The Classical Hollywood Cinema Twenty-Five Years Along

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David Bordwell, Janet Staiger, and Kristin Thompson

I started studying recent classical narrative films in the late 1980s, firstpresenting a series of analyses of individual films to a group of film criticsin Beijing in 1988. Subsequently I wrote essays on additional films and turnedthem into a book, Storytelling in the New Hollywood.

Some basic questionsHere is the opening of our book proposal.

And we did it all on note cards and typewriters.

: There is, forexample, F. M. Scherer’s Quarter Notes and Bank Notes: The Economicsof Music Composition in the Eighteenth and Nineteenth Centuries (Princeton:Princeton University Press, 2004) and Lorenzo Bianconi and Giorgio Pestelli’santhology Opera Production and Its Resources, vol. 4 of The History of ItalianOpera (Chicago: University of Chicago Press, 1998). One of the livelieststudies in this vein is Ken Emerson’s Always Magic in the Air: TheBomp and Brilliance of the Brill Building Era (Viking, 2005), which showshow a pop-music company could develop its own forms, genres, and division oflabor.

More specifically, The Classical Hollywood Cinema addressesfour questions:

As for things I would change: There’s scarcely apage of my chapters in CHC thatI wouldn’t want to fiddle with—to clarify, expand, nuance, or prune.I think, for example, I came up with a better way to explain my idea of narrationin the book devoted to that subject. The invocation of mental schemas in theHollywood book seems to me cumbersome. My discussion of sound, and music in particular,is sketchy at best and in fact contains one howler: Not “Ernest Newman” butof course Alfred Newman (CHC, 33). Fortunately many scholars have sincethen dug into Hollywood recording and scoring practices with far more precision,largely supplanting my account.

Why didn’t we discuss reception? We anticipatedthis query and in our preface we wrote:


Voor een groot aantal zaken die invloed hebben op uw omgeving is een…

:See our FilmHistory: An Introduction, as well as Kristin’s study of German cinemaafter World War I in Herr Lubitsch Goes to Hollywood: German and AmericanFilm after World War I (Amsterdam: Amsterdam University Press, 2006) andDavid’s work on the 1910s’ tableau style in On the History ofFilm Style (Cambridge, MA: Harvard University Press, 1998) and FiguresTraced in Light (Berkeley: University of California Press, 2005).

Telefonisch zijn wij bereikbaar op werkdagen van 9:00 tot 17:00 uur.

:Karl Popper, TheOpen Society and Its Enemies, vol. II: The High Tide of Prophesy: Hegel,Marx, and the Aftermath (London: Routledge, 1990), p. 19.

Post-Impressionism - The Art Story

: Examples are TheFiction Factory: or, From Pulp Row to Quality Street (New York: Random House,1955), Quentin James Reynolds’ study of Street & Smith dime novelsand pulp magazines; and Mary Noel’s Villains Galore: The Heyday ofthe Popular Story Weekly (New York: Macmillan, 1954).

10/07/1987 · Synopsis

:In particular, Kathryn Kalinak, Settling the Score: Music and the ClassicalHollywood Film (Madison:University of Wisconsin Press, 1992); Jeff Smith, The Sounds of Commerce (NewYork: Columbia University Press, 1998); James Buhler, David Neumeyer, and RobDeemer, Hearing the Movies: Music and Sound in Film History (New York:Oxford University Press, 2009)

Impressionism Movement, Artists and Major Works | …

:Raymond Williams, “Baseand Superstructure in Marxist Cultural Theory,” Problems in Materialismand Culture (London: New Left Books, 1980), pp. 47–48.