The South on Screen

The University of Georgia Press is pleased to announce a new series, The South on Screen. The series focuses on the following three areas:

  1. Monographs that analyze specific aspects of production, adaptation, censorship, exhibition, the social experience of moviegoing and the cultural role of cinema in the South, the intersection of film/TV and music—or, on the critical side, larger questions of authorship, stardom, genre, and theme
  2. Edited collections that explore from different angles and disciplines important developments requiring a multi-author approach
  3. Monographs devoted to a specific significant film or television series, such as Daughters of the Dust (1991); Eve’s Bayou (1997); Intruder in the Dust (1949); Nothing But a Man (1964); Mississippi Masala (1991); O Brother, Where Art Thou (2000); George Washington (2000); The Beverly Hillbillies (1962-1971); In the Heat of the Night (film, 1967; TV series, 1988-1995); Treme (2010-2013); and 12 Years A Slave (2013)

Though scholarly in nature, the series intends to produce accessible works for the interested general reader that engage the South’s longstanding, contentious, and complex interactions with film and television.

Though the American film business initially took root and flourished in the industrialized northeast and the west coast, filmmakers in this new medium soon became preoccupied with cultural questions and themes that resonated with the South. The South was then promoting itself as “new” and underwent, on a smaller scale than the North, the urbanization that made for a marketplace suited to the exhibition of the “picture shows” whose popularity and profitability were continually expanding in America’s cities. From its earliest moments onward, the movie industry catered to southern audiences and on southern themes. Indeed, the South has inspired a number of cinema’s landmarks, ranging from historical epics (The Birth of a Nation, Gone with the Wind) and big-budget Hollywood adventures (Cold Mountain, Deliverance) to intimate dramas (Sounder, The Color Purple) and small-scale independent tales (Matewan, Nightjohn), from sober documentaries (Harlan County U.S.A.) to hilarious comedies (The General, O Brother, Where Art Thou). In the 1960s, as television became increasingly prominent, CBS created a series of popular sitcoms (The Beverly Hillbillies and Petticoat Junction among them) with distinctly southern orientation.  Whether produced for theatrical production or as television series, then, the moving image has shaped and been shaped by the South and its inhabitants.


Series editors:

Matthew H. Bernstein  is professor and chair of film and media studies at Emory University. He is the author of Screening a Lynching: The Leo Frank Case on Film and TV (published by UGA Press); Michael Moore: Filmmaker, Newsmaker, Cultural Icon; and John Ford Made Westerns: Filming the Legend in the Sound Era.

R. Barton Palmer is Calhoun Lemon Professor of Literature at Clemson University. He is the author of Hollywood’s Tennessee: The Williams Films and Postwar America; To Kill a Mockingbird: From Page to Screen; After Hitchcock: Influence, Imitation, Intertextuality; among other books.

Books in this series

Truman Capote
A Literary Life at the Movies
Tison Pugh

Appalachia, Race, and Film
Meredith McCarroll

William Faulkner in Hollywood
Screenwriting for the Studios
Stefan Solomon

Series Editors

Matthew H. Bernstein
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R. Barton Palmer
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