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WORKS CITED AND CONSULTED 265
CONTRIBUTORS
DAVID COOK is the founding director of the Department of Film Studies at
Emory University, which he currently chairs. In addition to numerous
scholarly articles on literature, film theory, and film history, he is the author
of A History of Narrative Film (4th ed., 2003), the “Film History” entry in the
Encyclopedia Britannica (1988–present), and Lost Illusions: American Cinema in
the Shadow of Watergate and Vietnam (2000). He is also a co-editor of the criti-
cal anthology Headline Hollywood: A Century of Film Scandal (2001).
MICHAEL DeANGELIS is an associate professor at DePaul University’s School
for New Learning, where he teaches in the areas of media and cultural stud-
ies. He is the author of Gay Fandom and Crossover Stardom: James Dean, Mel
Gibson, and Keanu Reeves (2001) and several journal and anthology articles
on stardom, authorship, historiography, and psychoanalytic theory.
LESTER D. FRIEDMAN is a scholar in residence at Hobart and William Smith
Colleges, where he teaches cinema, television, and new media. His books
include Citizen Spielberg (2006), Cultural Sutures: Medicine and Media (2005),
Fires Were Started: British Cinema and Thatcherism (2nd ed., 2006), American
Jewish Filmmakers (with David Desser, 2nd ed., 2004), and Bonnie and Clyde
(2000). He is series co-editor of Screen Decades: American Culture/American
Cinema.
FRANCES GATEWARD is an assistant professor in the Unit for Cinema Studies
and the African American Studies and Research Program at the University
of Illinois. In addition to her contributions to a number of journals and
anthologies, she is the co-editor of Sugar, Spice, and Everything Nice: Cinemas
of Girlhood (2002) and Where the Boys Are: Cinemas of Youth and Masculinity
(2005). She is also the editor of Seoul Searching: Culture and Identity in South
Korean Film (forthcoming).
PETER LEV is a professor of Electronic Media and Film at Towson University.
He is the author of four books, most recently Scribner’s History of the Ameri-
can Cinema, vol. 7: Transforming the Screen (2003) and American Films of the
1970s: Conflicting Visions (2000). He is the treasurer and former president of
the Literature/Film Association, and is currently working on a history of
Twentieth Century Fox.
267
CHARLES J. MALAND is a professor of Cinema Studies and American Studies in
the English Department at the University of Tennessee. His central research
interests focus on the relationship between film and American culture. He
is the author of, among others, Chaplin and American Culture: The Evolution of
a Star Image, which won the Theater Library Association Award for best
book in the area of recorded performance (film, radio, or television). His
first book, American Visions: The Films of Chaplin, Ford, Capra, and Welles,
1936–1941, was recently reissued on CD-ROM by the Film and History Asso-
ciation.
GLENN MAN is a professor of English at the University of Hawaii at Manoa,
where he teaches courses in film theory and criticism, Hollywood genres,
authorship in film, and film and literature. His publications include Radical
Visions: American Film Renaissance, 1967–1976 (1994) and articles in Litera-
ture/Film Quarterly, Film Criticism, New Orleans Review, and East-West Film Jour-
nal. His current projects include working on Robert Altman’s multiple
narratives and editing an anthology of essays on the multiple protagonist
film genre.
MIA MASK is an assistant professor of film in the Department of Drama and
Film at Vassar College. She teaches courses on feminist film theory, African
American film history and theory, documentary film, and national cinemas.
She has published film reviews in Cineaste, IndieWire.com, The Village Voice,
Time Out, Abafazi: Simmons College Journal, and Film Quarterly, and her criti-
cism has appeared in Best American Movie Writing, 1999. Currently a visiting
scholar at New York University, her essays have appeared in the African
American National Biography and Film and Literature, and she is the author of
the forthcoming Divas of the Silver Screen: Black Women in American Film.
PAULA J. MASSOOD is an associate professor of film studies in the Department
of Film at Brooklyn College, CUNY. She is the author of Black City Cinema:
African American Urban Experiences in Film and editor of The Spike Lee Reader.
