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| Acknowledgments | |
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| How to Use This Book | |
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| Culture and American Film | |
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| Introduction to the Study of Film Form and Representation | |
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| Film Form | |
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| American Ideologies: Discrimination and Resistance | |
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| Culture and Cultural Studies | |
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| Case Study: The Lion King (1994) | |
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| Questions for Discussion | |
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| Further Reading | |
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| The Structure and History of Hollywood Filmmaking | |
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| Hollywood vs. Independent Film | |
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| The Style of Hollywood Cinema | |
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| The Business of Hollywood | |
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| The History of Hollywood: The Movies Begin | |
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| The Classical Hollywood Cinema | |
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| World War II and Postwar Film | |
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| G+�NewG+� Hollywood and the Blockbuster Mentality | |
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| Questions for Discussion | |
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| Further Reading | |
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| Further Screening | |
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| Race and Ethnicity and American Film: | |
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| Introduction to Part II What is Race? | |
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| The Concept of Whiteness and American Film | |
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| Seeing White | |
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| Bleaching the Green: The Irish in American Cinema | |
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| Looking for Respect: Italians in American Cinema | |
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| A Special Case: Jews and Hollywood | |
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| Case Study: The Jazz Singer (1927) | |
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| Veiled and Reviled: Arabs on Film in America | |
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| Conclusion: Whiteness and American Film Today | |
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| Questions for Discussion | |
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| Further Reading | |
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| Further Screening | |
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| African Americans and American Film | |
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| African Americans in Early Film | |
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| Blacks in Classical Hollywood Cinema | |
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| World War II and the Postwar Social Problem Film | |
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| The Rise and Fall of Blaxploitation Filmmaking | |
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| Box: Blacks on TV | |
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| Hollywood in the 1980s and the Arrival of Spike Lee | |
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| Black Independent vs | |
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| "Neo-Blaxploitation" Filmmaking | |
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| New Images for a New Century - Or Not? | |
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| Case Study: Bamboozled (2000) | |
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| Questions for Discussion | |
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| Further Reading | |
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| Further Screening | |
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| Native Americans and American Film | |
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| The American "Indian" Before Film | |
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| Ethnographic Films and the Rise of the Hollywood Western | |
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| The Evolving Western | |
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| A Kinder, Gentler America? | |
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| Case Study: Smoke Signals (1998) | |
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| Conclusion: Twenty-First-Century Indians? | |
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| Questions for Discussion | |
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| Further Reading | |
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| Further Screening | |
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| Asian Americans and American Film | |
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| Silent Film and Asian Images | |
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| Asians in Classical Hollywood Cinema | |
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| World War II and After: War Films, Miscegenation Melodramas, and Kung Fu | |
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| Contemporary Asian American Actors and Filmmakers | |
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| Case Study: Eat a Bowl of Tea (1989) | |
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| Questions for Discussion | |
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| Further Reading | |
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| Further Screening | |
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| Latinos and American Film | |
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| The Greaser and the Latin Lover: Alternating Stereotypes | |
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| World War II and After: The Good Neighbor Policy | |
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| The 1950s to the 1970s: Back to Business as Usual? | |
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| Expanding Opportunities in Recent Decades | |
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| Conclusion: A Backlash Against Chicanos? | |
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| Case Study: My Family/Mi Familia (1995) | |
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| Questions for Discussion | |
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| Further Reading | |
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| Further Screening | |
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| Class and American Film: | |
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| Introduction to Part III What is Class? | |
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| Classical Hollywood Cinema and Class | |
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| Setting the Stage: T | |