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Soledad
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Look up Soledad or soledad in Wiktionary, the free dictionary.
Soledad, Spanish for "solitude", often refers to María de la Soledad (Our Lady of Solitude), a variant name of Mary the mother of Jesus, in Roman Catholic tradition
Soledad may also refer to:
Contents
[hide]
1 People
2 Places
3 Buildings and Institutions
4 Music
5 Film and television
6 See also
People[edit]
Chalon or Soledad, a Native American people and language of Salinas Valley, California
Nuestra Señora de la Soledad de Porta Vaga, the patroness of Cavite City, Philippines.
Soledad Alvear (born 1950), Chilean politician
Soledad Mexia (1899–2013), Mexican-born American supercentenarian
Soledad Bravo (born 1943), Venezuelan singer
Soledad Brothers, three African-American inmates, including George Jackson, involved in a notable row
Soledad Miranda (1943–1970), Spanish actress
Soledad O'Brien (born 1966), American broadcast journalist and executive producer
Soledad Pastorutti (born 1980), Argentine folklore singer
Places[edit]
Various places named after María de la Soledad
Soledad, California
Soledad State Prison, officially called Correctional Training Facility, at Soledad, California.
Soledad, Atlántico, Colombia
Soledad Atzompa, Veracruz, Mexico
Soledad de Doblado, Veracruz, Mexico
La Soledad, Tamaulipas, Mexico
Soledad, a barrio in Consolación del Sur, Cuba
La Soledad, Panama
Soledad, a barangay of San Jose, Camarines Sur, Philippines
Buildings and Institutions[edit]
Mission Nuestra Señora de la Soledad, California
Fort Soledad, Guam
Music[edit]
Soledad Brothers (band), a garage rock trio from Ohio
"La Soledad", a song by Pink Martini from Sympathique
"La Soledad", a Spanish-language version of the song "La solitudine" by Laura Pausini
"Soledad", a musical piece by Ástor Piazzolla
"Soledad", a song by Alexander Brandon
"Soledad", a song by Carlos Gardel
"Soledad", a song by Causa Sui
"Soledad", a song by Colors
"Soledad", a song by Eric Burdon and Jimmy Witherspoon from Guilty!
"Soledad", a song by Mano Negra from Puta's Fever
"Soledad", a song by MC Lars from Indie Rocket Science
"Soledad", a song by Qarpa
"Soledad", a song by Rodriguez Jr, Album : Rubbo Swingo
"Soledad", a song by Westlife from Coast to Coast
"Soledad", a song by Emilio José
"Soledad", a song by Don Omar
Film and television[edit]
Soledad (2001 TV series), a 2001 Peruvian telenovela starring Coraima Torres and Guillermo Pérez
Solitary Fragments, a 2007 Spanish film written and directed by Jaime Rosales
See also[edit]
Soledades, a poem by Luis de Góngora
This disambiguation page lists articles associated with the title Soledad.
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History of evolutionary psychology
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The history of evolutionary psychology began with Charles Darwin, who said that humans have social instincts that evolved by natural selection. Darwin's work inspired later psychologists such as William James and Sigmund Freud but for most of the 20th century psychologists focused more on behaviorism and proximate explanations for human behavior. E. O. Wilson's landmark 1975 book, Sociobiology, synthesized recent theoretical advances in evolutionary theory to explain social behavior in animals, including humans. Jerome Barkow, Leda Cosmides and John Tooby popularized the term "evolutionary psychology" in their 1992 book The Adapted Mind: Evolutionary Psychology and The Generation of Culture.[1] Like sociobiology before it, evolutionary psychology has been embroiled in controversy, but evolutionary psychologists see their field as gaining increased acceptance overall.
Contents
[hide]
1 19th century
2 20th century
3 Post world war II
4 Sociobiology
5 Modern use of the term "evolutionary psychology"
6 See also
7 Notes
19th century[edit]
After his seminal work in developing theories of natural selection, Charles Darwin devoted much of his final years to the study of animal emotions and psychology. He wrote two books;The Descent of Man, and Selection in Relation to Sex in 1871 and The Expression of the Emotions in Man and Animals in 1872 that dealt with topics related to evolutionary psychology. He introduced the concepts of sexual selection to explain the presence of animal structures that seemed unrelated to survival, such as the peacock's tail. He also introduced theories concerning group selection and kin selection to explain altruism.[2] Darwin pondered why humans and animals were often generous to their group members. Darwin felt that acts of generosity decreased the fitness of generous individuals. This fact contradicted natural selection which favored the fittest individual. Darwin concluded that while generosity decreased the fitness of individuals, generosity would increase the fitness of a group. In this case, altruism arose due to competition between groups.[3] The following quote, from Darwin's Origin of Species, is often interpreted by evolutionary psychologists as indication of his foreshadowing the emergence of the field:
In the distant future I see open fields for far more important researches. Psychology will be based on a new foundation, that of the necessary acquirement of each mental power and capacity by gradation.
—  Darwin, Charles (1859). The Origin of Species. Wikisource. p. 488.
20th century[edit]
Darwin's theory inspired William James's functionalist approach to psychology.[4] At the core of his theory was a system of "instincts."[5] James wrote that humans had many instincts, even more than other animals.[5] These instincts, he said, could be overridden by experience and by each other, as many of the instincts were actually in conflict with each other.[5]
In their Evolutionary Psychology Primer Tooby and Cosmides make note of James' perspective, and also quote him:
"We do not realize that 'normal' behavior needs to be explained at all. This "instinct blindness" makes the study of psychology difficult. To get past this problem, James suggested that we try to make the "natural seem strange":
It takes...a mind debauched by learning to carry the process of making the natural seem strange, so far as to ask for the why of any instinctive human act. To the metaphysician alone can such questions occur as: Why do we smile, when pleased, and not scowl? Why are we unable to talk to a crowd as we talk to a single friend? Why does a particular maiden turn our wits so upside-down? The common man can only say, Of course we smile, of course our heart palpitates at the sight of the crowd, of course we love the maiden, that beautiful soul clad in that perfect form, so palpably and flagrantly made for all eternity to be loved!
