According to Oscar

This episode was written using the following references:Eksteins, M. (1980). War, Memory, and Politics: The Fate of the Film All Quiet on the Western Front. Central European History, 13(1), 60-82.Eyman, Scott (2005). Lion of Hollywood: the life and legend of Louis B. Mayer (Ied.). New York, United States: Simon & Schuster. P. 117Holden, A. (1993). The Oscars: The Secret History of Hollywood’s Academy Awards. Little Brown and Company.Grainge, P., Jancovich, M., & Monteith, S. (2007). Film histories : an introduction and reader. Edinburgh: Edinburgh University Press.Kelly, A. (1997). Cinema and the Great War. London: Routledge.Koszarski, Richard. (1990). An Evening’s Entertainment: The Age of the Silent Feature Picture, 1915-1928. New York: Scribner.Paris, M. (2000). The First World War and popular cinema : 1914 to the present. Edinburgh: Edinburgh University Press.Robinson, D. (1968). Hollywood in the Twenties. London: Zwemmer.Salt, B. (1992). Film style and technology : history and analysis (Second edition.). London: Starword.Suid, Lawrence H. (2002). Guts & Glory: The Making of the American Military Image in Film. University Press of Kentucky.Thompson, Frank T. (2002). Texas Hollywood: Filmmaking in San Antonio since 1910. Maverick Publishing Company.To learn more about Hollywood’s representation of the Great War, watch:The Big Parade (1925) dir. King VidorWhat Price Glory? (1926) dir. Raoul WalshHell’s Angels (1930) dir. Howard HughesThe Dawn Patrol (1930) dir. Howard Hawks

This episode was written using the following references:Balio, T. (1993). Grand design : Hollywood as a modern business enterprise, 1930-1939. New York: Scribner.Banita, G. (2013). Fossil Frontiers: American Petroleum History on Film. In Rosenstone, R. & Parvulescu, C. (eds), A companion to the historical film (pp. 301-327). Chichester: Wiley-Blackwell. Rosenstone, R. & Parvulescu, C. (2013).Fenin, G., & Everson, W. (1962). The Western, from silents to cinerama. New York: Orion Press.Geraghty, C. (2008). Now a major motion picture : film adaptations of literature and drama. Lanham: Rowman & Littlefield Publishers.History.com Editors. (2009, October 29). Great Depression History. Retrieved 10 April 2020, from https://www.history.com/topics/great-depression/great-depression-historySmythe. J. E. (2009). The New Western History in 1931: RKO and the Challenge of ‘Cimarron’. In Rollins, P. & O’Connor, J. (eds.), Hollywood’s West : the American frontier in film, television, and history (pp. 37-64). Lexington: University Press of Kentucky.Turner, F. (1914). The West and American Ideals. The Washington Historical Quarterly, 5(4), 243-257. Retrieved April 10, 2020, from www.jstor.org/stable/40474083To see more prestige picture and their portrayals of American history, watch:The Conquerors (1932) dir. William WellmanLooking Forward (1933) dir. Clarence BrownShow Boat (1936) dir. James WhaleThe Grapes of Wrath (1940) dir. John Ford

This episode was written using the following references:Balio, T. (2012). Selling Stars: The Economic Imperative. In Neale, S. (ed.), The classical Hollywood reader (pp. 209-225). London: Routledge.Barrios, R. (1995). A song in the dark : the birth of the musical film. New York;: Oxford University Press.Bradley, E. (1996). The first Hollywood musicals : a critical filmography of 171 features, 1927 through 1932. Jefferson, N.C. : McFarland & Co.CBS. (1959, October 25). The Movies Learn to Talk. The Twentieth Century.Florio, A. & LaVine, W. R. (1980). In a Glamorous Fashion: The Fabulous Years of Hollywood Costume Design. New York: Scribner’s Sons.Grant, B. (2012). The Hollywood film musical. Oxford: Wiley-Blackwell.Herzog, C. C. & Gaines, J. M. Balio, T. (1991). ‘Puffed Sleeves Before Tea-time’: Joan Crawford, Adrian and women audiences. In Gledhill, C. (ed.) Stardom: Industry of desire (pp. 74-91). London: Routledge."Irving Thalberg." (2020) In Immigrant Entrepreneurship, Retrieved April 10, 2020, from Immigrant Entrepreneurship: http://www.immigrantentrepreneurship.org/entry.php?rec=58Kenrick, J. (2010). Musical theatre : a history. New York, N.Y. ;: Continuum.Kislan, R. (1995). The musical : a look at the American musical theater. New York, NY ;: Applause.McLean, A. L. (2010). Flirting with Terpsichore: Dance, Class and Entertainment in 1930s Film Musicals. In Cohan, S. (ed.) The sound of musicals. London: A BFI book published by Palgrave Macmillan.Rubin, M. (2002). Busby Berkeley and the Backstage Musical. In Cohan, S. (ed.), Hollywood musicals, the film reader (pp. 53-61). London: Routledge.Thomas, Bob. (1984). Thalberg: Life and Legend. Garland.Vieira, M. (2010). Irving Thalberg: Boy Wonder to Producer Prince. University of California Press.To see more examples of Irving Thalber's work at MGM, watch:Ben-Hur: A Tale of the Christ (1925) dirs. Fred Niblo and B. Reeves EastonThe Divorcee (1930) dir. Robert Z. LeonardThe Barretts of Wimpole Street (1934) dir. Sidney FranklinChina Seas (1935) dir. Tay GarnettThe Good Earth (1937) dir. Sidney Franklin

