On the Waterfront comprehensively examines one of the most important films of the Hollywood canon. Providing the historical context for the film, this volume emphasizes film making as a collaborative process rather than an 'auteurist' approach, although it does highlight individual contributions to the film and the political controversy generated by the cooperation of Kazan and Schulberg with the House of Un-American Activities Committee. Included are essays specially commissioned for this volume, analyzing the screenplay, Kazan as director, Schulberg as screenplay writer, the score by Leonard Bernstein, and the reception of the film in classrooms. Collectively they demonstrate how and why this film has been an enduring favorite among cineastes and movie buffs alike. A preface by Budd Schulberg, contemporary reviews, and stills round out the volume.

On the Waterfront comprehensively examines one of the most important films of the Hollywood canon. Providing the historical context for the film, this volume emphasizes film making as a collaborative process rather than an 'auteurist' approach, although it does highlight individual contributions to the film and the political controversy generated by the cooperation of Kazan and Schulberg with the House of Un-American Activities Committee. Included are essays specially commissioned for this volume, analyzing the screenplay, Kazan as director, Schulberg as screenplay writer, the score by Leonard Bernstein, and the reception of the film in classrooms. Collectively they demonstrate how and why this film has been an enduring favorite among cineastes and movie buffs alike. A preface by Budd Schulberg, contemporary reviews, and stills round out the volume.

On the Waterfront comprehensively examines one of the most important films of the Hollywood canon. Providing the historical context for the film, this volume emphasizes film making as a collaborative process rather than an 'auteurist' approach, although it does highlight individual contributions to the film and the political controversy generated by the cooperation of Kazan and Schulberg with the House of Un-American Activities Committee. Included are essays specially commissioned for this volume, analyzing the screenplay, Kazan as director, Schulberg as screenplay writer, the score by Leonard Bernstein, and the reception of the film in classrooms. Collectively they demonstrate how and why this film has been an enduring favorite among cineastes and movie buffs alike. A preface by Budd Schulberg, contemporary reviews, and stills round out the volume.