“I first met Robert Kennedy because I spoke Spanish. I spoke Spanish because the U.S. Army taught me that before sending me to France, Belgium, and Germany to fight Hitler’s Army. This makes complete sense if you are familiar with military bureaucracy.” Such is the trademark wit of Frank Mankiewicz. With his dry sense of humor and self-deprecating humility—despite his many accomplishments—Frank’s voice speaks from the pages of So as I was Saying... in a way that is both conversational and profound. Before he died in 2014 Frank’s fascinating life took him from Beverly Hills to the battlefields of Europe; from the halls of power in Washington D.C. to the far corners of the world. A lifelong student of humanity and mentor to many, including presidents, Frank was a loving father, husband, and friend, and his legacy is will endure for generations. Born into Hollywood royalty but determined to make his own way, Frank served in World War Two, wrote speeches for Robert Kennedy, ran a presidential campaign, carried messages to Fidel Castro, served as president of National Public Radio (helping create Morning Edition), and as regional director for the Peace Corps. Naturally such a long and interesting life gave rise to a myriad of opinions, and Frank was not afraid to share them. In this intriguing, insightful, and often humorous memoir, Frank recalls his favorite memories while sharing his opinions on everything from Zionism to smartphones. Imbued with the personality of one of the twentieth century’s most gifted raconteurs, So As I Was Saying... invokes nostalgia for the past even as it gives hope for the future.
More than a "Watergate" book, Perfectly Clear traces the road to the scandal through the career of Richard M. Nixon. Frank Mankiewicz takes the reader through the Nixon history, and what he describes as "Nixon politics," from its beginnings to Watergate and beyond. Thus he demonstrates how the use of forged cables, illegal contributions, burglary and wiretapping, corruption, and outright political sabotage is the inevitable result of twenty-seven years of increasing emphasis on "national security," the militarization of previously civilian activities, the growth of an imperial White House, the "CIA-ization" of much of our domestic affairs, and the simultaneous political career of Richard Nixon. - Jacket flap.
The four volumes of Film Study include a fresh approach to each of the basic categories in the original edition. Volume one examines the film as film; volume two focuses on the thematic approach to film; volume three draws on the history of film; and volume four contains extensive appendices listing film distributors, sources, and historical information as well as an index of authors, titles, and film personalities.
George Orson Welles (1915–1985) is considered to be among the greatest and most influential filmmakers of all time. At just twenty-five years old, he cowrote, produced, directed, and starred in his Academy Award–winning debut film Citizen Kane (1941). His innovative and distinctive directorial style—nonlinear narratives, unusual camera angles, deep focus shots, and long takes—continues to be emulated by directors and cinematographers to this day. The brilliant yet provocative Welles won multiple Grammys, a Golden Globe, and the greatest honor the Directors Guild of America bestowed: the D. W. Griffith Award. His final film, The Other Side of the Wind, was released in 2018, 33 years after his death. In Citizen Welles: A Biography of Orson Welles, author Frank Brady presents a comprehensive and complete picture of the artist and auteur. Painstakingly researched, Brady delves into Welles's creative achievements, from his critically acclaimed film Citizen Kane and controversial radio broadcast "The War of the Worlds" (1938) to his starring turn on Broadway in Shaw's Heartbreak House (for which he made the cover of Time). Brady also explores other notable films, including The Magnificent Ambersons (1942), Touch of Evil (1958), and Chimes at Midnight (1965). This all-encompassing work also details the personal side of Welles's life, including his romances with Rita Hayworth and Dolores Del Rio and the confounding tragedy of his final years. Presented is a captivating and compelling encapsulation of the revered and respected artist.
