The New Film History

The New Film History offers cutting edge research and analysis by leading film historians, demonstrating the broad range of approaches, methods and sources that have enlivened the field of film history in recent years.

The New Film History is an accessible and wide-ranging account of the methods, sources and approaches used by modern film historians. Designed for use on courses in film history, The New Film History offers readers an overview of key areas of research, including reception studies, genre, authorship and the historical film, together with detailed case studies centred on well-known American, Australian, British and European films. With contributions from fifteen leading film historians, this is the first major overview of the field of film history to be published in twenty years.

JAMES CHAPMAN is Professor of Film Studies at the University of Leicester, UK. His books include Licence To Thrill: A Cultural History of the James Bond Films (1999), Cinemas of the World: Film and Society from 1895 to the Present (2003) and Past and Present: National Identity and the British Historical Film (2005).
MARK GLANCY is Senior Lecturer in History at Queen Mary, University of London, UK, where he teaches courses in American and British film history. His publications include When Hollywood Loved Britain: The Hollywood ‘British’ Film, 1939-45 (1999) and The 39 Steps: A British Film Guide (2003). He is currently completing a book entitled Hollywood and the Americanization of Britain, from the 1920s to the present.SUE HARPER is a Professor of Film History at the University of Portsmouth, UK. She is the author of Picturing the Past: The Rise and Fall of the British Costume Film (1994), Women in British Cinema: Mad, Bad and Dangerous to Know (2000) and, with Vincent Porter, British Cinema of the 1950s: The Decline of Deference (2003). She is the leader of an AHRC research project on 1970s British cinema.

Notes on Contributors * INTRODUCTION: The New Film History–J.Chapman, M.Glancy & S.Harper * PART 1: HISTORY * Gone with the Wind (1939) and the Lost Cause: A Critical View–M.Stokes * History and Representation: The Case of 1970s British Cinema–S.Harper * Gallipoli (1981): ‘A Poignant Search For National Identity’–M.Connelly * ‘This Ship is England’: History, Politics and National Identity in Master and Commander: The Far Side of the World (2003)–J.Chapman * PART 2: AUTHORSHIP * Art in Context: British Film Design of the 1940s–L.Ede * The Author as Author: Restoring the Screenwriter to British Film History–A.Spicer * When ‘Hanoi Jane’ Conquered Hollywood: Jane Fonda’s Films and Activism, 1977-81–P.Krämer * PART 3: GENRE * The Politics of the Swashbuckler–J.Richards * The Stalinist Musical–R.Taylor * Now Voyager (1942): Melodrama Then and Now–M.Shingler * From Gangster to Gangsta: The Hood Film’s Criminal Allegiance with Hollywood–J.Munby * PART 4: RECEPTION * Blackmail (1929): Hitchcock and Film Nationalism–M.Glancy * British Cinema, American Reception: Black Narcissus (1947) and the Legion of Decency–S.Street * Studying Cross-Cultural Marketing and Reception: Ingmar Bergman’s Persona (1966)–I.Stigsdotter & T.Bergfelder * The Wicker Man (1973) Email Digest: A Case Study in Web Ethnography–J.Smith * Index