Her articles have appeared in Cinema Journal, African American Review, Liter-
ature/Film Review, Cineaste, and anthologies focusing on African American
film, the city and film, film adaptation, and Hollywood violence.
FRANK P. TOMASULO is a professor and the director of the BFA Program in the
College of Motion Picture, Television, and Recording Arts at Florida State
University. The author of over 60 scholarly articles and essays and over 150
academic papers, he has also served as editor of the Journal of Film and Video
(1991–96) and Cinema Journal (1997–2003). He is co-editor of More Than a
Method: Trends and Traditions in Contemporary Film Performance (2004). He is
268 CONTRIBUTORS
currently at work on The Cinema of Michelangelo Antonioni and Hollywood
Hegemony: American Films of the Reagan-Bush Era.
MIMI WHITE is a professor in the Radio/Television/Film Department in the
School of Communication at Northwestern University. Her research and
teaching areas include film, television, and media theory; feminist theory
and film/television/popular culture; mass culture studies; and issues in
media historiography. She has published widely on film and television in
Cinema Journal, Screen, and Camera Obscura, among other publications. She
is co-editor of Questions of Method in Cultural Studies (2006) and author of
Tele-Advising: Therapeutic Discourse in American Television (1992). In 2004–05,
she was Bicentennial Fulbright Professor of North American Studies at the
University of Helsinki.
CONTRIBUTORS 269
INDEX
271
Aaron, Hank, xii
Abbott, L. B., 127
Academy Awards, 47, 97, 125, 130, 213,
251–255
Ackroyd, Dan, 232
Adams, Brooke, 221, 222, 223
Agnew, Spiro T., xii, 7, 95, 140–141
Airport (George Seaton, 1969), 27–28
Airport 1975 (Jack Smight, 1974), 117
Alda, Rutanya, 213
Alexander, Jane, 233
Alex in Wonderland (Paul Mazursky,
1970), 25
Ali, Muhammad, 136, 160–161, 162,
206
“Alice” (TV series), 130
Alice Doesn’t Live Here Anymore (Martin
Scorsese, 1974), 130
Alien (Ridley Scott, 1979), 232, 246–249
Allen, Irwin, 124
Allen, Woody, 20, 73, 90, 91, 160, 216,
235, 236, 237, 238
“All in the Family” (TV series), xi,
17–18, 49, 72, 116
All That Jazz (Bob Fosse, 1979), 231
All the President’s Men (Alan J. Pakula,
1976), 122, 159, 160, 172–175
All the President’s Men (Bob Woodward
and Carl Bernstein), 116, 158
Almendros, Nestor, 221–222, 234
Almost Perfect Affair, An (Michael Ritchie,
1979), 231
Alonzo, John A., 120–121
Altman, Robert, 20, 50, 54, 55, 56, 130,
131, 145, 183, 206
American Association of Retired Persons
(AARP), 12
American Cinematographer, 126
“American Family, An” (TV
documentary), 96–97, 115
American Film Renaissance, 206, 207,
210, 221, 224, 227
American Films of the 70s (Peter Lev), 160
American Film Theater, 99
American Graffiti (George Lucas, 1973),
21, 101–102, 185
American Hot Wax (Floyd Mutrux, 1978),
207
American Indian Movement (AIM), 135,
144
Ames, Preston, 125
Ami, Louis, 126
Anderson, Christopher, 128
Anderson, Edward, 131
Animal House (John Landis, 1978), 207
Annie Hall (Woody Allen, 1977), 183,
184
Anspach, Susan, 40
Anthony, Susan B., 216
Antonioni, Michelangelo, 27, 34, 42, 44,
90
Apocalypse Now (Francis Ford Coppola,
1978), 208, 231, 241–246, 243, 249;
Apocalypse Now Redux (director’s cut),
241
Apocalypse Now Book, The (Peter Cowie),
241
Arden, Eve, 225
Arthur, Beatrice, 18
Ashby, Hal, 20, 138, 206, 208, 209–210
Ashe, Arthur, 136
Aspegren, Chuck, 213
Astaire, Fred, 136
At Long Last Love (Peter Bogdanovich,
1975), 136
Attica State Correctional Facility, New
York, xi, 7
Autumn Sonata (Ingmar Bergman, 1978),
207, 216
Bach, Richard, 14
Badham, John, 183, 197
Badlands (Terrence Malick, 1973), 131
Badley, Linda, 248
Bad News Bears, The (Michael Ritchie,
1976), 160
Baez, Joan, 179
Balaban, Bob, 219
Note: Page numbers in italics refer to illustrations.