The tumultuous life story of Judy Garland, based on more than two hundred interviews and authorized access to her private papers, by the New York Times–bestselling biographer. Gerold Frank met with legendary singer and actress Judy Garland to collaborate on her autobiography—but he completed the project alone after her fatal overdose in 1969. Drawn from more than two hundred interviews and full access to her personal records and pictures, Frank delves into the superstar’s troubled life, assisted by the cooperation of her family, her doctors, and her friends in Hollywood. Still vivid in our memory thanks to films like The Wizard of Oz, Meet Me in St. Louis, and A Star Is Born, Judy Garland was an incomparable figure whose outsized talent made her an American icon—and her life story, an American tragedy. “[A] messy and insatiably involving story. . . . Somehow beyond all the mythology of how a star was born and a cult created, Judy’s consuming presence remains—the insecure charm, the mischievous humor, the guts—all programmed on self-destruct.” —Kirkus Reviews “When [Frank] digs into the roots of her behavior, he makes more sense than anybody else I have read. He is the perfect Dante for this trip into the underworld, the biographer Judy Garland deserves.” —The New York Times Includes photographs
Veit Harlan (1899--1964) was one of Germany's most controversial and loathed directors. After studying with theatre and film pioneer Max Reinhardt and beginning a promising career, he became one of Joseph Goebbels's leading filmmakers under the National Socialist regime. Harlan's Jud Süss ( Jew Suss, 1940), in particular, stands as one of the most artistically distinct and morally reprehensible films produced by the Third Reich. His involvement with this movie has led to many critical questions: Was the director truly forced to make the film under penalty of death? Is anti-Semitism a theme in his other productions? Can and should his work be studied in light of the horrors of Nazism and the Holocaust? The first English-language biography of the notorious director, Veit Harlan presents an in-depth portrait of the man who is arguably the only Nazi filmmaker with a distinct authorial style and body of work. Author Frank Noack reveals that both Harlan's life and work were marked by creative vision, startling ambiguities, and deep moral flaws. His meticulously detailed study explores the director's influence on German cinema and places his work within the contexts of World War II and film history as a whole. Rivaled only by Leni Riefenstahl, Veit Harlan remains one of Germany's most infamous filmmakers, and virtually every book on Nazi cinema contains at least one chapter about Harlan or an analysis of one of his movies. This biography -- supplemented by production histories and rare interviews with actors, actresses, and cameramen -- offers the first comprehensive analysis of the director and his work and adds new perspective to the growing body of scholarship on filmmaking under the Third Reich.
All too often, highly fictionalized cinematic depictions of the past are accepted as the unassailable truth by those unfamiliar with the "real" account. This book profiles sixty movies that portray actual moments in history, and compares the mythologized account of each event to what really happened. Movies chronicled include The Ten Commandments, Spartacus, A Man for All Seasons, Gladiator, Gandhi, Apollo 13, The Thin Red Line, Dances with Wolves, Braveheart, The Last Emperor, All the Presidents Men, Mutiny on the Bounty, Gone with the Wind, Bonnie & Clyde, Patton, and Elizabeth. Sanello also contrasts several historical figures with their filmed treatments, including Julius Caesar, Henry V, Christopher Columbus, Joan of Arc, Sir Thomas More, Jesus Christ, Catherine the Great, Sigmund Freud, and Harry Houdini. Lavishly illustrated with sixty film stills, Reel v. Real shows how a happening's genuine details are frequently reshaped and distorted by Hollywood's bottomless appetite for over-the-top flamboyance and melodrama.
This richly detailed examination of two forms of American entertainment focuses on the various ways that radio stations and air personalities have been depicted in motion pictures, from 1926's The Radio Detective to more recent films like 2022's Halloween Ends. Newly updated and revised chapters cover the cinematic portrayals of various aspects of radio, including disc jockeys, sports broadcasts, religious programs and abnormal personalities on the air. Such films as The Big Broadcast (1932), Reveille with Beverly (1943), Mister Rock and Roll (1957), WUSA (1970), Radio Days (1987), Private Parts (1997), We Are Marshall (2006) and Straight Outta Compton (2015) provide fascinating insights into not only their own times but also the historical eras that some of these films have attempted to recreate.
Whether rocketing to other worlds or galloping through time, science fiction television has often featured the best of the medium. The genre's broad appeal allows youngsters to enjoy fantastic premises and far out stories, while offering adults a sublime way to view the human experience in a dramatic perspective. From Alien Nation to World of Giants, this reference work provides comprehensive episode guides and cast and production credits for 62 science fiction series that were aired from 1959 through 1989. For each episode, a brief synopsis is given, along with the writer and director of the show and the guest cast. Using extensive research and interviews with writers, directors, actors, stuntmen and many of the show's creators, an essay about each of the shows is also provided, covering such issues as its genesis and its network and syndication histories.
Images from movies and film have had a powerful influence in how Native Americans are seen. In many cases, they have been represented as violent, uncivilized, and an impediment to progress and civilization. This book analyzes the representation of Native Americans in cinematic images from the 1890s to the present day, deconstructing key films in each decade. This book also addresses efforts by Native Americans to improve and have a part in their filmic representations, including mini-biographies of important indigenous filmmakers and performers.
