100 books like America on Film

This book is an absolutely indispensable reference – Donald Bogle may well be dubbed the “godfather” of race studies in film as he meticulously chronicled and chartered black images in early film.

The book’s title alone already clues readers into the idea that Bogle will not pull any punches in describing popular black film caricatures that we now regard as problematic today.

This book is both valuable and important primarily because whenever most conversations get started about race relations, magically white people as a group are “left out” as attention is turned to black, indigenous, Latino, or other people of color.

This book prompts readers to reconcile with whiteness as a larger category of analysis to deepen our understanding of complex race relations.

I recommend this book to anyone who has ever seen a female character onscreen (does that make all of us?!).

As a cisgender male, I grew up with a pretty myopic point of view and was conditioned to look to (white) males onscreen for key pieces of information or heroism.

This book helped me appreciate why my perspective was slanted and shaped this way – Karen Hollinger’s work has sensitized me to the idea that there is always more than one perspective to be mindful of when watching a movie.

This book is excellent in providing quantitative data to demonstrate how well-meaning people often make negative racial associations based upon media content – this book really helps readers question to what degree we are influenced by or are impervious to media images.

While they do not focus on movies exclusively, they do thoroughly explain subtle racial patterns within mainstream media. 

I met the poet Nick Flynn over twenty years ago, not long before the publication of his most famous book, Another Bullshit Night in Suck City, a memoir about his father’s homelessness. Since then, he has become one of my favorite writers. The Reenactments—for my money, his best book—takes us through the surreal experience of Another Bullshit Night being turned into a film. Robert De Niro plays his father and Julianne Moore plays his mother. De Niro meets Flynn’s father, studying him for character traits. In the most heartbreaking sections, Flynn relives his mother’s suicide as it’s filmed. As Flynn writes: “How often are you offered the chance for a complete reenactment of the day of the disaster?”

While most structural paradigms rely on a sequential series of seemingly unrelated plot points, Chamberlain’s nutshell technique breaks stories into eight interdependent stages that create a natural and logical flow to a story. Additionally, within these stages, she places equal importance on both the external elements of the plot and the internal motivations of the character to demonstrate how their interaction shapes the narrative. This is one of the more well-known books on the list, but one that I can’t recommend highly enough if you haven’t read it. I’d lend you my copy but it’s dog-eared to pieces.  

Though not a book, the film starring Will Ferrell and Emma Thompson borrowed heavily from "Niebla" by Miguel de Unamuno, a Spanish novel about a character who becomes aware he is being narrated by a writer and goes to visit the writer. This film lives rent-free in my heart because the style of self-awareness that Ferrell’s character experiences in this film is close to the way I conceived of the meta-awareness of the characters Forsyth and Kintyre in The Untold Tale. I love the idea of someone learning they are being puppeteered and breaking free of the expected, the prescribed, and the narrative laid out for them. Maybe that’s why I like the film The Truman Show so much, too.

I think the author is very clever by bringing in the trendy concept of soft power and thus opening a new window for our understanding of Taiwan cinema.

I found the book not the easiest to read if you are not particularly familiar with the language of cultural studies or with specific films and filmmakers in Taiwan. However, the author has presented a convincing and valuable argument by linking a cinematic output to the entire system, which enables the production, circulation, and distribution of this output.

In other words, Taiwan cinema is a result, but the system that enriches creativity is where Taiwan’s values and soft power lie.  

The year before Errol Flynn blew into Hollywood, the “pre-Code” era ended. What was the “pre-Code” era? It was the period in the early 1930s when Hollywood rode the cliff, making movies about sensational topics like adultery, pay-for-play, drug use, and more. Many of the pictures included a scene or two with leading ladies scantily clad and even braless. Leading men were often scoundrels.

This book entertainingly details both the point of view of studios struggling to remain relevant in the depths of the Great Depression by creating salacious products and the outcry from alarmed parents who took their kids to the movies only to cover their eyes and rush them back out again.

The author backs up his narrative with eye-popping photos illustrating just what was so shocking about the pre-Code era. This interesting period of Hollywood history ended abruptly and, unfortunately, with the puritanical “Production Code” that ushered… show more.

Yes, of course, just about everyone has heard of Roger Ebert (d. 2013), the great film critic for the Chicago Sun-Times and co-host, with Gene Siskel of the PBS program Sneak Previews. But have you ever read any of his reviews? They’re delightful–smart, funny, touching, and thoroughly readable.

Ebert must have seen every film ever made (his reviews are arranged in these collections alphabetically by film title). In each short review he offered, not just his opinion of the film in question, but striking insights into the film’s themes, meanings, symbols, and underlying philosophy.

Any film lover should immediately obtain all four collections.