And so, probably, does each animal feel about the particular things it tends to do in the presence of particular objects. ... To the lion it is the lioness which is made to be loved; to the bear, the she-bear. To the broody hen the notion would probably seem monstrous that there should be a creature in the world to whom a nestful of eggs was not the utterly fascinating and precious and never-to-be-too-much-sat-upon object which it is to her.
Thus we may be sure that, however mysterious some animals' instincts may appear to us, our instincts will appear no less mysterious to them. (William James, 1890)
In our view, William James was right about evolutionary psychology. Making the natural seem strange is unnatural -- it requires the twisted outlook seen, for example, in Gary Larson cartoons. Yet it is a pivotal part of the enterprise. Many psychologists avoid the study of natural competences, thinking that there is nothing there to be explained."
According to Noam Chomsky, perhaps Anarchist thinker Peter Kropotkin could be credited as having founded evolutionary psychology, when in his 1902 book Mutual Aid: A Factor of Evolution he argued that the human instinct for cooperation and mutual aid could be seen as stemming from evolutionary adaption.[6]
William McDougall made a reference to "evolutionary psychology" in his 1919 book An Introduction to Social Psychology: "It is only a comparative and evolutionary psychology that can provide the needed basis (for psychology); and this could not be created before the work of Darwin had convinced men of the continuity of human with animal evolution as regards all bodily characters, and had prepared the way for the quickly following recognition of the similar continuity of man’s mental evolution with that of the animal world." (p. 16)
Post world war II[edit]
While Darwin's theories on natural selection gained acceptance in the early part of the 20th century, his theories on evolutionary psychology were largely ignored. Only after the second world war, in the 1950s, did interest increase in the systematic study of animal behavior. It was during this period that the modern field of ethology emerged. Konrad Lorenz and Nikolaas Tinbergen were pioneers in developing the theoretical framework for ethology for which they would receive a Nobel prize in 1973.
Desmond Morris's book The Naked Ape attempted to frame human behavior in the context of evolution, but his explanations failed to convince academics because they were based on a teleological (goal-oriented) understanding of evolution. For example, he said that the pair bond evolved so that men who were out hunting could trust that their mates back home were not having sex with other men.[2]
Sociobiology[edit]
In 1975, E. O. Wilson built upon the works of Lorenz and Tinbergen by combining studies of animal behavior, social behavior and evolutionary theory in his book Sociobiology:The New Synthesis. Wilson included a chapter on human behavior. Wilson's application of evolutionary analysis to human behavior caused bitter debate.[7][8]
With the publication of Sociobiology, evolutionary thinking for the first time had an identifiable presence in the field of psychology.[4] E. O. Wilson argues that the field of evolutionary psychology is essentially the same as "human sociobiology".[9]
Edward H. Hagen writes in The Handbook of Evolutionary Psychology that sociobiology is, despite the public controversy regarding the applications to humans, "one of the scientific triumphs of the twentieth century." "Sociobiology is now part of the core research and curriculum of virtually all biology departments, and it is a foundation of the work of almost all field biologists" Sociobiological research on nonhuman organisms has increased dramatically and appears continuously in the world's top scientific journals such as Nature and Science.The more general term behavioral ecology is commonly used as substitute for the term sociobiology in order to avoid the public controversy.[10]
Modern use of the term "evolutionary psychology"[edit]
The term evolutionary psychology was used by American biologist Michael Ghiselin in a 1973 article published in the journal Science.[11] Jerome Barkow, Leda Cosmides and John Tooby popularized the term "evolutionary psychology" in their 1992 book The Adapted Mind: Evolutionary Psychology and The Generation of Culture.[1]
In contrast to sociobiology and behavioral ecology, evolutionary psychology emphasizes that organisms are "adaptation executors" rather than "fitness maximizers."[12] In other words, organisms have emotional, motivational and cognitive adaptations that generally increased inclusive fitness in the past but may not do so in the present. This distinction may explain some maladaptive behaviors that are the result of "fitness lags" between ancestral and modern environments.[12] For example, our ancestrally developed desires for fat, sugar and salt often lead to health problems in modern environment where these are readily available in large quantities.
Also, in contrast to sociobiology and behavioral ecology (which mostly study non-human animal behavior), rather than focus primarily on overt behavior, EP attempts to identify underlying psychological adaptations (including emotional, motivational and cognitive mechanisms), and how these mechanisms interact with the developmental and current environmental influences to produce behavior.[13][14]
Before 1990, introductory psychology textbooks scarcely mentioned Darwin.[15] In the 1990s, evolutionary psychology was treated as a fringe theory,[16] and evolutionary psychologists depicted themselves as an embattled minority.[2] Coverage in psychology textbooks was largely hostile.[16] According to evolutionary psychologists, current coverage in psychology textbooks is usually neutral or balanced.[16]
The presence that evolutionary theory holds in psychology has been steadily increasing.[4] According to its proponents, evolutionary psychology now occupies a central place in psychological science.[16]
See also[edit]
Evolutionary biology portal
Book: Evolutionary psychology
Behavioural genetics
Biocultural evolution
Dual inheritance theory
Ethnic nepotism
Evolutionary economics
Evolutionary developmental psychology
Evolutionary educational psychology
Evolutionary neuroscience
Evolutionary psychology research groups and centers
Gene-centered view of evolution
Human behavioral ecology
List of evolutionary psychologists
Memetics
Multiple discovery
Universal Darwinism
Darwinian literary studies
Notes[edit]
^ Jump up to: a b Tooby, John; Barkow, Jerome H.; Cosmides, Leda (1995). The Adapted mind: evolutionary psychology and the generation of culture. Oxford [Oxfordshire]: Oxford University Press. ISBN 0-19-510107-3.
