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"Notes". Hollywood and the Culture Elite: How the Movies Became American, New York Chichester, West Sussex: Columbia University Press, 2005, pp. 213-252. https://doi.org/10.7312/dech13376-009

(2005). Notes. In Hollywood and the Culture Elite: How the Movies Became American (pp. 213-252). New York Chichester, West Sussex: Columbia University Press. https://doi.org/10.7312/dech13376-009

2005. Notes. Hollywood and the Culture Elite: How the Movies Became American. New York Chichester, West Sussex: Columbia University Press, pp. 213-252. https://doi.org/10.7312/dech13376-009

"Notes" In Hollywood and the Culture Elite: How the Movies Became American, 213-252. New York Chichester, West Sussex: Columbia University Press, 2005. https://doi.org/10.7312/dech13376-009

Notes. In: Hollywood and the Culture Elite: How the Movies Became American. New York Chichester, West Sussex: Columbia University Press; 2005. p.213-252. https://doi.org/10.7312/dech13376-009

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Chapters in this book

Frontmatter i
Contents vii
Acknowledgments ix
1. Vachel Lindsay and the Universal Film Museum 13
2. Overlapping Publics: Hollywood and Columbia University, 1915 41
3. Mandarins and Marxists: Harvard and the Rise of Film Experts 63
4. Iris Barry, Hollywood Imperialism, and the Gender of the Nation 97
5. The Museum of Modern Art and the Roots of the Cultural Cold War 123
6. The Politics of Patronage: How the NEA (Accidentally) Created American Avant-Garde Film 161
Conclusion: The Transformation of the Studio System 205
Notes 213
Index 253

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https://doi.org/10.7312/dech13376-009

Chapters in this book

Frontmatter i
Contents vii
Acknowledgments ix
1. Vachel Lindsay and the Universal Film Museum 13
2. Overlapping Publics: Hollywood and Columbia University, 1915 41
3. Mandarins and Marxists: Harvard and the Rise of Film Experts 63
4. Iris Barry, Hollywood Imperialism, and the Gender of the Nation 97
5. The Museum of Modern Art and the Roots of the Cultural Cold War 123
6. The Politics of Patronage: How the NEA (Accidentally) Created American Avant-Garde Film 161
Conclusion: The Transformation of the Studio System 205
Notes 213
Index 253

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