Between 1912 and 1919, the Universal Film Manufacturing Company credited eleven women with directing at least 170 films, but by the mid-1920s all of these directors had left Universal and only one still worked in the film industry at all. This book explores how corporate movie studios interpret and act on institutional culture in deciding what it means to work as a man or woman. In focusing on issues of institutional change, the author challenges interpretations that explain women's exile from the film industry as the inevitable result of a transhistorical sexism or as an effect of a broadly cultural revision of gendered work roles. He examines the relationship between institutional organization and aesthetic conventions during the formative years when women filmmakers such as Ruth Ann Baldwin, Cleo Madison, Ruth Stonehouse, Elise Jane Wilson and Ida May Park directed films for Universal.
Are homecoming games and freshman composition, Twitter feeds and scholarly monographs really mortal enemies? Media U presents a provocative rethinking of the development of American higher education centered on the insight that universities are media institutions. Tracing over a century of media history and the academy, Mark Garrett Cooper and John Marx argue that the fundamental goal of the American research university has been to cultivate audiences and convince them of its value. Media U shows how universities have appropriated new media technologies to convey their message about higher education, the aims of research, and campus life. The need to create an audience stamps each of the university’s steadily proliferating disciplines, shapes its structure, and determines its division of labor. Cooper and Marx examine how the research university has sought to inform publics and convince them of its value to American society, from the rise of football and Great Books programs in the early twentieth century through a midcentury communications complex linking big science, New Criticism, and design, from the co-option of 1960s student activist media through the early-twenty-first-century reception of MOOCs and the latest promises of technological disruption. The book considers the ways in which universities have used media platforms to reconcile national commitments to equal opportunity with corporate capitalism as well as the vexed relationship of democracy and hierarchy. By exploring how media engagement brought the American university into being and continues to shape academic labor, Media U presents essential questions and resources for reimagining the university and confronting its future.
Twilight of the Idols is an outstanding study of Hollywood celebrity culture in the wake of the star scandals that rocked the industry in 1921 and 1922. Through case studies of key male figures of the era, including Wallace Reid, Leopold and Loeb, and Rudolph Valentino, Mark Lynn Anderson argues that deviance became a central trope through which both famous personalities and their adoring fans were conceived in the evolving discourses of psychoanalysis, sociology, and anthropology. Anderson offers a compelling reading of the origins of the star system in the best discussion yet of the interrelationships between male deviance, queerness, and modern stardom. Clearly and engagingly written, and impeccably researched, Twilight of the Idols is poised to make a major contribution to film studies, queer studies, and American studies." —Shelley Stamp, author of Movie-Struck Girls: Women and Motion Picture Culture after the Nickelodeon "Mark Lynn Anderson has written a remarkable book. With its focus on male deviance and the human sciences in twenties American culture, Twilight of the Idols: Hollywood and the Human Sciences in 1920s America represents new directions for scholarship on film stardom and film history in this period. Through careful analysis of changes in the star system and detailed exploration of the careers of exemplary individual stars, such as Wallace Reid, Rudolph Valentino, and Mabel Normand, this book helps us to better understand the contours of the modern personality promoted by the cinema and the widespread interest in deviant behavior in the 1920s—both of which remain very much with us today." —Patrice Petro, author of Joyless Streets: Women and Melodramatic Representation in Weimar Germany
Of all the job titles listed in the opening and closing screen credits, producer is certainly the most amorphous. There are businessmen (and women)-producers, writer-director- and movie-star-producers; producers who work for the studio; executive producers whose reputation and industry clout alone gets a project financed (though their day-to-day participation in the project may be negligible). The job title, regardless of the actual work involved, warrants a great deal of prestige in the film business; it is the credited producers, after all, who collect the Oscar for Best Picture. But what producers do and what they don’t or won’t do varies from project to project. Producing is the first book to provide a comprehensive overview of the roles that producers have played in Hollywood, from the dawn of the twentieth century to the present day. It introduces readers to the colorful figures who helped to define and reimagine the producer’s role, including inventors like Thomas Edison, moguls like Darryl F. Zanuck, entrepreneurs like Walt Disney, and mavericks like Roger Corman. Readers also get an inside look at the less glamorous jobs producers have often performed: shepherding projects through many years of development, securing financial backers, and supervising movie shoots. The latest book in the acclaimed Behind the Silver Screen series, Producing includes essays written by seven film scholars, each an expert in a different period of cinema history. Together, they give readers a full picture of how the art and business of producing films has changed over time—and how the producer’s myriad job duties continue to evolve in the digital era.