^ Jump up to: a b c Wright, Robert. The Moral Animal: Why We Are, the Way We Are: The New Science of Evolutionary Psychology. Vintage. 1995.
Jump up ^ Shermer (2004). The Science of Good and Evil. Henry Holt and Co. ISBN 978-0-8050-7769-8.
^ Jump up to: a b c Schacter, Daniel L, Daniel Wegner and Daniel Gilbert. 2007. Psychology. Worth Publishers. pp. 26-27
^ Jump up to: a b c Buss, David M. Evolutionary psychology: the new science of the mind. Pearson. 2008. Chapter 1, p. 2-35.
Jump up ^ http://www.chomsky.info/interviews/200401--.htm
Jump up ^ Pinker, Steven. The Blank Slate. New York: Penguin. 2002
Jump up ^ Diamond, Jared. The Third Chimpanzee.
Jump up ^ Wilson, E. O. (2000). Sociobiology. Belknap Press of Harvard University Press. ISBN 978-0-674-00235-7. Human sociobiology, now often called evolutionary psychology, has in the last quarter of a century emerged as its own field of study, drawing on theory and data from both biology and the social sciences.
Jump up ^ The Handbook of Evolutionary Psychology, edited by David M. Buss, John Wiley & Sons, Inc., 2005. Chapter 5 by Edward H. Hagen .
Jump up ^ Ghiselin MT (1973). "Darwin and Evolutionary Psychology: Darwin initiated a radically new way of studying behavior". Science. 179 (4077): 964–968. doi:10.1126/science.179.4077.964. PMID 17842154.
^ Jump up to: a b Buss, D. M. (1995). Evolutionary psychology: A new paradigm for psychological science. Psychological Inquiry, 6, 1-30.
Jump up ^ Controversies in the evolutionary social sciences: a guide for the perplexed
Jump up ^ Evolutionary Psychology By Lance Workman, Will Reader
Jump up ^ Gaulin, Steven J. C. and Donald H. McBurney. Evolutionary psychology. Prentice Hall. 2003. ISBN 978-0-13-111529-3, Chapter 1, p 1-24.
^ Jump up to: a b c d Confer, et al., 2010
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text:
Classical Hollywood cinema
From Wikipedia, the free encyclopedia
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Classical Hollywood cinema
Years active
1917–1964
Country
United States
Major figures
D. W. Griffith, John Ford, Orson Welles, Alfred Hitchcock, Howard Hawks, Billy Wilder, Charlie Chaplin, Mary Pickford, Humphrey Bogart
Influences
The Renaissance, theatrical realism
Classical Hollywood cinema, classical Hollywood narrative, and classical continuity[1] are terms used in film criticism which designate both a narrative and visual style of film-making which developed in and characterized American cinema between 1917 and the early 1960s and eventually became the most powerful and pervasive style of film-making worldwide.[2]
Contents
[hide]
1 Development of the classical style
1.1 Early narrative film (1895–1913)
1.2 Maturation of the silents (1913–1917)
1.3 Classical Hollywood cinema in the silent era (1917 – late 1920s)
1.4 Classical Hollywood cinema in the sound era (late 1920s – 1960s)
2 Style
2.1 Devices
2.2 Systems
2.2.1 Narrative logic
2.2.2 Cinematic time
2.2.3 Cinematic space
2.3 Relations of systems
3 List of important figures in the era
3.1 Directors
3.2 Producers
3.3 Actors
3.4 Actresses
3.5 Others
4 List of notable films
4.1 Silent era
4.2 Sound era
5 References
6 Further reading
7 External links
Development of the classical style[edit]
Early narrative film (1895–1913)[edit]
For centuries, the only visual standard of narrative storytelling was the theatre. Since the first narrative films in the 1890s, filmmakers sought to capture the power of live theatre on the cinema screen. Most of these filmmakers started as directors on the late 19th century stage, and likewise most film actors had roots in vaudeville or theatrical melodramas. Visually, early narrative films had adapted little from the stage, and their narratives had adapted very little from vaudeville and melodrama. Before the visual style which would become known as "classical continuity", scenes were filmed in full shot and used carefully choreographed staging to portray plot and character relationships. Cutting was extremely limited, and mostly consisted of close-ups of writing on objects for their legibility.[3]
Maturation of the silents (1913–1917)[edit]
The Mothering Heart screenshot
Though lacking the reality inherent to the stage, film (unlike stage) offers the freedom to manipulate apparent time and space, and thus to create the illusion of realism — that is temporal linearity and spatial continuity. By the early 1910s, filmmaking was beginning to fulfill its artistic potential. In Sweden and Denmark, this period would be known as a "Golden Age" of film;[4] in America, this artistic change is attributed to filmmakers like David W. Griffith finally breaking the grip of the Edison Trust to make films independent of the manufacturing monopoly. Films worldwide began to noticeably adopt visual and narrative elements which would be found in classical Hollywood cinema. 1913 was a particularly fruitful year for the medium, as pioneering directors from several countries produced masterpieces such as The Mothering Heart (D. W. Griffith), Ingeborg Holm (Victor Sjöström), and L’enfant de Paris (Léonce Perret) that set new standards for film as a form of storytelling.[3] It was also the year when Yevgeni Bauer (the first true film artist, according to Georges Sadoul[5]) started his short, but prolific, career.[6]
In the world, generally and America specifically, the influence of Griffith on film-making was unmatched. Equally influential were his actors in adapting their performances to the new medium. Lillian Gish, the star of The Mothering Heart, is particularly noted for her influence on screen performance techniques. Griffith's 1915 epic The Birth of a Nation was groundbreaking for film as a means of storytelling — a masterpiece of literary narrative with numerous innovative visual techniques. The film initiated so many advances in American cinema that it was rendered obsolete within a few years.[7] Though 1913 was a global landmark for film-making, 1917 was primarily an American one.
Classical Hollywood cinema in the silent era (1917 – late 1920s)[edit]
This section needs expansion. You can help by adding to it. (March 2017)
Ben Hur theatrical release poster
The era of "classical Hollywood cinema" is distinguished by a narrative and visual style which would begin to dominate the medium in America by 1917.
Classical Hollywood cinema in the sound era (late 1920s – 1960s)[edit]
The narrative and visual style of classical Hollywood style would further develop after the transition to sound-film production. The primary changes in American filmmaking came from the film industry itself, with the height of the studio system. This mode of production, with its reigning star system bankrolled by several key studios, had preceded sound by several years. By mid-1920, most of the prominent American directors and actors, who had worked independently since the early 10s, would have to become a part of the new studio system to continue to work.
The beginning of the sound era itself is ambiguously defined. To some, it began with The Jazz Singer, which was released in 1927 and increased box-office profits for films as sound was introduced to feature films.[citation needed] To others, the era began in 1929, when the silent age had definitively ended.[citation needed] Most Hollywood pictures from the late 1920s to 1960s adhered closely to a genre—Western, slapstick comedy, musical, animated cartoon, and biopic (biographical picture)—and the same creative teams often worked on films made by the same studio. For instance, Cedric Gibbons and Herbert Stothart always worked on MGM films, Alfred Newman worked at Twentieth Century Fox for twenty years, Cecil B. DeMille's films were almost all made at Paramount Pictures, and director Henry King's films were mostly made for Twentieth Century Fox. Similarly, actors were mostly contract players. Film historians and critics note that it took about a decade for films to adapt to sound and return to the level of artistic quality of the silents, which it did in the late 1930s.
Many great works of cinema that emerged from this period were of highly regimented filmmaking. One reason this was possible is that, with so many films being made, not every one had to be a big hit. A studio could gamble on a medium-budget feature with a good script and relatively unknown actors: Citizen Kane, directed by Orson Welles and regarded by some as the greatest film of all time, fits that description. In other cases, strong-willed directors like Howard Hawks, Alfred Hitchcock, and Frank Capra battled the studios in order to achieve their artistic visions. The apogee of the studio system may have been the year 1939, which saw the release of such classics as The Wizard of Oz, Gone with the Wind, The Hunchback of Notre Dame, Stagecoach, Mr. Smith Goes to Washington, Destry Rides Again, Young Mr. Lincoln, Wuthering Heights, Only Angels Have Wings, Ninotchka, Beau Geste, Babes in Arms, Gunga Din, Goodbye, Mr. Chips, and The Roaring Twenties.
Style[edit]
Classical Hollywood cinema possesses a style which is largely invisible and difficult for the average spectator to see. The narrative is delivered so effortlessly and efficiently to the audience that it appears to have no source. It comes magically off the screen.
John Belton, film scholar, Rutgers University[8]
The visual-narrative style of classical Hollywood cinema as elaborated by David Bordwell,[9] was heavily influenced by the ideas of the Renaissance and its resurgence of mankind as the focal point. It is distinguished at three general levels: devices, systems, and the relations of systems.
Devices[edit]
The devices most inherent to classical Hollywood cinema are those of continuity editing. This includes the 180-degree rule, one of the major visual-spatial elements of continuity editing. The 180-degree rule keeps with the "photographed play" style by creating an imaginary 180-degree axis between the viewer and the shot, allowing viewers to clearly orient themselves within the position and direction of action in a scene. According to the 30-degree rule, cuts in the angle that the scene is viewed from must be significant enough for the viewer to understand the purpose of a change in perspective. Cuts that do not adhere to the 30-degree rule, known as jump cuts, are disruptive to the illusion of temporal continuity between shots. The 180-degree and 30-degree rules are elementary guidelines in film-making that preceded the official start of the classical era by over a decade, as seen in the pioneering 1902 French film A Trip to the Moon. Cutting techniques in classical continuity editing serve to help establish or maintain continuity, as in the cross cut, which establishes the concurrence of action in different locations. Jump cuts are allowed in the form of the axial cut, which does not change the angle of shooting at all, but has the clear purpose of showing a perspective closer or farther from the subject and therefore does not interfere with temporal continuity.
Systems[edit]
Narrative logic[edit]
Classical narration progresses always through psychological motivation, i.e. by the will of a human character and its struggle with obstacles towards a defined goal. This narrative element is commonly composed of a primary narrative (often a romance) intertwined with a secondary narrative, such as a business or a crime. This narrative is structured with an unmistakable beginning, middle and end, and generally there is a distinct resolution. Utilizing actors, events, causal effects, main points, and secondary points are basic characteristics of this type of narrative. The characters in Classical Hollywood Cinema have clearly definable traits, are active, and very goal oriented. They are causal agents motivated by psychological rather than social concerns.[2] The narrative is a chain of cause and effect with the characters being the causal agents — in classical style, events do not occur randomly.
Cinematic time[edit]
Time in classical Hollywood is continuous, linear, and uniform, since non-linearity calls attention to the illusory workings of the medium. The only permissible manipulation of time in this format is the flashback. It is mostly used to introduce a memory sequence of a character, e.g. Casablanca.
Cinematic space[edit]
The greatest rule of classical continuity regarding space is object permanence: the viewer must believe that the scene exists outside the shot of the cinematic frame to maintain the picture's realism. The treatment of space in classical Hollywood strives to overcome or conceal the two-dimensionality of film ("invisible style") and is strongly centered upon the human body. The majority of shots in a classical film focus on gestures or facial expressions (medium-long and medium shots). André Bazin once compared classical film to a photographed play in that the events seem to exist objectively and that cameras only give us the best view of the whole play.[10]
This treatment of space consists of four main aspects: centering, balancing, frontality, and depth. Persons or objects of significance are mostly in the center part of the picture frame and never out of focus. Balancing refers to the visual composition, i.e. characters are evenly distributed throughout the frame. The action is subtly addressed towards the spectator (frontality) and set, lighting (mostly three-point lighting, especially high-key lighting), and costumes are designed to separate foreground from the background (depth).
Relations of systems[edit]
The aspects of space and time are subordinated to the narrative element.
List of important figures in the era[edit]
Many of the filmmakers listed below did multiple chores on various film productions through their careers. They are here listed by the category they are most readily recognized as. If they are recognized in more than one category on the same level, they are listed in all of them.
Directors[edit]
The following is a list of directors associated with classical Hollywood. Some of them either had careers in other countries (e.g., Hitchcock and Renoir) and some also had careers either before (e.g., Griffith) or after (e.g., Huston) the classical era.
Robert Aldrich[11]
Lewis Allen[12]
Lloyd Bacon[11]
Clarence G. Badger
William Beaudine
Busby Berkeley[11]
Frank Borzage[11]
John Brahm
Clarence Brown
Tod Browning
Frank Capra[11]
Charlie Chaplin
John Cromwell[11]
George Cukor[11]
Michael Curtiz[11]
Cecil B. DeMille[11]
Andre DeToth
William Dieterle[11]
Edward Dmytryk[11]
Stanley Donen[11]
John Farrow[13]
Victor Fleming[11]
John Ford[11]
Chester Franklin
Sidney Franklin[11]
Samuel Fuller[11]
Edmund Goulding
D. W. Griffith[11]
Howard Hawks[11]
Stuart Heisler[14]
Alfred Hitchcock[11]
John Huston[11]
Garson Kanin
Elia Kazan[11]
Henry King
Stanley Kramer[11]
Gregory La Cava[11]
Fritz Lang[11]
Mervyn LeRoy[11]
Frank Lloyd[11]
Ernst Lubitsch[11]
Sidney Lumet[11]
Ida Lupino
Rouben Mamoulian[11]
Joseph L. Mankiewicz[11]
Anthony Mann[11]
Leo McCarey[11]
Andrew V. McLaglen[15]
Lewis Milestone[11]
Vincente Minnelli[11]
Jean Negulesco
Marshall Neilan
Max Ophüls
Otto Preminger[11]
Irving Rapper[11]
Nicholas Ray[11]
Jean Renoir
Wesley Ruggles[11]
Mark Sandrich
Victor Sjöström
John M. Stahl
George Stevens[11]
John Sturges[11]
Preston Sturges[11]
Frank Tashlin
W. S. Van Dyke[11]
Charles Vidor[11]
King Vidor[11]
Josef von Sternberg[11]
Raoul Walsh[11]
Orson Welles[11]
William A. Wellman[11]
James Whale
Billy Wilder[11]
Sam Wood[11]
William Wyler[11]
Fred Zinnemann[11]
Producers[edit]
Pandro S. Berman
Harry Cohn[11]
Arthur Freed[11]
Sam Goldwyn[11]
Arthur Hornblow Jr.[11]
Howard Hughes[11]
Stanley Kramer[11]
Louis B. Mayer[11]
David O. Selznick[11]
Sam Spiegel
Irving Thalberg[11]
Hal B. Wallis[11]
Jack L. Warner
Darryl F. Zanuck[11]
Adolph Zukor
Actors[edit]
Brian Aherne
Don Ameche
Dana Andrews[11]
Fred Astaire[11]
Lew Ayres
Martin Balsam
John Barrymore[11]
Lionel Barrymore[11]
Warner Baxter
Wallace Beery[11]
Ralph Bellamy[11]
William Bendix
Humphrey Bogart[11]
Ward Bond[11]
Ernest Borgnine[11]
Charles Boyer
Marlon Brando[11]
Walter Brennan[11]
James Cagney[11]
John Carradine[11]
Lon Chaney
Charlie Chaplin[11]
Maurice Chevalier
Montgomery Clift[11]
Lee J. Cobb[11]
Lew Cody
Ronald Colman[11]
Gary Cooper[11]
Joseph Cotten[11]
Broderick Crawford[11]
Hume Cronyn
Bing Crosby[11]
Tony Curtis[11]
James Dean[11]
Richard Dix
Kirk Douglas[11]
Melvyn Douglas
Jimmy Durante
Dan Duryea[11]
Douglas Fairbanks Sr.[11]
Douglas Fairbanks Jr.[11]
José Ferrer
Errol Flynn[11]
Henry Fonda[11]
Glenn Ford[11]
Clark Gable[11]
John Garfield
John Gilbert[11]
Farley Granger
Stewart Granger
Cary Grant[11]
Sydney Greenstreet[11]
Edmund Gwenn
Alan Hale, Sr
Rex Harrison
Sessue Hayakawa
Gabby Hayes[11]
Paul Henreid[11]
Charlton Heston
William Holden[11]
Bob Hope[11]
Edward Everett Horton[11]
Leslie Howard[11]
Rock Hudson[11]
John Huston[11]
Boris Karloff
Danny Kaye
Buster Keaton
Gene Kelly[11]
Alan Ladd[11]
Burt Lancaster[11]
Charles Laughton[11]
Laurel and Hardy[11]
Peter Lawford
Jack Lemmon[11]
Oscar Levant[11]
Peter Lorre
Bela Lugosi
Fred MacMurray[11]
Karl Malden[11]
Fredric March[11]
Herbert Marshall
James Mason[11]
Raymond Massey[11]
Victor Mature
Joel McCrea[11]
Victor McLaglen
Adolphe Menjou
Ray Milland[11]
Thomas Mitchell[11]
Robert Mitchum[11]
Robert Montgomery
Frank Morgan
Chester Morris
Paul Muni[11]