This episode was written using the following references:American Film Institute. (2010, February 5). Frank Capra Accepts the 10th AFI Life Achievement Award in 1982 [Video file]. Retrieved from https://www.youtube.com/watch?v=t746ZVw09P4Balio, T. (1993). Grand design : Hollywood as a modern business enterprise, 1930-1939. New York: Scribner.Capra, F. (1971). The name above the title : an autobiography. New York: Macmillan.Tzioumakis Y. (2006) American independent cinema, an introduction. Edinburgh: Edinburgh University Press.Mizejewski, L. (2010). It happened one night. Chichester, U.K. ;: Wiley-Blackwell.Hollywoodism: Jews, Movies and the American Dream (1998) dirs. Simcha Jacobovici and Stuart Samuels.Muscio, G. (1998). Roosevelt, Arnold, and Capra, (or) the Federalist-Populist Paradox. In Sklar, R. & Zagarrio, V. (eds.) Frank Capra: Authorship and the Studio System (pp. 164-189). Philadelphia: Temple University Press.Carney, R. (1996). American vision : the films of Frank Capra. Hanover, N.H. ;: Wesleyan University Press.Poague, L. (1994). Another Frank Capra. Cambridge: Cambridge University Press.

This episode was written using the following references:Balio, T. (1993). Grand design : Hollywood as a modern business enterprise, 1930-1939. New York: Scribner.Behlmer, R., (1985), Inside Warner Bros. (1935-1951).(New York: Viking Press.Denby, D. (2019, July 9). Hitler in Hollywood. Retrieved 10 April 2020, from https://www.newyorker.com/magazine/2013/09/16/hitler-in-hollywoodDoherty, T. (2009). Hollywood’s censor : Joseph I. Breen and the Production Code Administration. New York ;: Columbia University Press.Doherty, T. (2013). Hollywood and Hitler, 1933-1939. New York ;: Columbia University Press.Miller, F. (1994). Censored Hollywood: Sex, sin & violence on screen. Atlanta, GA: Turner Publishing.Mintz, S. & Roberts, R. (2010). Hollywood’s America : twentieth-century America through film. Oxford: Wiley-Blackwell.Urwand, B. (2013). The collaboration: Hollywood’s pact with Hitler. Cambridge, Mass: Belknap Press of Harvard University Press.Perlman, W. (1936). The movies on trial : the views and opinions of outstanding personalities anent screen entertainment past and present. New York: Macmillan.

This episode was written using the following references:Flamini, R. (1975). Scarlett, Rhett, and a cast of thousands : the filming of ‘Gone With the Wind’. New York: Macmillan.Higgins, S. (2007). Harnessing the Technicolor rainbow : color design in the 1930s. Austin: University of Texas Press.Salt, B. (1992). Film style and technology : history and analysis. London: Starword.Lambert, G. (1976). GWTW : the making of ‘Gone With the Wind’. Toronto (etc.) ;: Bantam.Kalmus, N. (1935). Color Consciousness. Journal of the Society of Motion Picture Engineers, 25(2), 139–147. Retrieved from https://eastman.org/sites/default/files/technicolor/pdfs/ColorConsultants_ColorConsciousness.pdf

