We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
Published online by Cambridge University Press: 26 October 2023
Beyond the industrial structures and the typical glossy Hollywood cinema … there is another entire category of American fictional feature films created and shown under different conditions. These are the B-movies, also called “quickies,” “cheapies,” “low-budget,” or simply “budget films,” even “C” or “Z” films … B films occupied an equally important role in Hollywood; to concentrate upon the A would emphasize the art of a few films and elide the basis of production, the underlying commercial and artistic means by which the industry survived—as well as the vast quantity and range of films offered to spectators during the studio era.
Brian Taves, “The B Film: Hollywood’s Other Half “In asking “hakarʉ marʉʉmatʉ kwitaka?” [who is bullshitting who?] we have to remember: movies are movies, reels of data captured on camera, never to be trusted and producing multitudes of incommensurable interpretive possibilities. We also have to remember: movies are far more than that, something far-reaching, endless, and rooted in ancient traditions of storytelling and storied tales.
Dustin Tahmahkera, “Hakarʉ Marʉʉmatʉ Kwitaka?: Seeking Representational Jurisdiction in Comanchería Cinema”How have Native Americans participated in the creation of films in the twentieth century?
Liza Black, Picturing IndiansBringing together two streams of film history from the quotations above— at the intersection of B film history and Indigenous film history—we find one answer to Cherokee historian Liza Black’s question in the life and career of Wallace Fox, the youngest member of the first family of Indigenous filmmakers in Hollywood. Born in Purcell, Indian Territory (later Oklahoma) on March 9, 1895, Wallace (or “Wally”) Fox began his Hollywood career as an assistant director in 1921. The film was The Invisible Fear, directed by Fox’s brother Edwin Carewe. After working as an actor and later director, Carewe ascended to major studios as the producer-director of such films as Resurrection (1927), Ramona (1928), and Evangeline (1929). Some of Carewe’s films were written by the third brother, scenarist and scriptwriter Finis Fox. Together, Edwin and Finis became major Hollywood players, and part of the social scene of the 1920s. By contrast, Wallace Fox did not appear at Tinseltown parties, at least not so far as the Los Angeles press noticed. Nor did Fox become a director at major studios.
To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
Find out more about the Kindle Personal Document Service.
To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.
To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.