Paul Newman[11]
David Niven[11]
Ramon Novarro
Pat O'Brien[11]
Laurence Olivier[11]
Gregory Peck[11]
Anthony Perkins
Walter Pidgeon[11]
Sidney Poitier[11]
Dick Powell[11]
William Powell[11]
Tyrone Power[11]
George Raft
Claude Rains[11]
Wallace Reid
Basil Rathbone
Ronald Reagan
Edward G. Robinson[11]
Will Rogers
Cesar Romero[11]
Mickey Rooney[11]
George Sanders[11]
Randolph Scott[11]
Frank Sinatra[11]
Red Skelton
James Stewart[11]
Dean Stockwell
Lewis Stone
Barry Sullivan
Lyle Talbot
Robert Taylor[11]
Franchot Tone[11]
Spencer Tracy[11]
Rudolph Valentino
Erich von Stroheim
John Wayne[11]
Johnny Weissmuller[11]
Orson Welles
Richard Widmark[11]
Warren William
Roland Young
Actresses[edit]
June Allyson[11]
Judith Anderson[11]
Eve Arden[11]
Jean Arthur[11]
Mary Astor[11]
Lauren Bacall[11]
Lucille Ball[11]
Tallulah Bankhead
Ethel Barrymore[11]
Anne Baxter[11]
Constance Bennett
Joan Bennett[11]
Ingrid Bergman[11]
Joan Blondell[11]
Beulah Bondi[11]
Billie Burke
Cyd Charisse
Claudette Colbert[11]
Jeanne Crain
Joan Crawford[11]
Dorothy Dandridge[11]
Bebe Daniels[11]
Linda Darnell
Jane Darwell[11]
Bette Davis[11]
Doris Day[11]
Laraine Day
Priscilla Dean
Olivia de Havilland[11]
Dolores del Río[11]
Marlene Dietrich[11]
Billie Dove
Marie Dressler
Irene Dunne[11]
Glenda Farrell
Geraldine Fitzgerald
Joan Fontaine[11]
Pauline Frederick
Greta Garbo[11]
Ava Gardner[11]
Judy Garland[11]
Greer Garson[11]
Janet Gaynor
Lillian Gish[11]
Paulette Goddard[11]
Betty Grable[11]
Gloria Grahame[11]
Kathryn Grayson[11]
Ann Harding
Jean Harlow[11]
Julie Harris
Helen Hayes
Susan Hayward[11]
Rita Hayworth[11]
Audrey Hepburn[11]
Katharine Hepburn[11]
Judy Holliday[11]
Celeste Holm[11]
Miriam Hopkins
Lena Horne
Jennifer Jones[11]
Ruby Keeler[11]
Grace Kelly[11]
Deborah Kerr[11]
Veronica Lake[11]
Hedy Lamarr[11]
Dorothy Lamour
Priscilla Lane
Angela Lansbury
Janet Leigh[11]
Vivien Leigh[11]
Joan Leslie[11]
Carole Lombard[11]
Myrna Loy[11]
Ida Lupino[11]
Jeanette MacDonald
Virginia Mayo[11]
Mercedes McCambridge[11]
Hattie McDaniel[11]
Una Merkel[11]
Ann Miller[11]
Carmen Miranda
Marilyn Monroe[11]
Agnes Moorehead[11]
Mae Murray
Patricia Neal
Merle Oberon
Maureen O'Hara[11]
Maureen O'Sullivan[11]
Eleanor Parker[11]
Jean Peters[11]
Mary Pickford[11]
Eleanor Powell[11]
Donna Reed[11]
Lee Remick
Debbie Reynolds
Thelma Ritter[11]
Ginger Rogers[11]
Jane Russell[11]
Rosalind Russell[11]
Norma Shearer[11]
Ann Sheridan[11]
Jean Simmons[11]
Ann Sothern
Barbara Stanwyck[11]
Margaret Sullavan[11]
Gloria Swanson[11]
Blanche Sweet
Constance Talmadge
Norma Talmadge
Elizabeth Taylor[11]
Shirley Temple
Gene Tierney[11]
Claire Trevor[11]
Lana Turner
Mae West[11]
Esther Williams[11]
Shelley Winters
Anna May Wong
Fay Wray[11]
Teresa Wright[11]
Jane Wyman[11]
Loretta Young[11]
Others[edit]
Adrian (costume designer)
Nacio Herb Brown (songwriter)
Julius J. Epstein (screenwriter)
Arthur Freed (lyricist, producer)
Cedric Gibbons (art director)
Ruth Gordon (screenwriter)
Edith Head[11] (costume designer)
Ben Hecht (screenwriter)
Bernard Herrmann (composer)
Garson Kanin (screenwriter, director)
Erich Wolfgang Korngold (composer)
Anita Loos (screenwriter)
Charles MacArthur (screenwriter)
Herman J. Mankiewicz (screenwriter)
Alfred Newman (composer)
Orry-Kelly (costume designer)
Hermes Pan (choreographer)
Walter Plunkett (costume designer)
Sol Polito (cinematographer)
Robert Riskin (screenwriter)
Miklós Rózsa (composer)
Morrie Ryskind (screenwriter)
Budd Schulberg (screenwriter)
Irene Sharaff (costume designer)
Max Steiner[11] (composer)
Herbert Stothart (composer)
Preston Sturges (screenwriter)
Jo Swerling (screenwriter)
Dimitri Tiomkin (composer)
Gregg Toland (cinematographer)
Dalton Trumbo (screenwriter)
Franz Waxman (composer)
List of notable films[edit]
The following is a chronological list of notable films that were made during the Hollywood Golden Age.
