“Keep ’Em in the East” : : Kazan, Kubrick, and the Postwar New York Film Renaissance / / Richard Koszarski.

• Superior document: Title is part of eBook package: De Gruyter Columbia University Press Complete eBook-Package 2021
• VerfasserIn: Koszarski, Richard,
• Place / Publishing House: New York, NY : : Columbia University Press, , [2021]; ©2021
• Year of Publication: 2021
• Language: English
• Series: Film and Culture Series
• Physical Description: 1 online resource :; 32 b&w illustrations
• Other title: Frontmatter --; CONTENTS --; INTRODUCTION --; PART I: ROOTS --; 1. Not Just Another Location --; 2. The Pathé Studio: Miniature Hollywood or Just Another False Dawn? --; 3. Now It Can Be Told: Louis de Rochemont, Henry Hathaway, and the Birth of Docudrama --; 4. Race Movies: New York’s Original Independent Cinema --; PART II: REVIVAL --; 5. Eight Million Stories --; 6. The O’Dwyer Plan --; 7. Joe Lerner’s New York Noir --; 8. Just Passing Through --; 9. Pictures and Politics --; PART III: RENAISSANCE --; 10. Crime on the Waterfront --; 11. Obsessed with Film --; 12. The Golden Warrior --; 13. Kiss Me, Kill Me --; 14. “And the Winner in New York Is . . .” --; 15. Happy Ending --; 16. Thank You, Hollywood! --; ABBREVIATIONS --; NOTES --; INDEX --; FILM AND CULTURE
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780231553872; 9783110739077; 9783110753790; 9783110754032; 9783110754001; 9783110753776
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Richard Koszarski.

The year 1955 was a watershed one for New York’s film industry: Elia Kazan’s On the Waterfront took home eight Oscars, and, more quietly, Stanley Kubrick released the low-budget classic Killer’s Kiss. A wave of films that changed how American movies were made soon followed, led by directors such as Sidney Lumet, William Friedkin, Francis Ford Coppola, and Martin Scorsese. Yet this resurgence could not have occurred without a deeply rooted tradition of local film production.Richard Koszarski chronicles the compelling and often surprising origins of New York’s postwar film renaissance, looking beyond such classics as Naked City, Kiss of Death, and Portrait of Jennie. He examines the social, cultural, and economic forces that shaped New York filmmaking, from city politics to union regulations, and shows how decades of low-budget independent production taught local filmmakers how to capture the city’s grit, liveliness, and allure. He reveals the importance of “race films”—all-Black productions intended for segregated African American audiences—that not only helped keep the film business afloat but also nurtured a core group of writers, directors, designers, and technicians. Detailed production histories of On the Waterfront and Killer’s Kiss—films that appear here in a completely new light—illustrate the distinctive characteristics of New York cinema.Drawing on a vast array of research—including studio libraries, censorship records, union archives, and interviews with participants—“Keep ’Em in the East” rewrites a crucial chapter in the history of American cinema.