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At the turn of the twentieth century, cinema was quickly establishing itself as a legitimate form of popular entertainment.

The essays in American Cinema 1890-1909 explore and define how the making of motion pictures flowered into an industry that would finally become the central entertainment institution of the world. Beginning with all the early types of pictures that moved, this volume tells the story of the invention and consolidation of the various processes that gave rise to what we now call "cinema." By examining the battles over patents, production, exhibition, and the reception of film, readers learn how going to the movies became a social tradition in American society.

In the course of these two decades, cinema succeeded both in establishing itself among other entertainment and instructional media and in updating various forms of spectacle.

It was during the teens that filmmaking truly came into its own. Notably, the migration of studios to the West Coast established a connection between moviemaking and the exoticism of Hollywood.

The essays in American Cinema of the 1910s explore the rapid developments of the decade that began with D. W. Griffith's unrivaled one-reelers. By mid-decade, multi-reel feature films were profoundly reshaping the industry and deluxe theaters were built to attract the broadest possible audience. Stars like Mary Pickford, Charlie Chaplin, and Douglas Fairbanks became vitally important and companies began writing high-profile contracts to secure them. With the outbreak of World War I, the political, economic, and industrial groundwork was laid for American cinema's global dominance. By the end of the decade, filmmaking had become a true industry, complete with vertical integration, efficient specialization and standardization of practices, and self-regulatory agencies.

During the 1920s, sound revolutionized the motion picture industry and cinema continued as one of the most significant and popular forms of mass entertainment in the world. Film studios were transformed into major corporations, hiring a host of craftsmen and technicians including cinematographers, editors, screenwriters, and set designers. The birth of the star system supported the meteoric rise and celebrity status of actors including Charlie Chaplin, Mary Pickford, Joan Crawford, Greta Garbo, and Rudolph Valentino while black performers (relegated to "race films") appeared infrequently in mainstream movies. The classic Hollywood film style was perfected and significant film genres were established: the melodrama, western, historical epic, and romantic comedy, along with slapstick, science fiction, and fantasy.

In ten original essays, American Cinema of the 1920s examines the film industry's continued growth and prosperity while focusing on important themes of the era.

Probably no decade saw as many changes in the Hollywood film industry and its product as the 1930s did. At the beginning of the decade, the industry was still struggling with the transition to talking pictures. Gangster films and naughty comedies starring Mae West were popular in urban areas, but aroused threats of censorship in the heartland. Whether the film business could survive the economic effects of the Crash was up in the air. By 1939, popularly called "Hollywood's Greatest Year," films like Gone With the Wind and The Wizard of Oz used both color and sound to spectacular effect, and remain American icons today. The "mature oligopoly" that was the studio system had not only weathered the Depression and become part of mainstream culture through the establishment and enforcement of the Production Code, it was a well-oiled, vertically integrated industrial powerhouse.

The ten original essays in American Cinema of the 1930s focus on sixty diverse films of the decade, including Dracula, The Public Enemy, Trouble in Paradise, 42nd Street, King Kong, Imitation of Life, The Adventures of Robin Hood, Swing Time, Angels with Dirty Faces, Nothing Sacred, Jezebel, Mr. Smith Goes toWashington, and Stagecoach .

The profound cultural and political changes of the 1960s brought the United States closer to social revolution than at any other time in the twentieth century. The country fragmented as various challenges to state power were met with increasing and violent resistance. The Cold War heated up and the Vietnam War divided Americans. Civil rights, women's liberation, and gay rights further emerged as significant social issues. Free love was celebrated even as the decade was marked by assassinations, mass murders, and social unrest.

At the same time, American cinema underwent radical change as well. The studio system crumbled, and the Production Code was replaced by a new ratings system. Among the challenges faced by the film industry was the dawning shift in theatrical exhibition from urban centers to surburban multiplexes, an increase in runaway productions, the rise of independent producers, and competition from both television and foreign art films. Hollywood movies became more cynical, violent, and sexually explicit, reflecting the changing values of the time.

In ten original essays, American Cinema of the 1960s examines a range of films that characterized the decade, including Hollywood movies, documentaries, and independent and experimental films. Among the films discussed are Elmer Gantry, The Apartment, West Side Story, The Manchurian Candidate, To Kill a Mockingbird, Cape Fear, Bonnie and Clyde, 2001: A Space Odyssey, Midnight Cowboy, and Easy Rider.

A smug glance at the seventies—he so-called "Me Decade"—unveils a kaleidoscope of big hair, blaring music, and broken politics—all easy targets for satire, cynicism, and ultimately even nostalgia. American Cinema of the 1970s, however, looks beyond the strobe lights to reveal how profoundly the seventies have influenced American life and how the films of that decade represent a peak moment in cinema history.

Far from a placid era, the seventies was a decade of social upheavals. Events such as the killing of students at Kent State and Jackson State universities, the Watergate investigations, the legalization of abortion, and the end of the American involvement in Vietnam are only a few among the many landmark occurrences that challenged the foundations of American culture. The director-driven movies of this era reflect this turmoil, experimenting with narrative structures, offering a gallery of scruffy antiheroes, and revising traditional genre conventions.