From the late 1940s to the early '60s, Marilyn Monroe appeared in barely thirty movies, beginning with bit parts and moving on into supporting roles for such films as The Asphalt Jungle, All About Eve, and Clash by Night. She soon shot to international fame and gained prominent roles in a number of classics like The Seven Year Itch, Gentlemen Prefer Blondes, and Some Like It Hot. By the time of her early death in 1962, she had already become established as one of the great icons of the silver screen. Even early in her career, Monroe had been a source of inspiration for playwrights, filmmakers, and others looking to cash in on her tremendous impact. In The Immortal Marilyn: The Depiction of an Icon, authors John DeVito and Frank Tropea chronicle the many representations of Marilyn Monroe in the performing arts, from the 1950s to the present day. In a decade-by-decade review, the authors examine how Marilyn is portrayed in four distinct modes: as herself, as a Roman à Clef character, as a referent, and as a documentary subject. By looking closely at these individual works, the authors reveal the ways in which her persona, her history, and—most of all—her image have been appropriated for both fact and fiction. From an episode of I Love Lucy to Arthur Miller's play The Fall, from adaptations of works by Norman Mailer and Joyce Carol Oates to an ever-growing list of documentaries, Monroe has been the subject of countless depictions on stage, screen, radio, and television. Monroe is adored, imitated, and idolized, and the enormous amount of material written about her—either directly or indirectly—proves that she will continue to be a source of interest and speculation. The first real analysis of all the many complex meanings that Marilyn Monroe has come to assume, this book attempts to encapsulate and understand the enormous influence the actress had on the public and the wide range of creative talents who found her such an intriguing subject. This book
The story of the William Morris Agency is the stoyr of show business itself. Founded at the turn of the century, it stood as the premier agency in Hollywood for 80 years. With unvarnished descriptions of the board that runs William Morris and the needy and demanding stars they represent, The Agency is a compelling tale that lifts the curtain on the most intriguing business in Americ today. Photos.
History no longer belongs only to historians, but is woven into the fabric and discourse of daily life. This fresh and wide-ranging survey explores how new media and new historiographic approaches are dramatically expanding what we understand by “history” today. Controversy about the aims and limits of historical analysis has raged ever since the rise of postmodern history in the 1970s. But these debates have rarely affected the understanding of history in Central and Eastern Europe. The volume confirms the crucial importance of audiovisual and mass media, from film to television and radio to comics, but does not exclude literary scholars and art historians who are also rethinking their methods, taking note of their new consumers. If history formerly appeared to be a one-way transmission of expertise, it is increasingly a dynamic engagement between researchers and audiences.
Published to wide acclaim in its original edition, this book shows how many ordinary Germans became involved in what they saw as a legally sanctioned process of ridding Germany and Europe of their Jews.
Few Hollywood directors had a higher profile in the 1930s than Frank Capra (1897-1991). He served as president of the Academy of Motion Picture Arts and Sciences and of the Screen Directors Guild. He won three Academy Awards as best director and was widely acclaimed as the man most responsible for making Columbia Pictures a success. This popularity was established and sustained by films that spoke to and for the times--It Happened One Night, Mr. Deeds Goes to Town, Meet John Doe, and Mr. Smith Goes to Washington. These replicated the nation's hopes and dreams for a national community. He worked with some of the brightest stars in Hollywood--James Stewart, Clark Gable, Jean Arthur, Gary Cooper, Barbara Stanwyck, Claudette Colbert, Bette Davis, Donna Reed, and Ann-Margret. Capra's interviews express his connection to the national audience and explore his own story. He was a Sicilian immigrant boy who survived rough-and-tumble beginnings to become Hollywood's most bankable director. In reflecting on his life, almost every one of his films was a parable of acclaim verging on disaster. He spent much of the 1940s in uniform while making films for the War Department. Although Capra was an optimist, World War II and his series of Why We Fight films called his legendary optimism into question. His postwar film It's a Wonderful Life (1946) gave an answer to those questions with an astonishing directness Capra never equaled again. In 1971 he published his autobiography, The Name Above the Title. Many of the interviews collected here come from this period when, as an elder statesman of motion picture art and history, he reflected on his long career. The interviews portray the Capra legend vividly and demonstrate why the warm relations between Capra and his audiences continue to inspire acclaim and admiration.
Jones and Mangano provide a lifestyle program that contains multiple tools for the proper application of the Law of Attraction from simple lifestyle changes to hypnosis exercises to six step-by-step instructions for bringing people and events into your life.
A jaw-dropping and unputdownable oral history of the New York Post and the legendary tabloid’s cultural impact from the 1970s to today as recounted by the men and women who witnessed it firsthand. By the 1970s, the country’s oldest continuously published newspaper had fallen on hard times, just like its nearly bankrupt hometown. When the New York Post was sold to a largely unknown Australian named Rupert Murdoch in 1976, staffers hoped it would be the start of a new golden age for the paper. Now, after the nearly fifty years Murdoch has owned the tabloid, American culture reflects what Murdoch first started in the 1970s: a celebrity-focused, noisy, one-sided media empire that reached its zenith with Fox News. Drawing on extensive interviews with key players and in-depth research, this eye-opening, wildly entertaining oral history shows us how we got to this point. It’s a rollicking tale full of bad behavior, inflated egos, and a corporate culture that rewarded skirting the rules and breaking norms. But working there was never boring and now, you can discover the entire remarkable true story of America’s favorite tabloid newspaper.
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