It also maintained a strong commitment to exploring classical Hollywood, even as it broadened the international scope of its criticism with features on Iranian and "Far Eastern" cinema.

But it's worth adding that one of the critical shibboleths about classical Hollywood was that of the ostensibly sharp division of labor between directors and writers.

It's an occasion to discover, or revisit, the work of one of the most brilliant, least appreciated filmmakers of classical Hollywood.

But a string of examples, chronologically arranged and lucidly connected, becomes the ideal format for dealing with classical Hollywood's complexity.

Although Mr. Willmott's approximation of both Griffith and classical Hollywood leaves much to be desired, he does a credible job of miming the hard sell of cheap television advertising.

Hollywood filmmakers of the 1970s often situate their filmmaking practices in between those of classical Hollywood and those of European and Asian art cinema.

Time in classical Hollywood is continuous, since non-linearity calls attention to the illusory workings of the medium.

Film academic Andrew Britton wrote a monograph studying Hepburn's "key presence within classical Hollywood, a consistent, potentially radical disturbance", and pinpoints her "central" influence in bringing feminist issues to the screen.

Sergei Eisenstein developed a system of editing that was unconcerned with the rules of the continuity system of classical Hollywood that he called Intellectual montage.

Mulvey argues that the only way to annihilate the patriarchal Hollywood system is to radically challenge and re-shape the filmic strategies of classical Hollywood with alternative feminist methods.