Band, The, 221
Barnes, D. P., 88
Barone, Michael, 135
Barrett, Ann, 80
Barry Lyndon (Stanley Kubrick, 1975),
136
Bates, Alan, 217, 218
Battle for the Planet of the Apes (J. Lee
Thompson, 1973), 100
Baum, Marin, 131
Baxley, Barbara, 144
BBS Productions, 38
Beatles, xi, 16, 28, 47, 209
Beatty, Ned, 85, 85, 144, 169
Beatty, Warren, 55, 121, 137, 138, 139
Bee Gees, 17, 196, 198, 226
Begin, Menachem, xiii, 11, 205
Behind the Green Door (Artie and Jim
Mitchell, 1972), 74
Being There (Hal Ashby, 1979), 232
Belafonte, Harry, 59
Belushi, John, 232
Beneath the Planet of the Apes (Ted Post,
1970), 26
Benjamin, Richard, 88, 100
Benjamin, Robert, 206
Benji (Joe Camp, 1974), 117
Bennett, Lerone, 59
Benton, Robert, 233, 235, 239
Bergen, Candice, 33
Bergman, Ingrid, 216
Berliner, Todd, 189
Bernstein, Carl, 8, 158, 172, 173–175
Bertolucci, Bernardo, 104
Better Homes and Gardens Fondue and
Tabletop Cooking, 25
Bicentennial celebrations (1976), xiii,
157–158, 180
Big Doll House, The (Jack Hill, 1971), 50
Billy Jack (TC Frank [Tom Laughlin],
1971, 1973), 96, 99
Bingham, Dennis, 67
Bingo Long Traveling All-Stars and Motor
Kings, The (John Badham, 1976), 197
Binns, Edward, 141
Birch, Patricia, 226
Biroc, Joseph, 127
Birthday Party, The (Harold Pinter), 65
Biskind, Peter, 23, 154, 164, 184
Bite the Bullet (Richard Brooks, 1975), 137
Black, Karen, 39, 89, 144
Black Bird, The (David Giler, 1975), 137
Blacker, Irwin, 241
272 INDEX
Black Panthers, 59
Black Power, 30, 34, 110, 162
Blacula (William Crain, 1972), 80
Blair, Linda, 112
Blakley, Ronee, 144, 147
Blatty, William Peter, 111
Blazing Saddles (Mel Brooks, 1974), 117,
128–129, 130
Blind Ambition (John Dean), 158
Blondell, John, 225
Blood on the Tracks (Bob Dylan), 15
Blowup (Michelangelo Antonioni, 1966),
34
Blue Collar (Paul Schrader, 1978), 221
Boffey, Jean, 131
Bogdanovich, Peter, 20, 50, 130
Bombeck, Erma, 205
“Bonanza” (TV series), 100
Bonnie and Clyde (Arthur Penn, 1967),
20, 131
Boorman, John, 73
Born Again (Charles Colson), 158
Bound for Glory (Hal Ashby, 1976), 159,
160, 175–179
Bowie, David, 16
Boy in the Plastic Bubble, The (TV movie),
197
Boys from Brazil, The (Franklin J.
