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Summary
Table of Contents
Acknowledgments | ix | ||
Introduction: How Film Became Art | 1 | (12) | |
1. Vachel Lindsay and the Universal Film Museum | 13 | (28) | |
2. Overlapping Publics: Hollywood and Columbia University, 1915 | 41 | (22) | |
3. Mandarins and Marxists: Harvard and the Rise of Film Experts | 63 | (34) | |
4. Iris Barry, Hollywood Imperialism, and the Gender of the Nation | 97 | (26) | |
5. The Museum of Modern Art and the Roots of the Cultural Cold War | 123 | (38) | |
6. The Politics of Patronage: How the NEA (Accidentally) Created American Avant-Garde Film | 161 | (44) | |
Conclusion: The Transformation of the Studio System | 205 | (8) | |
Notes | 213 | (40) | |
Index | 253 |
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