Acknowledgements.How to Use This Book.Part I: American Film and Culture:1. Introduction to the Study of Film Form and Representation:Film Form.American Ideologies: Discrimination and Resistance.Culture and Cultural Studies.Case Study: The Lion King (1994).Questions for Discussion.
For Further Reading.2. The Structure and History of Hollywood Filmmaking:Hollywood vs. Independent Film.The Style of Hollywood Cinema.The Business of Hollywood.The History of Hollywood: The Movies Begin.The Classical Hollywood Cinema.
World War II and Postwar Film."New" Hollywood and the Blockbuster Mentality.Questions for Discussion.For Further Reading/Screening.Part II: Race and Ethnicity and American Film:Introduction to Part Two: What is Race?3. American Film and the Concept of Whiteness:Seeing White.Bleaching the Green: The Irish in American Cinema.Looking for Respect: The Italian in American Cinema.
A Special Case: Jews and Hollywood.Case Study: The Jazz Singer (1927).Questions for Discussion.For Further Reading/Screening.4. African Americans and American Film:African Americans in Early Film.Blacks in Classical Hollywood Cinema.World War II and the Postwar Social Problem Film.
The Rise and Fall of Blaxploitation Filmmaking.Sidebar: Blacks on TV.1980s Hollywood and the Arrival of Spike Lee.Black Independent Film vs. "Neo-Blaxploitation" Today.Case Study: Bamboozled (2000).Questions for Discussion.For Further Reading/Screening.
5. Native Americans and American Film:The American "Indian" Before Film.Ethnographic Films and the Rise of the Hollywood Western.The Evolving Western.A Kinder, Gentler America?Case Study: Smoke Signals (1998).Questions for Discussion.For Further Reading/Screening.6.
Asian Americans and American Film:Silent Film and Asian Images.Asians in Classical Hollywood Cinema.WWII and After: War Films, Miscegenation Melodramas, and Kung Fu.Asian American Actors and Filmmakers Today.Case Study: Eat a Bowl of Tea (1989).Questions for Discussion.For Further Reading/Screening .7.
Latinos and American Film:The Greaser and the Latin Lover: Alternating Stereotypes.WW2 and After: The Good Neighbor Policy.The 1950s to the 1970s: Back to Business as Usual?Expanding Opportunities in Recent Decades.Case Study: My Family Familia (1995).Questions for Discussion.For Further Reading/Screening.Part III: Class and American Film:Introduction to Part Three: What is Class?8. Classical Hollywood Cinema and Class:Setting the Stage: The Industrial Revolution.
Early Cinema: The Rise of the Horatio Alger Myth.Hollywood and Unionization.Class in the Classical Hollywood Cinema.Case Study: The Grapes of Wrath (1940).Conclusion: Re-cloaking Class Consciousness.Questions for Discussion.For Further Reading/Screening.9.
Cinematic Class Struggle After the Depression:From World War II to the Red Scare.From Opulence to Counterculture.New Hollywood and the Resurrection of the Horatio Alger Myth.Case Study: Bulworth (1998).Conclusions: Corporate Hollywood and Labor Today.Sidebar: Class on Television.Questions for Discussion.For Further Reading/Screening.
Part IV: Gender and American Film:Introduction to Part Four: What is Gender?10. Women in Classical Hollywood Filmmaking:Images of Women in Early Cinema.Early Female Filmmakers.Images of Women in 1930s Classical Hollywood.World War II and After.Case Study: All That Heaven Allows (1955).Questions for Discussion.For Further Reading/Screening.
11. Exploring the Visual Parameters of Women in Film:Ways of Seeing."Visual Pleasure and Narrative Cinema".Case Study: Gilda (1946).Conclusion: Complicating Mulvey''s Arguments.Questions for Discussion.For Further Reading/Screening.12.
Masculinity in Classical Hollywood Filmmaking:Masculinity and Early Cinema.Masculinity and the Male Movie Star.World War II and Film Noir.Case Study: Dead Reckoning (1947).Masculinity in 1950s American Film.Questions for Discussion.For Further Reading/Screening.13.
Gender in American Film Since the 1960s:Second Wave Feminism and Hollywood.Into the 1980s: A Backlas.