Article in American Cinematographer

As part of their centennial celebration, American Cinematographer is publishing articles about each decade of the magazine and what was happening at the time. I was asked to write about their coverage of German cinema in the 1920s and 30s. It was such a pleasure to bring together concepts from my film history classes and my research into the Cinematographer to write for an industry audience.

Presentation at the ASC Clubhouse

I was so excited to be able to present some of my research on the early years of the American Society of Cinematographers to the current members. It was amazing seeing the great interest among these cameraworkers in the history of their organization. It was a great evening, not least for getting to meet John Bailey while standing in front of Gregg Toland’s Mitchell camera that he used on all his Goldwyn Pictures (as well as Citizen Kane). They wrote about it on their blog here:

New Histories of Hollywood Roundtable

As part of my issue of Spectator, I put together a roundtable of American film historians to discuss the future of Hollywood history. I had two of the participants each write a response to a question on archives research, methodologies, teaching, and defining Hollywood, respectively. Then everyone jumped onto all of the threads for what became a truly fascinating and productive conversation. The participants were Chris Cagle, Emily Carman, Mark Garrett Cooper, Kate Fortmueller, Eric Hoyt, Denise McKenna, Ross Melnick, and Shelley Stamp.

Spectator Call for Papers

I am editing an issue of USC’s film and television journal, Spectator. Submissions on the topic of “The System Beyond the Studios” are due in November. See the Call for Papers here:

Spectator Call for Papers

The System Beyond the Studios

37.2 (Fall 2018)

While the field of media industry studies has greatly expanded in the last decade, the paradigm by which we frame classical Hollywood cinema is largely unchanged from the portrait of vertically-integrated studios offered by scholars such as Balio, Schatz, Gomery, and Jewell in decades past. While this model is still highly relevant, this issue of Spectator seeks to expand the portrait of Hollywood beyond the big five and little three studios and their control of motion picture production, distribution, and exhibition. This issue will consider the Hollywood studio system as a network of interconnected businesses, interests, and individuals focusing on the intellectual, technical, creative, and economic labor happening both inside and outside of the studio spaces themselves. It asks us to think about the various structures and networks that bolstered the system and allowed it to function for decades. By shifting focus from vertically-integrated studios to interlocked networks of commerce, innovation, and creativity, the landscape of Hollywood is transformed from an isolated enclave into an industrial cluster integrated into the larger American economy and history. By the very nature of this issue as thinking “beyond” the frameworks we know, the concept of the studio system is conceived broadly in terms of methodologies, perspectives, and periods though we especially seek papers that engage with media industry studies and the classical Hollywood era (defined by Bordwell, Staiger, and Thompson as 1915-1960). We seek book reviews in this area as well.

The issue will also include a roundtable discussion on innovative approaches to studying Hollywood. Participants include Chris Cagle, Emily Carman, Mark Garrett Cooper, Kate Fortmueller, Eric Hoyt, Denise McKenna, Ross Melnick, and Shelley Stamp.

Submissions that address the above topics in the following areas are now invited for submission:

  • Independent/race film producers, distributors and exhibitors
  • Production of animation, newsreels, and experimental film
  • Relations between Hollywood and foreign producers, distributors and exhibitors
  • Motion picture technology and technique
  • Labor and trade organizations
  • Trade regulation and policy
  • Trade publications and magazines
  • Motion picture service firms and businesses
  • Under-studied factors that contributed to the downfall of the studio system
  • Less well-known forms of motion picture labor
  • Financial laborers such as agents, managers, investors, accountants, and producers
  • Location shooting and its environmental impact

Deadline for Submission: November 18, 2017

Spectator is a biannual publication of USC’s Cinema and Media Studies department. Articles submitted to Spectator should not be under consideration by any other journal.

Manuscripts to be considered for publication should be sent to:

Luci Marzola, Issue Editor

The Bryan Singer Division of Cinema and Media Studies

School of Cinematic Arts, Room 320

University of Southern California

Los Angeles, CA  90089-2211


Submission Guidelines: Submissions should be e-mailed directly to the editor. Manuscripts should include the title of the contribution and the name(s) of authors, as well as the postal address, e-mail address, and phone numbers for the author who will work with the editor on any revisions. All pages should be numbered consecutively. Contributions should not be more than 5,000 words. They should also include a brief abstract for publicity. Authors should also include a brief biographic entry.

Book Reviews may vary in length from 300 to 1,000 words. Please include title of book, retail price and ISBN at the beginning of the review.

Forum or Additional Section contributions can include works on new archival or research facilities or methods as well as other relevant works related to the field.

Upon acceptance, a format guideline will be forwarded to all contributors as to image and text requirements.

Current Board for Spectator

Founding Editor: Marsha Kinder

Managing Editor: William Whittington

Issue Editor: Luci Marzola

For subscription information email: