The Persistence of Hollywood

The Persistence of Hollywood brings together Elsaesser’s key writings about Hollywood filmmaking. It includes his detailed studies of individual directors (including Minnelli, Fuller, Ray, Hitchcock, Lang, Altman, Kubrick, Coppola, and Cameron), as well as essays charting the shifts from classic to corporate Hollywood by way of the New Hollywood and the resurgence of the blockbuster. The book also presents a history of the different critical-theoretical paradigms central to film studies in its analysis of Hollywood, from auteurism and cinephilia to textual analysis, Marxism, psychoanalysis, and post-industrial analysis.

Sample Chapter

Reviews

"For over forty years, Thomas Elsaesser has been an indispensable guide to Hollywood's role in the history of popular art, and his gifts are on full display in this rich collection. The essays—imaginative, bold, and crisply written—are admirably sensitive to the ambivalent place of American filmmaking in global culture, from Hollywood's golden age to today's corporate moviemaking." —David Bordwell, Jacques Ledoux Emeritus Professor of Film Studies, University of Wisconsin–Madison

"Thomas Elsaesser demonstrates the power of movies by drawing on auteur studies (from Welles, Hitchcock, and Kubrick to Avatar), genres, industrial aesthetics, narrative analyses, social-symptoms, and the imperatives of corporate, global Hollywood. Throughout, Elsaesser makes the reader feel the tangled, affective energies of cinephilia. Beautifully intelligent—an essential book." —Edward Branigan, Professor of Film and Media Studies, University of California, Santa Barbara

"Is there anything left to say about Hollywood? Thomas Elsaesser’s monumental compilation of twenty-three densely argued essays written during the last four decades, The Persistence of Hollywood, provides a straightforward, at times overwhelming answer: Yes. Elsaesser’s summary work also makes a strong argument for a lifelong engagement with Hollywood that stretches from the development and ‘genius’ of what is now commonly called the classical studio era to the contemporary blockbuster and its attendant practices of truly globalised film-making. Elsaesser’s pithy title refers to both his own continuing interest in Hollywood past and present and the remarkable ‘persistence’ and longevity of this profoundly dominant film-making system. The range of Elsaesser’s enquiry and his command of the various strands of film theory that have emerged since the 1960s are often breathtaking, and clearly illustrate the author’s importance to the field, particularly as a barometer or synthesiser of dominant and fashionable ideas and critical approaches." - Adrian Danks, RMIT University, Melbourne (full review)

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