<![CDATA[
<body bgcolor="#FFFFFF" text="#000000" link="#0000FF" vlink="#CC0000" alink="#CC0000"><center><hr width="350" size="1" align="center" noshade>How Hollywood's European travelogues chronicled Americans' self-discovery<hr width="350" size="1" align="center" noshade><p><a href="https://cdcshoppingcart.uchicago.edu/Cart/ChicagoBook.aspx?ISBN=9781592139453&&PRESS=temple" target="_top">Buy this book!</a> | <a href="https://cdcshoppingcart.uchicago.edu/Cart/Cart.aspx?PRESS=temple" target="_top">View Cart</a> | <a href="https://cdcshoppingcart.uchicago.edu/Cart/Cart.aspx?PRESS=temple" target="_top">Check Out</a></p><p><img src="1518_reg.gif" height=200 border=1 vspace=4></p></center><!--none//--><h1>Runaway Romances</h1>
<H2>Hollywood's Postwar Tour of Europe</H2>
<h3>Robert R. Shandley</h3>
<P>cloth 1-59213-945-0 $59.50, May 09, <FONT COLOR=#990033>Available</FONT>
<BR> 234 pp
6x9
20 halftones
</P><BLOCKQUOTE><I><p><i>"Shandley’s careful analysis is informed by a wealth of relevant historical and critical studies.</i> Runaway Romances<i> is both conceptually interesting and original and it is a meaningful scholarly addition to the field."</i> <BR>—<b>Antje Ascheid</b>, Associate Professor in the Department of
Theatre and Film Studies at the University of Georgia, and
author of <i>Hitler’s Heroines: Stardom and Womanhood in
Nazi Cinema</i> (Temple)</p></I></BLOCKQUOTE>
<p>Postwar America imagined itself young and in love in Europe. And Hollywood films of the era reflected this romantic allure. From a young and naïve Audrey Hepburn falling in love with Gregory Peck in <i>Roman Holiday</i> to David Lean’s <i>Summertime</i>, featuring Katharine Hepburn’s sexual adventure in Venice, these glossy travelogue romances were shot on location, and established a new model for Hollywood filmmaking.
</p>
<p>As Robert Shandley shows in <i>Runaway Romances</i>, these films
were not only indicative of the ideology of the American-dominated
postwar world order, but they also represented a shift in Hollywood
production values. Eager to capture new audiences during a period of
economic crisis, Hollywood’s European output utilized a variety of devices including location work and the widescreen process to enhance cinematic experience. The films—<i>To Catch a
Thief, Three Coins in the Fountain,</i> <i>Funny Face</i> among them—enticed viewers to visit faraway places for romantic escapades. Films such as <i>A Foreign Affair</i> and <i>I Was a Male War Bride</i> considered what it means to have American troops living abroad. In the process, these travelogue romances captured American fantasies for a brief, but intense, period that ended as audiences grew tired of Old World splendors, and entered into a new era of sexual awakening.</p>
<BR> <h2>Excerpt</h2><P>Excerpt available at <a href="http://www.temple.edu/tempress">www.temple.edu/tempress</a></p>
<BR> <h2>Reviews</h2>
<p><I>"Shandley persuasively shows that the ‘travelogue romance’ genre has something to tell us about history, culture, and ideology as well as film aesthetics and economics. He weaves original research into a compelling narrative argument. This is an excellent book of cultural history and film history."</I><br>—<b>Peter Lev</b>, Professor in the Department of Electronic Media and Film at Towson University, and author of <i>The Fifties: Transforming the Screen, 1950-1959</i>
<p><i>"In this pleasant monograph, Shandley examines Hollywood's 'European Travelogue romances, 1947-1964,' which he imagines to constitute a genre.... This is a book for those interested in specialized film and genre study."</i> <br>—<b><i>Choice</i></b>
<BR> <h2>Contents</h2><P>
<p>Preface
<br>Introduction
<br>1. Hollywood’s Move Abroad
<br>2. How Rome Saved Hollywood
<br>3. Foreign Affairs: Metaphors of Transatlantic Relations
<br>4. Tourists with Big Cameras: Widescreen Runaways and Class Mobility
<br>5. Marrying the Enemy: The Occupation Romance
<br>6. The End of the European Romance
<br>Notes
<br>Filmography
<br>Bibliography
<br>Index
<br><i>Photographs follow page 110</i>
</P><BR> <H2>About the Author(s)</H2>
<table><tr><td valign="top"><img src="/tempress/authors/2003_au1.gif" height="90" width="75"></td><td width="100%" valign="middle"><p><b>Robert R. Shandley</b>is Associate Professor of Film studies and German at Texas A&M University. He is the author of <i><a href="1593_reg.html" target="_top">Rubble Films: German Cinema in the Shadow of the Third Reich </a></i>(Temple) and editor of <i>Unwilling Germans? The Goldhagen Debate</i>.</P></td></tr></table>
<BR><H2>Subject Categories</H2>
<p><A HREF="/tempress/cinema.html" TARGET="_top">Cinema Studies</a>
<BR><A HREF="/tempress/history.html" TARGET="_top">History</a>
<BR><A HREF="/tempress/american.html" TARGET="_top">American Studies</a>
</p>
<p align="center"><a href="https://cdcshoppingcart.uchicago.edu/Cart/ChicagoBook.aspx?ISBN=9781592139453&&PRESS=temple" target="_top">Buy this book!</a> | <a href="https://cdcshoppingcart.uchicago.edu/Cart/Cart.aspx?PRESS=temple" target="_top">View Cart</a> | <a href="https://cdcshoppingcart.uchicago.edu/Cart/Cart.aspx?PRESS=temple" target="_top">Check Out</a></p><p><font face="Arial" size="1"><a href="copyright.html" onMouseOver="window.status='Web Copyright Policy';return true;" onMouseOut="window.status=''" title="Web Copyright Policy">©</a> 2009 <a href="http://www.temple.edu" target="new" onMouseOver="window.status='Link to Temple University home page';return true;" onMouseOut="window.status=''" title="Link to Temple University home page">Temple University</a>. All Rights Reserved. http://www.temple.edu/tempress/titles/2003_reg.html</font></p>]]>