Schaffner, 1978), 207
Boys in Company C, The (Sydney J. Furie,
1978), 208
Boys in the Band, The (Mart Crowley), 65
Bracci, Teda, 50
Bradlee, Ben, 172, 175
“Brady Bunch, The” (TV series), 17
Brando, Marlon, 76, 77, 98, 104, 241,
242, 245
Breaking Away (Peter Yates, 1979), 231
Bredel, Frank, 125
Bremer, Arthur, 165
Brewster McCloud (Robert Altman, 1970),
25
Bride of Frankenstein (James Whale,
1935), 129
Bringing Up Baby (Howard Hawks, 1938),
129
Bring Me the Head of Alfredo Garcia (Sam
Peckinpah, 1974), 131
Bronson, Charles, 160
Brooks, Mel, 129, 160
Brown, Georg Stanford, 19
Brown, Jerry, 157
Brown, Louise, xiii
Bruce, Lenny, 117, 130
Brynner, Yul, 100
Buckley, Tim, 210
Buddy Holly Story, The (Steve Rash, 1978),
207
Buffalo Bill and the Indians (Robert
Altman, 1976), 131, 159
Burgess, Anthony, 73
Burnett, Charles, 201, 203, 204
Burns, George, 137
Burstyn, Ellen, 112
Burton, LeVar, 19
Bush, Billy Green, 39
Butch Cassidy and the Sundance Kid
(George Roy Hill, 1969), 97
Butler, Bill, 124, 226
Butterfield, Alexander, 8
Byrne, Anne, 233, 235
Caan, James, 79
Cabaret (Bob Fosse, 1972), 73, 74
Caesar, Sid, 225
Caine, Michael, 137
California Split (Robert Altman, 1974),
131
California Suite (Herbert Ross, 1978), 207
Calley, William, 10
Campbell, Joseph, 187
Camp David Accords (1978), 205, 230
Canby, Vincent, 59, 144, 190, 240
Candidate, The (Michael Ritchie, 1972), 74
Cannonball (Paul Bartel, 1976), 160
Carlin, George, 135
Carnal Knowledge (Mike Nichols, 1971),
21, 50
Carney, Art, 130
Carnival of the Animals (Camille
Saint-Saëns), 221
Carr, Allen, 226
Carradine, David, 175, 176
Carradine, John, 91
Carradine, Keith, 145
Carrie (Brian De Palma, 1976), 159
Carroll, Diahann, 60
Carter, Jimmy, xiii, 10–12, 158, 173,
182–183, 204, 205, 228–230
Cartwright, Veronica, 246
Casey, Bernie, 109
Casey, Warren, 226
Cassavetes, John, 20, 130, 165
Catch-22 (Mike Nichols, 1970), 28
Cazale, John, 213
Chandler, Raymond, 99, 120
INDEX 273
Chang Che, 107
Channing, Stockard, 137, 225
Chaplin, Geraldine, 145
“Charlie’s Angels” (TV series), 17
Chayefsky, Paddy, 168, 169
Cheever, John, 205
Chiang Ch’ing, 158
Chicago Seven, 24
China Syndrome, The (James Bridges,
1979), 231, 247
Chinatown (Roman Polanski, 1974), xvi,
21, 116, 117, 119–121, 134
Chisholm, Shirley, 72
Chou En-lai, 158
Christie, Julie, 55, 56, 138
Chrysler Corporation, 230
Cimino, Michael, 213
Clapton, Eric, 105
Clark, Candy, 102
Clark, Larry, 201
Clark, Susan, 141
Clash, The, 16, 197
Claudine (John Berry, 1974), 60
Clayburgh, Jill, 217, 218
Clennon, David, 212
Cleopatra Jones (Jack Starrett, 1973), 60,
108–109, 109
Cleopatra Jones and the Temple of Gold
(Jack Starrett, 1975), 109
Cliff, Jimmy, 105
Clockwork Orange, A (Stanley Kubrick,
1972), 21, 50, 73
Close Encounters of the Third Kind (Steven
Spielberg, 1977), 20, 183, 184,
188–191, 191, 195, 202, 204, 206
Coffy (Jack Hill, 1973), 60, 108
Cohen, Leonard, 75
Cohn, Nik, 196, 197
Cold War, 228
Columbia Pictures, 165, 188–189, 191
