Skyscraper Cinema: Architecture and Gender in American Film
U of Minnesota Press, 2009 - 367 pages
From the silent era until the advent of the Cinemascope--the skyscraper as movie star. Whether tall office buildings, high-rise apartments, or lofty hotels, skyscrapers have been stars in American cinema since the silent era. Cinema's tall buildings have been variously represented as unbridled aspiration, dens of iniquity and eroticism, beacons of democracy, and well-oiled corporate machines. Considering their intriguing diversity, Merrill Schleier establishes and explains the impact of actual skyscrapers on America's ideologies about work, leisure, romance, sexual identity, and politics as seen in Hollywood movies.
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accord advertising American architect architectural audience Automation Ayn Rand Baby Face Baldwin Big Clock boardroom boss building’s Bullard’s Bunny character cinematic skyscraper climb Comedy computer’s construction corporate creative crowd CTL-USC Culture depicted Depression-era Desk Set discussion Dwight Eames echoed elevator Emmy employed employees Executive Suite Faith Baldwin Fearing Fearing’s female feminine feminized fictional Film Noir film’s Fountainhead Francon Frank Lloyd Wright gender Harold Lloyd hero High and Dizzy Hollywood homosexual Human Fly IBM’s identity International Style Janoth Kenneth Fearing Latimer Lehman lobby machine male man’s masculinity MHLC Modern Mumford novel NYPLPA office building penthouse preliminary script press book production professional prompted Rand’s Roark Safety Last scene scraper Secretary served sexual shot skyscraper films Skyscraper Souls skyscraper space skyscraper’s spatial story Stroud studio tall buildings tion tower underscore University Press urban Walling Wiener wife woman women workers World York