Silent era[edit]
The Mothering Heart (1913)
The Birth of a Nation (1915)
Intolerance (1916)
Rebecca of Sunnybrook Farm (1917)
The Immigrant (1917)
The Poor Little Rich Girl (1917)
Wild and Woolly (1917)
Broken Blossoms (1919)
Pollyanna (1920)
The Last of the Mohicans (1920)
Within Our Gates (1920)
Way Down East (1920)
Orphans of the Storm (1921)
The Four Horsemen of the Apocalypse (1921)
The Kid (1921)
A Woman of Paris (1921)
The Covered Wagon (1923)
The Hunchback of Notre Dame (1923)
Safety Last! (1923)
Greed (1924)
Sherlock Jr. (1924)
The Thief of Bagdad (1924)
Ben-Hur (1925)
Little Annie Rooney (1925)
The Big Parade (1925)
The Gold Rush (1925)
Flesh and the Devil (1926)
Sparrows (1926)
The Black Pirate (1926)
The Canadian (1926)
The General (1926)
7th Heaven (1927)
It (1927)
The Circus (1928)
The Unknown (1927)
The Wind (1928)
City Lights (1931)
Tabu (1931)
Sound era[edit]
The Jazz Singer (1927)
A Free Soul (1930)
All Quiet on the Western Front (1930)
Anna Christie (1930)
Morocco (1930)
Romance (1930)
The Divorcee (1930)
Bad Girl (1931)
Blonde Crazy (1931)
Dracula (1931)
Platinum Blonde (1931)
The Public Enemy (1931)
A Farewell to Arms (1932)
Forbidden (1932)
Freaks (1932)
Grand Hotel (1932)
Red Dust (1932)
Scarface (1932)
Shanghai Express (1932)
The Animal Kingdom (1932)
Trouble in Paradise (1932)
42nd Street (1933)
Baby Face (1933)
Design for Living (1933)
Dinner at Eight (1933)
Duck Soup (1933)
Flying Down to Rio (1933)
Footlight Parade (1933)
King Kong (1933)
Lady for a Day (1933)
Man's Castle (1933)
Queen Christina (1933)
Broadway Bill (1934)
Imitation of Life (1934)
It Happened One Night (1934)
Manhattan Melodrama (1934)
No Greater Glory (1934)
Of Human Bondage (1934)
The Gay Divorcee (1934)
The Old Fashioned Way (1934)
The Thin Man (1934)
Twentieth Century (1934)
Wonder Bar (1934)
A Night at the Opera (1935)
A Tale of Two Cities (1935)
Anna Karenina (1935)
Gold Diggers of 1935 (1935)
Sylvia Scarlett (1935)
Top Hat (1935)
Camille (1936)
Follow the Fleet (1936)
Libeled Lady (1936)
Modern Times (1936)
Mr. Deeds Goes to Town (1936)
San Francisco (1936)
Swing Time (1936)
Theodora Goes Wild (1936)
Captains Courageous (1937)
Easy Living (1937)
Gold Diggers of 1937 (1937)
Lost Horizon (1937)
Make Way for Tomorrow (1937)
Marked Woman (1937)
My Man Godfrey (1936)
Nothing Sacred (1937)
The Awful Truth (1937)
The Prisoner of Zenda (1937)
Shall We Dance (1937)
Stage Door (1937)
Stella Dallas (1937)
True Confession (1937)
Varsity Show (1937)
Algiers (1938)
Angels with Dirty Faces (1938)
Bringing Up Baby (1938)
Holiday (1938)
Jezebel (1938)
The Adventures of Robin Hood (1938)
You Can't Take It with You (1938)
5th Avenue Girl (1939)
Babes in Arms (1939)
Beau Geste (1939)
Dark Victory (1939)
Destry Rides Again (1939)
Gone with the Wind (1939)
Goodbye, Mr. Chips (1939)
Gunga Din (1939)
Love Affair (1939)
Midnight (1939)
Mr. Smith Goes to Washington (1939)
Ninotchka (1939)
Only Angels Have Wings (1939)
Stagecoach (1939)
The Hunchback of Notre Dame (1939)
The Oklahoma Kid (1939)
The Roaring Twenties (1939)
The Story of Vernon and Irene Castle (1939)
The Wizard of Oz (1939)
The Women (1939)
Wuthering Heights (1939)
Young Mr. Lincoln (1939)
Broadway Melody of 1940 (1940)
His Girl Friday (1940)
My Favorite Wife (1940)
Rebecca (1940)
Kitty Foyle (1940)
Pride and Prejudice (1940)
Primrose Path (1940)
The Grapes of Wrath (1940)
The Great Dictator (1940)
The Letter (1940)
The Mortal Storm (1940)
The Philadelphia Story (1940)
The Shop Around the Corner (1940)
Ball of Fire (1941)
Citizen Kane (1941)
High Sierra (1941)
Meet John Doe (1941)
Mr. and Mrs. Smith (1941)
Penny Serenade (1941)
Sergeant York (1941)
Sullivan's Travels (1941)
Suspicion (1941)
The Bride Came C.O.D. (1941)
The Lady Eve (1941)
The Maltese Falcon (1941)
You'll Never Get Rich (1941)
Casablanca (1942)
Holiday Inn (1942)
Mrs. Miniver (1942)
Random Harvest (1942)
The Magnificent Ambersons (1942)
The Man Who Came to Dinner (1942)
The Palm Beach Story (1942)
The Talk of the Town (1942)
Tortilla Flat (1942)
Woman of the Year (1942)
Yankee Doodle Dandy (1942)
You Were Never Lovelier (1942)
For Whom the Bell Tolls (1943)
Journey into Fear (1943)
Shadow of a Doubt (1943)
Stormy Weather (1943)
The Human Comedy (1943)
The More the Merrier (1943)
The Ox-Bow Incident (1943)
Arsenic and Old Lace (1944)
Cover Girl (1944)
Double Indemnity (1944)
Gaslight (1944)
Going My Way (1944)
Laura (1944)
Meet Me in St. Louis (1944)
National Velvet (1944)
Since You Went Away (1944)
The Lodger (1944)
The Miracle of Morgan's Creek (1944)
To Have and Have Not (1944)
Anchors Aweigh (1945)
Hangover Square (1945)
Mildred Pierce (1945)
The Bells of St. Mary's (1945)
The Lost Weekend (1945)
Anna and the King of Siam (1946)
The Big Sleep (1946)
Gilda (1946)
The Killers (1946)
Notorious (1946)
It's a Wonderful Life (1946)
Duel in the Sun (1946)
Humoresque (1946)
The Postman Always Rings Twice (1946)