This episode was written using the following references:Leaving Rosebud, Leaving the Valley: Vestiges of Childhood in Two Classic Films from 1941. Kathy Merlock Jackson and Ray Merlock. The Journal of American Culture, Volume 29 Number 3, September 2006Harris, M. (2014). Five Came Back: A Story of Hollywood and the Second World War (Reprint ed.). Edinburgh, Great Britain: Penguin Books.Herman, J. (1997). A Talent For Trouble: The Life Of Hollywood's Most Acclaimed Director, William Wyler. New York: Da Capo.Miller, G. (2013). William Wyler: The Life and Films of Hollywood’s Most Celebrated Director (Screen Classics) (1st ed.). Lexington, Kentucky: University Press of Kentucky.Propaganda in Motion Pictures: Hearings Before a Subcommittee of the Committee on Interstate Commerce, United States Senate, Seventy-seventh Congress, First Session, on S. Res.152, a Resolution Authorizing an Investigation of War Propaganda Disseminated by the Motion Picture Industry and of Any Monopoly in the Production, Distribution Or Exhibition of Motion Pictures; Sept.9-26, 1941Schatz, T., 1999. Boom and Bust: American Cinema in the 1940s. Berkeley: Univ. of California Press.

This episode was written using the following references:Frank Nugent, “War’s Double-Entry”, New York Times, 17th September 1939, section A, p. 137Robert Sklar, Movie-Made America: A Cultural History of American Movies [New York: Random House, 1975], p. 253University of California Television (UCTV). (2017, April 2). Expanded Hitchcock: Rebecca [Video]. YouTube. Retrieved September 25, 2022, from https://www.youtube.com/watch?v=WY3SKrxnIMoSchatz, T., 1999. Boom and Bust: American Cinema in the 1940s. Berkeley: Univ. of California Press.Holden, Anthony. (1993). The Oscars: The Secret History of Hollywood’s Academy Awards. Little Brown and Company.Kliman, B. W. (1983). A Palimpsest for Olivier’s “Hamlet.” Comparative Drama, 17(3), 243–253. For more British films that carved out overseas success, watch:Brief Encounter (1945) dir. David LeanCaesar and Cleopatra (1945) dir. Gabriel PascalGreat Expectations (1946) dir. David LeanThe Red Shoes (1948) dirs. Michael Powell and Emeric PressburgerAnd for more examples of European directors used Gothic elements in their noir films, seek out:Shadow of a Doubt (1943) dir. Alfred HitchcockDouble Indemnity (1944) dir. Billy WilderThe Woman in the Window (1944) dir. Fritz Lang  Phantom Lady (1944) dir. Robert Siodmak

This episode was written using the following references:Gerber, D. A. (1994). Heroes and Misfits: The Troubled Social Reintegration of Disabled Veterans in “The Best Years of Our Lives.” American Quarterly, 46(4), 545–574.Harris, M. (2014). Five Came Back: A Story of Hollywood and the Second World War (Reprint ed.). Edinburgh, Great Britain: Penguin Books.Holden, Anthony. (1993). The Oscars: The Secret History of Hollywood’s Academy Awards. Little Brown and Company.Miller, G. (2013). William Wyler: The Life and Films of Hollywood’s Most Celebrated Director (Screen Classics) (1st ed.). Lexington, Kentucky: University Press of Kentucky.Neve, B. (2008). Elia Kazan: The Cinema of an American Outsider.The Paramount Decrees. The United States Department of Justice. (2020, August 7). Retrieved May 3, 2023, from https://www.justice.gov/atr/paramount-decree-reviewSchatz, T., 1999. Boom and Bust: American Cinema in the 1940s. Berkeley: Univ. of California Press.Smedley, N. (2011). A Divided World (1st ed.). Intellect Books Ltd.A clip from a 1978 episode of 'Tonight' featuring an interview with Elia Kazan is also referenced. Retrieved May 3, 2023, from https://www.youtube.com/watch?v=6uENmf9sZzwA clip from The Writers Guild Foundation series 'The Writer Speaks' with Billy Wilder is also referenced. Retrieved May 3, 2023, from https://www.youtube.com/watch?v=tOjDuaLBl9cTo watch more films and filmmakers who came under the scrutiny of HUAC, watch:The Strange Love of  Martha Ivers (1946) dir. Lewis Milestone Crossfire (1947) dir. Edward DmytrykJohnny Belinda (1948) dir. Jean NegulescoHome of the Brave (1949) dir. Mark Robson