Bringing together ten original essays, American Cinema of the 1970s examines the range of films that marked the decade, including Jaws, Rocky, Love Story, Shaft, Dirty Harry, The Godfather, Deliverance, The Exorcist, Shampoo, Taxi Driver, Star Wars, Saturday Night Fever, Kramer vs. Kramer,and Apocalypse Now .

With the U.S. economy booming under President Bill Clinton and the cold war finally over, many Americans experienced peace and prosperity in the nineties. Digital technologies gained popularity, with nearly one billion people online by the end of the decade. The film industry wondered what the effect on cinema would be.

The essays in American Cinema of the 1990s examine the big-budget blockbusters and critically acclaimed independent films that defined the decade. The 1990s' most popular genre, action, channeled anxieties about global threats such as AIDS and foreign terrorist attacks into escapist entertainment movies. Horror films and thrillers were on the rise, but family-friendly pictures and feel-good romances netted big audiences too. Meanwhile, independent films captured hearts, engaged minds, and invaded Hollywood: by decade's end every studio boasted its own "art film" affiliate.

The decade from 2000 to 2009 is framed, at one end, by the traumatic catastrophe of the 9/11 attacks on the World Trade Center and, at the other, by the election of the first African American president of the United States. In between, the United States and the world witnessed the rapid expansion of new media and the Internet, such natural disasters as Hurricane Katrina, political uprisings around the world, and a massive meltdown of world economies.

Amid these crises and revolutions, American films responded in multiple ways, sometimes directly reflecting these turbulent times, and sometimes indirectly couching history in traditional genres and stories. In American Cinema of the 2000s, essays from ten top film scholars examine such popular series as the groundbreaking Matrix films and the gripping adventures of former CIA covert operative Jason Bourne; new, offbeat films like Juno; and the resurgence of documentaries like Michael Moore’s Fahrenheit 9/11.  Each essay demonstrates the complex ways in which American culture and American cinema are bound together in subtle and challenging ways.

The contributors to Individual and Community attempt to illuminate aspects of the individual-community relationship. Though different in focus and approach, the essays themselves express a "community" of concern, a concern which includes not just the situations of characters in fictional worlds, but one which touches the relationship of both novelists and reader to a world of words.
The essays are intended to point to the continuity of an important theme in American fiction and to offer insight into the variety of philosophical and literary strategies utilized in significant works of significant authors in dealing with the question of the individual and the community.

From Howard’s End to Brideshead Revisited, this book explores the leitmotif of the English country house in twentieth- and twenty-first-century fiction, with a focus on the works of E. M. Forster, Evelyn Waugh, Iris Murdoch, Alan Hollinghurst, and Sarah Waters. Integrating wider social and cultural contexts with contemporary architectural developments, Tereza Topolovská reveals that the variety of literary depictions of the country house reflects the physical diversification of buildings that can be classified as such, from smaller variants to formerly grand residences on the brink of physical collapse. Within the scope of contemporary fiction, architecture, and poetics of space, the country house—with its uniquely integrating and exceptionally evocative qualities—accentuates different conceptions of dwelling. Consequently, literary portrayals of the country house can be seen as both prefiguring and reflecting the contemporary practice of living.

Acting as poetic records of light, the poems in Variations on Dawn and Dusk follow the sun as it warms, cools, colors, and shifts the space of Robert Irwin’s untitled (dawn to dusk) in the desert of Marfa, TX. Built on the footprint of the town’s old hospital, Irwin’s permanent installation is a remarkable structure with walls, windows, and screens that both capture and are taken over by the sun’s changing light. Through this deeply engaged ekphrasis, Dan Beachy-Quick uses language to participate in the overpowering elegance of Irwin’s structure. The poet’s fervent observations lead us in cycles of meditation, moving with the light that slides through the surfaces of the installation. Here, the very foundation of our vision—light—forms the vocabulary from which these poems are built.
Building from Irwin’s use of rhythm and structure, the poems in this collection are constructed with an architectural framework. Rhythmic procedures inversely link the first and last words of the first and last lines of each poem and tie the number of lines to the number of syllables in the first line. These structures form a pattern, a thoughtful consistency through which we are invited to move and meditate with each variation of light.
 

World-renowned philosopher, Michel Serres writes a text in praise of the body and movement, in praise of teachers of physical education, coaches, mountain guides, athletes, dancers, mimes, clowns, artisans, and artists. This work describes the variations, the admirable metamorphoses that the body can accomplish. While animals lack such a variety of gestures, postures, and movements, the fluidity of the human body mimics the leisure of living beings and things; what’s more, it creates signs. Already here, within its movements and metamorphoses, the mind is born. The five senses are not the only source of knowledge: it emerges, in large part, from the imitations the plasticity of the body allows. In it, with it, by it knowledge begins.