The Locket (1946)
The Yearling (1946)
Dead Reckoning (1947)
The Ghost and Mrs. Muir (1947)
Miracle on 34th Street (1947)
Monsieur Verdoux (1947)
The Treasure of the Sierra Madre (1948)
State of the Union (1948)
Key Largo (1948)
Adam's Rib (1949)
All the King's Men (1949)
Intruder in the Dust (1949)
The Heiress (1949)
All About Eve (1950)
Annie Get Your Gun (1950)
Born Yesterday (1950)
Caged (1950)
In a Lonely Place (1950)
Rio Grande (1950)
Summer Stock (1950)
Sunset Boulevard (1950)
A Streetcar Named Desire (1951)
An American in Paris (1951)
The Day the Earth Stood Still (1951)
A Place in the Sun (1951)
The African Queen (1951)
High Noon (1952)
Limelight (1952)
Monkey Business (1952)
Singin' in the Rain (1952)
The Bad and the Beautiful (1952)
The Miracle of Our Lady of Fatima (1952)
The Prisoner of Zenda (1952)
From Here to Eternity (1953)
Gentlemen Prefer Blondes (1953)
How to Marry a Millionaire (1953)
The War of the Worlds (1953)
Mogambo (1953)
Roman Holiday (1953)
Shane (1953)
The Band Wagon (1953)
The Big Heat (1953)
A Star Is Born (1954)
Dial M for Murder (1954)
On the Waterfront (1954)
Rear Window (1954)
Sabrina (1954)
Vera Cruz (1954)
Kiss Me Deadly (1955)
Rebel Without a Cause (1955)
The Seven Year Itch (1955)
Autumn Leaves (1956)
Giant (1956)
The King and I (1956)
The Searchers (1956)
12 Angry Men (1957)
The Bridge on the River Kwai (1957)
A King in New York (1957)
Cat on a Hot Tin Roof (1958)
Gigi (1958)
The Long, Hot Summer (1958)
Vertigo (1958)
A Hole in the Head (1959)
Anatomy of a Murder (1959)
Ben-Hur (1959)
North by Northwest (1959)
The Nun's Story (1959)
Some Like It Hot (1959)
Suddenly, Last Summer (1959)
The Apartment (1960)
Psycho (1960)
Spartcus (1960)
Pocketful of Miracles (1961)
Breakfast at Tiffany's (1961)
The Children's Hour (1961)
West Side Story (1961)
Lawrence of Arabia (1962)
To Kill a Mockingbird (1962)
What Ever Happened to Baby Jane? (1962)
The Birds (1963)
Charade (1963)
My Fair Lady (1964)
References[edit]
Jump up ^ The Classic Hollywood Narrative Style at University of San Diego History Dept
^ Jump up to: a b Goldburg, Michael. "Classical Hollywood Cinema (Internet Archive)". Archived from the original on 31 May 2007. Retrieved 31 May 2007.
^ Jump up to: a b "Archived copy". Archived from the original on 2015-12-22. Retrieved 2015-12-17.
Jump up ^ "The "golden age" of silent film – Sweden – bio, actress, children, wife, cinema, role, story".
Jump up ^ Georges Sadoul. Всеобщая история кино. — Moscow, Iskustvo, 1958. — Т. 3. — page 178
Jump up ^ http://www.gildasattic.com/bauer.html
Jump up ^ Brownlow, Kevin (1968). The Parade's Gone By.... University of California Press. p. 78. ISBN 0-520-03068-0.
Jump up ^ Classical Hollywood Narrative
Jump up ^ Bordwell, David; Staiger, Janet; Thompson, Kristin (1985): The Classical Hollywood Cinema. Film Style & Mode of Production to 1960. New York: Columbia University Press. 1-59
Jump up ^ Bordwell: 24
^ Jump up to: a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av aw ax ay az ba bb bc bd be bf bg bh bi bj bk bl bm bn bo bp bq br bs bt bu bv bw bx by bz ca cb cc cd ce cf cg ch ci cj ck cl cm cn co cp cq cr cs ct cu cv cw cx cy cz da db dc dd de df dg dh di dj dk dl dm dn do dp dq dr ds dt du dv dw dx dy dz ea eb ec ed ee ef eg eh ei ej ek el em en eo ep eq er es et eu ev ew ex ey ez fa fb fc fd fe ff fg fh fi fj fk fl fm fn fo fp fq fr fs ft fu fv fw fx fy fz ga gb gc gd ge gf gg gh gi gj gk gl gm gn go gp gq gr gs gt gu gv gw gx gy gz ha hb hc hd he hf hg hh hi hj hk hl hm hn ho hp hq hr hs ht hu hv hw hx hy hz http://www.hollywoodsgoldenage.com/moguls/the_moguls.html
Jump up ^ Bordwell: p.1897
Jump up ^ McGilligan: p.: 21, 54, 200, 269, 293
Jump up ^ Davis: p.209
Jump up ^ Dixon (2013), p. 179
Further reading[edit]
Bordwell, David; Staiger, Janet; Thompson, Kristin (1985). The Classical Hollywood Cinema. New York: Columbia University Press. ISBN 0-231-06055-6.
Davis, Blair (2012). The Battle for the Bs: 1950s Hollywood and the Rebirth of Low-Budget Cinema. New Jersey: Rutgers University Press. ISBN 978-0813552538.
Fawell, John. (2008) The Hidden Art of Hollywood. Westport Conn.: Praeger Press.
McGilligan, Patrick (1985). Backstory 1: Interviews with Screenwriters of Hollywood's Golden Age (No. 1). University of California Press. ISBN 978-0520056893.
Salt, Barry. Film Style and Technology: History and Analysis.
Dixon, Wheeler Winston (2013). Cinema at the Margins. Anthem Press. ISBN 978-0-85728-186-9.
External links[edit]
David Bordwell and Kristin Thompson, "Happy Birthday, classical cinema!", December 28, 2007. Analysis of classical continuity in narrative film from 1917 to this day.
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Film industry in Pennsylvania

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Parallel universe (fiction)

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