Are homecoming games and freshman composition, Twitter feeds and scholarly monographs really mortal enemies? Media U presents a provocative rethinking of the development of American higher education centered on the insight that universities are media institutions. Tracing over a century of media history and the academy, Mark Garrett Cooper and John Marx argue that the fundamental goal of the American research university has been to cultivate audiences and convince them of its value. Media U shows how universities have appropriated new media technologies to convey their message about higher education, the aims of research, and campus life. The need to create an audience stamps each of the university’s steadily proliferating disciplines, shapes its structure, and determines its division of labor. Cooper and Marx examine how the research university has sought to inform publics and convince them of its value to American society, from the rise of football and Great Books programs in the early twentieth century through a midcentury communications complex linking big science, New Criticism, and design, from the co-option of 1960s student activist media through the early-twenty-first-century reception of MOOCs and the latest promises of technological disruption. The book considers the ways in which universities have used media platforms to reconcile national commitments to equal opportunity with corporate capitalism as well as the vexed relationship of democracy and hierarchy. By exploring how media engagement brought the American university into being and continues to shape academic labor, Media U presents essential questions and resources for reimagining the university and confronting its future.
Arguing for a sweeping new consideration of the shift from print to cinema as a governing system for organizing modern American social relations, this book uncovers an intimate connection between Hollywood romances of the silent era and the empowerment of a managerial class. During the 1910s and 1920s, American movies told love stories through what rapidly became ubiquitous images. Again and again, silent features showed lovers separated by seeming happenstance and reunited as if by magical forces. Mark Garrett Cooper argues that this "magic" implies the expertise of the corporate movie studio with its hierarchies of professional experts. In other words, the Hollywood love story amounts to a managerial technique. Through close study of such films as Birth of a Nation, Enoch Arden, The Crowd, Why Change Your Wife? and The Jazz Singer, Love Rules shows how cinematic romance offers an object lesson in how to arrange American society--a lesson that implies that such work can be accomplished only by a managerial class. Love Rules offers a boldly original account of how the Hollywood feature film supplanted the "imagined community" of print culture and, in doing so, played a key role in the transformation of American mass culture.
A Choice Outstanding Academic Title, 2011. Between 1912 and 1919, the Universal Film Manufacturing Company credited eleven women with directing at least 170 films, but by the mid-1920s all of these directors had left Universal and only one still worked in the film industry at all. Two generations of cinema historians have either overlooked or been stymied by the mystery of why Universal first systematically supported and promoted women directors and then abruptly reversed that policy. In this trailblazing study, Mark Garrett Cooper approaches the phenomenon as a case study in how corporate movie studios interpret and act on institutional culture in deciding what it means to work as a man or woman. In focusing on issues of institutional change, Cooper challenges interpretations that explain women's exile from the film industry as the inevitable result of a transhistorical sexism or as an effect of a broadly cultural revision of gendered work roles. Drawing on a range of historical and sociological approaches to studying corporate institutions, Cooper examines the relationship between institutional organization and aesthetic conventions during the formative years when women filmmakers such as Ruth Ann Baldwin, Cleo Madison, Ruth Stonehouse, Elise Jane Wilson, and Ida May Park directed films for Universal.
The second edition of this popular guide will show autograph seekers how to obtain signatures of the stars without spending a fortune. With more than 7,000 listings and updated addresses, this new edition features a reader-friendly checklist and author's choice symbol to guide users to great responders. From stars of the screen, stage, and TV, to heads of state, sports stars and other people of cultural significance, this book has a great variety to choose from. The second edition of this best seller is sure to be a hit. Includes How to obtain the autographs of favourite celebrities; Easy-to-use format contains 7,000 address listings and more than 900 autographs.
The most comprehensive text for the core orthopaedics course required in all physical therapy programs! Includes all of the necessary information to provide a high level of care to patients with any musculoskeletal dysfunction by integrating anatomy and biomechanics with treatment strategies. Features case studies, extensive illustrations, and guidelines from the American Physical Therapy Association (APTA), which are integrated throughout.
A complete, evidence-based guide to orthopaedic evaluation and treatment Acclaimed in its first edition, this one-of-a-kind, well-illustrated resource delivers a vital evidence-based look at orthopaedics in a single volume. It is the ultimate source of orthopaedic examination, evaluation, and interventions, distinguished by its multidisciplinary approach to PT practice. Turn to any page, and you'll find the consistent, unified voice of a single author-a prominent practicing therapist who delivers step-by-step guidance on the examination of each joint and region. This in-depth coverage leads clinicians logically through systems review and differential diagnosis, aided by decision-making algorithms for each joint. It's all here: everything from concise summaries of functional anatomy and biomechanics, to an unmatched overview of the musculoskeletal and nervous systems.
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