Coma (Michael Crichton, 1978), 207
Come Back Charleston Blue (Mark Warren,
1972), 80
Coming Home (Hal Ashby, 1978), 207,
208–210, 212, 213, 215, 226
Concord Productions, 106
Cone, Honey, 49
Conn, Didi, 225
Connery, Sean, 98, 137
Conti, Bill, 162
Conversation, The (Francis Ford Coppola,
1974), 21, 123–124, 123
Conway, Jeff, 225
Cook, David, 22, 73, 76, 98, 149, 160
Cooper, Alice, 16
Copeland, Roger, 189
Coppola, Eleanor, 241, 245
Coppola, Francis Ford, 20, 47, 73, 183,
206, 208, 241, 243, 244, 245, 246
Corey, Jeff, 46
Corliss, Richard, 131
Cornelius, Don, 49
Corsitto, Salvatore, 77
Cortez, Stanley, 120
Cosby, Bill, 58
Costello, Anthony, 141
Cover, Franklin, 18
Cowie, Elizabeth, 83
Cox, Ronny, 85, 177
Crawford, Joan, 205
Crawford, John, 141
Creber, William, 127
Creed, Barbara, 114, 248
Crisis of the Negro Intellectual, The (Harold
Cruse), 57
Crosby, Floyd, 120
Cue, 59
Cukor, George, 192
Cultural Contradictions of Capitalism, The
(Daniel Bell), 158
Dahl, Steve, 17
Daisy Miller (Peter Bogdanovich, 1974),
130
D’Antoni, Philip, 65
Darby, Kim, 31
Darling Lili (Blake Edwards, 1969), 27
Davison, Bruce, 30
Dawn of the Dead (George A. Romero,
1978), 207
Day of the Dolphin (Mike Nichols, 1973),
100
Day of the Locust, The (John Schlesinger,
1975), 137
Days of Heaven (Terrence Malick, 1978),
207, 221–224, 223, 226, 227
Dean, John, 8
Deep, The (Peter Yates, 1977), 183
Deep Throat (Jerry Gerard [Gerard
Damiano], 1972), 74, 92–94
Deep Thrust—The Hand of Death (Feng
Huang, 1973), 106
Deer Hunter, The (Michael Cimino, 1978),
207, 208, 213–215, 214, 227
Deliverance (John Boorman, 1972), 73,
74, 85–88, 85
274 INDEX
Dempsey, Michael, 102
De Niro, Robert, 103, 117, 118, 165, 167,
192, 193, 198, 213
De Palma, Brian, 20, 130, 132
Deranged (Jeff Gillen, 1974), 132
Dern, Bruce, 209
Devil in Miss Jones, The (Gerard Damiano,
1973), 74, 104
Dialectic of Sex, The (Shulamith Firestone),
50–51
Diawara, Manthia, 110
Dickey, James, 73
Dillon, Melinda, 176, 190
Dirty Harry (Don Siegel, 1971), 21, 50,
57, 63–64, 66, 67–69, 68, 95
Dirty Mary, Crazy Larry (John Hough,
1974), 117, 132
Disco Demolition Night, 17
Disney Studios, 99
Dixon, Ivan, 111
Dobson, Tamara, 106, 108, 109
Doctorow, E. L., 135
Dog Day Afternoon (Sidney Lumet, 1975),
136
Dog Soldiers (Robert Stone), 208
Dolby sound, 185, 207, 222, 224, 226
Dolenz, Mickey, 80
Donnelly, Jamie, 225
Doors, The, 244
Doqui, Robert, 145
Douglas, Carl, 106
Dowd, Nancy, 208
Dreyfuss, Richard, 5, 102, 148, 151, 151,
189, 191
Dumas, Alexander, 129
Dunaway, Faye, 120, 127, 169
Duvall, Robert, 118, 171, 242
Duvall, Shelley, 145
Dylan, Bob, 15, 179, 180, 205, 209
Dzundza, George, 213
Earth Day, xi, 25
Earthquake (Mark Robson, 1974), 116,
117, 124–127
Eastwood, Clint, 64, 67, 68, 99, 160
Easy Rider (Dennis Hopper, 1969), 20
Ebert, Roger, 99
Eberwein, Robert, 215
Edwards, Blake, 27
Eiger Sanction, The (Clint Eastwood,
1975), 137
Eisenstein, Sergei, 149, 150–151, 152
Eliot, T. S., 245