Nobody’s Girl Friday: The Women Who Ran Hollywood (New York: Oxford University Press, 2018).
From Here to Eternity (London: British Film Institute/Palgrave Macmillan, 2015). The definitive production history of the film industry insiders said couldn’t be made.
Fred Zinnemann and the Cinema of Resistance (Jackson: University Press of Mississippi, 2014); Theatre Library Association Richard Wall Memorial Award finalist. An in-depth study of the director who mocked popular auteurism as a gimmick, flouted genre conventions, and made powerful films about women, war, and resistance. The first book to make extensive use of his personal archive, with vivid production histories of The Seventh Cross (1944), The Search (1948), High Noon (1951), From Here to Eternity (1953), Behold a Pale Horse (1964), Day of the Jackal (1973), Julia (1977), and the unrealized Man’s Fate (1969).
Hollywood and the American Historical Film, ed. (London: Palgrave Macmillan, 2012). With essays by film scholars working in a range of disciplines, including David Culbert, Susan Courtney, David Eldridge, Robert Sklar, and Vera Dika.
Edna Ferber’s Hollywood: American Fictions of Gender, Race, and History, preface by Thomas Schatz (Austin: University of Texas Press, 2009). PROSE Award, Media and Cultural Studies. The story of America’s best selling novelist and the landmark negotiations with Hollywood that put women’s history on screen from 1924 to 1960.
Reconstructing American Historical Cinema From ‘Cimarron’ to ‘Citizen Kane’ (Lexington: University Press of Kentucky, 2006; 2009); International Association of Media Historians’ Prize in Media and History; Theatre Library Association Richard Wall Memorial Award finalist. Archive-based revisionist history covering full range of historical films about US, with extensive chapters on Jezebel (1938), Gone with the Wind (1939), A Star Is Born (1937), Public Enemy (1931), Ramona (1936), and Citizen Kane (1941). Spoiler: These films weren’t all flag-waving snores about great white men.
“The Mary C. McCall Years: When a Woman Called the Shots at the Screen Writers Guild.” Written By (Sept-Oct 2017).
“The First Woman President.” Written By: The Magazine of the Writers Guild of America West (June 2017), online exclusive.
“Barbara McLean: Editing, Authorship, and the Equal Right to Be the Best,” Cineaste XLII, no. 2 (spring 2017).
“A Woman at the Center of Hollywood’s Wars: Mary C. McCall, Jr.,” Cineaste XLI, no. 3 (summer 2016): 18-23
“The Past, Present, and Future of Women’s History on Screen: An Interview with Sarah Gavron,” Cineaste XLI, no. 1 (winter 2015): 18-21
“Against the Beat: Ragtime (1981), Black History, and Postmodernism,” Film Quarterly 67:1 (December 2013): 7-13.
Above: McCall lighting up between scripts, 1939.
Selected film reviews:
“Lean on Pete.” Cineaste, fall 2018; “Lion in Winter.” Cineaste, summer 2018; “I, Tonya.” Cineaste XLIII, no. 2 (spring 2018); “The Battle of the Sexes.” Cineaste XLIII, no. 1 (winter 2017); “High Noon,” Cineaste XLII, no. 1 (winter 2016): 54-55; “Brief Encounter,” Cineaste XLI, no. 4 (fall 2016): 53-54; “45 Years,” Cineaste XLI, no. 3 (summer 2016): 46-47; “Suffragette,” Cineaste XLI, no. 1 (winter 2015): 45-46.
New Perspectives on Studio-Era Hollywood:
“Children of Lidice: Searches, Shadows, Histories,” in Monica Tempian and Simone Gigliotti, eds., Young Victims of the Nazi Regime: Migration, the Holocaust, and Postwar Displacement, 299-320 (London: Bloomsbury, 2016).
“The Organization Woman Behind The Man in the Gray Flannel Suit,” Camera Obscura (2012) 27(2 80): 61-91.
“Fred Zinnemann’s Search (1945-48): Reconstructing the Voices of Europe’s Children,” Film History 23:1 (2011): 75-92.
“Classical Hollywood and the Filmic Writing of Interracial History, 1931-1939,” in Mary Beltran and Camilla Fojas (eds.), Mixed Race Hollywood, 23-46 (New York: New York University Press, 2008).
“Jim Crow, Jett Rink, and James Dean: Reconstructing Edna Ferber’s Giant,” American Studies 48:3 (fall 2007): 5-27.
“Hollywood ‘Takes One More Look’: Early Histories of Hollywood and the Fallen Star Biography, 1932-1937,” The Historical Journal of Film, Radio and Television 26:2 (June 2006): 179-201. (All about A Star Is Born, 1937)
“Revisioning Modern American History in the Age of Scarface (1932),” The Historical Journal of Film, Radio and Television 24:4 (2004): 535-563