book possible and better.
Thanks and love to my parents, Brad Long and Paula Giallombardo, to my sisters, Megan, Colleen, and Killian, and to Dave, Rachel, Grace, Piper, Max, and Matt. Every three years isn’t frequent enough to see everyone.
Three of my favourite people in the world died too young, first among them my mom, who did every good thing a person can do, and often. Vinnie Giallombardo was my best friend growing up, and Frank Ward was a far better friend than I deserved. They were my two main movie-watching companions, and it’s lonelier in the theatre without them.
Thanks to my stateside friends John Foersterling, Rob Garcia, and Chris Simich. Mark Maguire, whether in New Zealand, Ireland, or Spain is aces.
More than anyone, Jonathan Lamb and Bridget Orr made moving to the Antipodes possible.
I’m lucky to have known Clarence. He was this man’s best friend. All the critters I’ve shared the house with – Emma, Oswald, Armstrong, Castor, Pollux, Isa, and all the foster cats – have been great pals.
I love Christchurch, and it was hard to move away. My neighbours in Sumner were an inspiration after the February 2011 quake. Without the great people at that national treasure Alice in Videoland, film culture in Christchurch would be greatly diminished. I owe significant debts to Phil Armstrong, Dan Bedggood, Lloyd Carpenter, Gareth Cordery, Patrick Evans, Douglas Horrell, the late Howard McNaughton, Paul Millar, James Smithies, Christina Stucharski, Mary Wiles, Alan Wright, and Nicholas Wright. I owe an even larger debt to Jennifer Middendorf, who made sure that even in chaos, things got accomplished. Thanks to the Tertiary Education Union for winning a few fights. Thanks to Steve Malley for the tattoos and the guest lecture on noir. And thanks to Tom McLean in Dunedin.
Moving to Brisbane was made much easier by Alison Scott and Jane Stadler. Jason Jacobs made me an honorary research fellow at UQ. My co-workers in Academic Language and Learning at Queensland University of Technology, Peter Nelson, Karyn Gonano, and Sophie Abel, make me wonder why it took me so long to quit taking lousy semester-to-semester teaching gigs.
Thanks to Ferrymead Bays Soccer Club in Christchurch: Erna Rogers and Duggie Rogers, Ken Beaumont, Neil Murphy, Simon Standeven, and all my teammates. Thanks to Kangaroo Point Rovers in Brisbane: Graeme Were and Mark Hodson for bringing me to the club, Tony Simpson, and all my teammates. Thanks to the doctors and nurses at Princess Alexandra Hospital for fixing my fractured larynx, bruised vocal cords, broken ribs, bruised liver, and broken arm.
Thanks to Paul Young, Sam Girgus, Cecelia Tichi, Catherine Jurca, Jay Clayton, Carolyn Dever, Colin Dyan, Deak Nabers, Dana Nelson, Kathryn Schwarz. Thanks as well to Doug Lanier, Monica Chiu, Bill McBride, Robert McLaughlin, Sally Parry, and E Kim Stone. Thanks to my teachers Jane Cristino, Paul Eisenbacher, Dave Engle, Joe Wolnski, and especially Pat Gordon. John Katzel has my thanks, gratitude, and admiration.
Thanks to my grad school cohort – Jeff Menne, Nicole Seymour, Katherine Fusco, Josh Epstein, and Ben Graydon – and Brian Rejack, Justin Haynes, Beau Baca, John Morrell, Jane Wanninger, Rebecca Chapman, Amanda Hagood, and Dan Spoth.
I presented an early version of my Burt Reynolds research at The Clinton Institute for American Studies Summer School at University College Dublin. Javad Alipur, Vladimir Dordevic, Brian Edwards, Rebecca Evans, Jamie Feigenbaum, Georgiana Lolea, Dietmar Meinel, Ben Miller, Will Mountz, Sriya Shrerth, and Adam Waterman provided feedback and encouragement. An earlier version of ‘Burt Reynolds Brings the New South to Hollywood’ appeared as ‘Burt Reynolds, Hollywood’s Southern Strategy’ in Post45 , who were a pleasure to work with. Parts of ‘Introduction: Where Is Hollywood Cinema?’ originally appeared, in a slightly different form, in ‘Where Is France in French Cinema, 1976-2013?’, in International Journal of Humanities and Arts Computi