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Screen Ages
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Table of Contents

Introduction: Hollywood in the Screen Ages 1. Beginnings: Multiple Cinemas, Multiple Audiences, 1895-1907 2. Becoming "The Movies": The Nickelodeon Age, 1908-1915 3. Movie Palaces, Corner Theaters, and Tent Shows: The Silent Era and the First Hollywood, 1915-1928 4. The Studios Era: Dominance and Diversity in the Golden Age of Hollywood, 1929-1948 5. Theatres, Drive-Ins, and Living Rooms: Changing Screens, Changing Movies, 1949-1966 6. Movies Big and Small: Art Movies, Blockbusters, and the New Hollywood, 1967-1980 7. Shopping Malls, Video Stores, and Cable TV: Movies in the Franchise Era, 1981-1997 8. The Digital Era: Back to the Future, 1994-Present

About the Author

John Alberti is Director of Graduate Studies and Director of Cinema Studies in the Department of English at Northern Kentucky University, USA. His previous books included The Working Life: Readings on Work, Labor, and Career, Leaving Springfield: The Simpsons and the Possibilities of Oppositional Culture, and The Canon in the Classroom: Pedagogical Implications of Canon Revision in American Literature.

Reviews

'An interesting, comprehensive, and up-to-date history of the US cinema industry. Screen Ages betrays our dependence on glossy overviews and simple narratives. The history of American cinema is far more varied, interesting, and complex than commonly recognized, and the careful work of John Alberti successfully reveals the richness of our shared Hollywood heritage. From the silver screen to our smartphones, movies continue to be a significant aspect of the modern American experience. Screen Ages traces the intriguing and often unrecognized history of the evolution of US cinema and show how this profoundly important medium matters amidst larger structures of social change.' Gerardo Marti, L Richardson King Associate Professor of Sociology at Davidson College and author of Hollywood Faith: Holiness, Prosperity, and Ambition in a Los Angeles Church 'Screen Ages acknowledges that the reason we study film is because, first and foremost, we love to watch movies. John Alberti has contextualized the history of cinema within that frame, which is always simultaneously about the craft of making movies and the pleasure of watching them. This text is exceptionally well suited to student learning because Alberti makes it relevant for them, connecting the past to the present in creative ways-for example, linking the Kinetoscope to YouTube. An especially valuable and unique feature of this text is its exploration of gender genres across time, which shows how the changing nature of gender roles have been at times challenged and at others reinforced by movies and moviegoing in American culture. Furthermore, Alberti's inclusion of women in film from Alice Guy-Blache to Lena Dunham offers a more diverse analysis of filmmaking than other textbooks. Screen Ages is comprehensive in its coverage of the history of cinema, accessible in its clear design and approachable style, and a genuine contribution the field.' Laura Mattoon D'Amore, Assistant Professor of American Studies, Roger Williams University and editor of Smart Chicks on Screen: Representing Women's Intellect in Film and Television. 'John Alberti's Screen Ages: A Survey of American Cinema should work well with traditional College age students as well as adults in introductory courses in American cinema. The text is interesting, easy to read, not overly detailed, and it regularly draws connections between past and present developments, practices, characters, storylines and images. Each historical period is given roughly equal treatment as appropriate for a survey text. Clear and telling examples are used to illustrate changes in popular genres that reflect changes in society. Economic and technical topics are explained well. There is much throughout the text to spark productive questions and discussion.' Walter Skiba, Associate Professor of Media and Fine Arts Calumet College of St. Joseph Whating, Indiana 'An interesting and innovative handbook of genuine value to a wide range of readers and students.' Oliver Harris, Professor of American Literature, Keele University, UK

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