Books in the Traditions in American Cinema series

Examining how traditional media incumbents like studios and networks have responded to the rise of new entrants from the technology sector (such as Facebook, Apple, Amazon, Netflix and Google), the authors take a critical look at the way new and old industrial logics collide in an increasingly fragmented and consolidated mediascape.

Using newly unearthed primary sources, this ground-breaking book examines the bitter and little known struggle in Hollywood and Washington D.C. during 1933 to create a National Recovery Administration (NRA) code of practice for the motion picture industry.

American Postfeminist Cinema is the first book to examine the symbiotic relationship between heterosexual romance and postfeminist culture.

Offers an exploration of the impact of 9/11 and the 'War on Terror' on American cinema. This book charts the evolution of the impact of 9/11 on Hollywood film: draws on a range of contemporary films including Black Hawk Down (2001), Batman Begins (2005), United 93 (2006) and Olympus Has Fallen (2013).

With case studies of the Cold War comedy, the 'rogue cop' film, the brainwashing thriller and the urban romances, 'Cold War Film Genres' explores these myriad productions, redefining American cinematic history with a more inclusive view of the types of films that post-war audiences actually enjoyed, and that the studios provided for them.

Focusing on the 1980s until the present, particularly on the films by writer-directors like Jim Jarmusch, Noah Baumbach and Richard Linklater, this book demonstrates dialogue's ability to engage audiences and bind together the narrative, aesthetic and performative elements of selected cinema.

With eight contributions, this volume sheds new light on text, knowledge, and wonder in early modern France, which were more fundamentally intertwined than their modern counterparts.

Drawing on extensive archival research, In Secrecy's Shadow explores the revolution in the relationship between Hollywood and the secret state, from unwavering trust and cooperation to extreme scepticism and paranoia.

In Vampires, Race, and Transnational Hollywoods, Dale Hudson explores the movement of transnational Hollywood's vampires, between low-budget quickies and high-budget franchises, as it appropriates visual styles from German, Mexican and Hong Kong cinemas and off-shores to Canada, Philippines, and South Africa.

In the first book-length study of Romanticism in relation to American film, Michelle Devereaux takes established theories of contemporary American independent cinema as a point of entry, exploring the underlying philosophical and aesthetic Romantic connections between a selection of seven films from four popular filmmakers: Wes Anderson, Sofia Coppola, Spike Jonze and Charlie Kaufman. Primarily dealing with questions of identity, imagination and the relation between self and world, these films also emphasise the anxieties of our own time: the nostalgia for an imaginary past, and the fear of an uncertain future.