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Chris Robé

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Chris Robé

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Robé, Chris. "Bibliography". Left of Hollywood: Cinema, Modernism, and the Emergence of U.S. Radical Film Culture, New York, USA: University of Texas Press, 2010, pp. 271-288. https://doi.org/10.7560/722965-009

Robé, C. (2010). Bibliography. In Left of Hollywood: Cinema, Modernism, and the Emergence of U.S. Radical Film Culture (pp. 271-288). New York, USA: University of Texas Press. https://doi.org/10.7560/722965-009

Robé, C. 2010. Bibliography. Left of Hollywood: Cinema, Modernism, and the Emergence of U.S. Radical Film Culture. New York, USA: University of Texas Press, pp. 271-288. https://doi.org/10.7560/722965-009

Robé, Chris. "Bibliography" In Left of Hollywood: Cinema, Modernism, and the Emergence of U.S. Radical Film Culture, 271-288. New York, USA: University of Texas Press, 2010. https://doi.org/10.7560/722965-009

Robé C. Bibliography. In: Left of Hollywood: Cinema, Modernism, and the Emergence of U.S. Radical Film Culture. New York, USA: University of Texas Press; 2010. p.271-288. https://doi.org/10.7560/722965-009

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Chapters in this book

Frontmatter i
Contents v
Acknowledgments vii
Introduction. Unfinished Promises to an Orphaned Time 1
Chapter One. Montage, Realism, and the Male Gaze 37
Chapter Two. Eisenstein in America: The ¡Que Viva México! Debates and Emergent Popular Front U.S. Film Theory and Criticism 80
Chapter Three. Screening Race: The Antilynching Film, the Black Press, and U.S. Popular Front Film Criticism 132
Chapter Four. Taking Hollywood Back: Gendered Histories of the Hollywood Costume Drama, the Biopic, and Jean Renoir’s La Marseillaise 192
Conclusion. Fragments of the Future 229
Notes 237
Bibliography 271
Index 289

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https://doi.org/10.7560/722965-009

Chapters in this book

Frontmatter i
Contents v
Acknowledgments vii
Introduction. Unfinished Promises to an Orphaned Time 1
Chapter One. Montage, Realism, and the Male Gaze 37
Chapter Two. Eisenstein in America: The ¡Que Viva México! Debates and Emergent Popular Front U.S. Film Theory and Criticism 80
Chapter Three. Screening Race: The Antilynching Film, the Black Press, and U.S. Popular Front Film Criticism 132
Chapter Four. Taking Hollywood Back: Gendered Histories of the Hollywood Costume Drama, the Biopic, and Jean Renoir’s La Marseillaise 192
Conclusion. Fragments of the Future 229
Notes 237
Bibliography 271
Index 289

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