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"Welky, David"
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Everything Was Better in America
As a counterpart to research on the 1930s that has focused on liberal and radical writers calling for social revolution, David Welky offers this eloquent study of how mainstream print culture shaped and disseminated a message affirming conservative middle-class values and assuring its readers that holding to these values would get them through hard times. Through analysis of the era's most popular newspaper stories, magazines, and books, Welky examines how voices both outside and within the media debated the purposes of literature and the meaning of cultural literacy in a mass democracy. He presents lively discussions of such topics as the newspaper treatment of the Lindbergh kidnapping, issues of race in coverage of the 1936 Olympic games, domestic dynamics and gender politics in cartoons and magazines, Superman's evolution from a radical outsider to a spokesman for the people, and the popular consumption of such novels as the Ellery Queen mysteries, Gone with the Wind, and The Good Earth. Through these close readings, Welky uncovers the subtle relationship between the messages that mainstream media strategically crafted and those that their target audience wished to hear.
eBook
Hollywood's America
Fully revised, updated, and extended, the fifth edition of Hollywood's America provides an important compilation of interpretive essays and primary documents that allows students to read films as cultural artifacts within the contexts of actual past events.
* A new edition of this classic textbook, which ties movies into the broader narrative of US and film history
* This fifth edition contains nine new chapters, with a greater overall emphasis on recent film history, and new primary source documents which are unavailable online
* Entries range from the first experiments with motion pictures all the way to the present day
* Well-organized within a chronological framework with thematic treatments to provide a valuable resource for students of the history of American film
eBook
'A World Film Fight': Behind the Scenes With Hollywood and Fascist Italy
While he is understood to have played a key role in rationalizing the business of moviemaking, and in making movies respectable by selling the idea that they were a glamorous yet moralistic form of entertainment, the lack of scholarship on Hays makes it difficult to say exactly how he spent his twenty-three years in office.2 With studio executives' interests in mind, Hays took the lead in preserving Hollywood's profitable relationship with Italy by whatever means possible. only when the Fascists, pursuing their own, nationalistic priorities, made it nearly impossible to do business in their country did Hays and the studios take a principled stand not for democracy or individual freedoms, but rather for the free market-a market in which Americans could sell their products anywhere in the world without interference. Because American studios drew about half of their profits from overseas markets, industry leaders conceded the need to do business with unsavory sorts lest their businesses, and their stockholders, sink into financial oblivion. Italy's nationalistic, protectionist measures challenged this nascent free-trade philosophy. [...]the State Department feared that accepting Italy's film restrictions without a fight would encourage other countries to discriminate against Hollywood and other American industries. According to Kaster's sources, Italian theater owners were rumbling about raising the dubbing tax, this time from 30,000 lire per picture to a punitive 100,000 lire ($5,000). According to Variety, 30 December 1936, MGM could export $298,000, Paramount $126,500, Twentieth Century-Fox $105,300, Warner Bros. $101,750, United Artists $92,500, Columbia $77,500, RKO $75,000, and Universal $41,500.
Journal Article
