Hollywood cinema and Los Angeles cannot be understood apart. Hollywood Cinema and the Real Los Angeles traces the interaction of the real city, its movie business, and filmed image, focusing on the crucial period from the construction of the first studios in the 1910s to the decline of the studio system fifty years later. As Los Angeles gradually became one of the ten largest cities in the world, the film industry made key contributions to its rapid growth and frequent crises in economic, social, political and cultural life. Whether filmmakers engaged with the real city on location or recreated it on a studio set, Los Angeles shaped the films that were made there and circulated influentially worldwide. The book pays particular attention to early cinema, slapstick comedy, movies about the movies and film noir, which are each explored in new ways, with an emphasis on urban and architectural space and its representation, as well as filmmaking style and technique. Including many previously unpublished photographs and new historical evidence, Hollywood Cinema and the Real Los Angeles gives us a never-before-seen view of the City of Angels.
Twilight of the Idols revisits some of the sensational scandals of early Hollywood to evaluate their importance for our contemporary understanding of human deviance. By analyzing changes in the star system and by exploring the careers of individual stars—Wallace Reid, Rudolph Valentino, and Mabel Normand among them—Mark Lynn Anderson shows how the era’s celebrity culture shaped public ideas about personality and human conduct and played a pivotal role in the emergent human sciences of psychology, anthropology, and sociology. Anderson looks at motion picture stars who embodied various forms of deviance—narcotic addiction, criminality, sexual perversion, and racial indeterminacy. He considers how the studios profited from popularizing ideas about deviance, and how the debates generated by the early Hollywood scandals continue to affect our notions of personality, sexuality, and public morals.
Colossal. Stupendous. Epic. These adjectives, used by movie companies to hawk their wares, became clichélong ago. When used to describe the films of one director, they are accurate. More than any filmmaker in the history of the medium, Cecil B. DeMille mastered the art of the spectacle. In the process, he became a filmland founder. One hundred years ago, he made the first feature film ever shot in Hollywood and went on to become the most commercially successful producer-director in history. DeMille told his cinematic tales with painterly, extravagant images. The parting of the Red Sea in The Ten Commandments was only one of these. There were train wrecks (The Greatest Show on Earth); orgies (Manslaughter); battles (The Buccaneer); Ancient Rome (The Sign of the Cross); Ancient Egypt (Cleopatra); and the Holy Land (The Crusades). The best of these images are showcased here, in Cecil B. DeMille: The Art of the Hollywood Epic. This lavish volume opens the King Tut's tomb of cinematic treasures that is the Cecil B. DeMille Archives, presenting storyboard art, concept paintings, and an array of photographic imagery. Historian Mark A. Vieira writes an illuminating text to accompany these scenes. Cecilia de Mille Presley relates her grandfather's thoughts on his various films, and recalls her visits to his sets, including the Egyptian expedition to film The Ten Commandments. Like the director's works, Cecil B. DeMille: The Art of the Hollywood Epic is a panorama of magnificence-celebrating a legendary filmmaker and the remarkable history of Hollywood.
Showcasing 50 films from 1939, during which the world braced for war, this stunning book brings to life the most glamorous era in movie history by discussing such works of cinematic art as Gunga Din, Goodbye, Mr. Chips and Gone With the Wind. Original.
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.
From classics like King Kong, to beloved B-movies like The Beast from 20,000 Fathoms, to blockbusters like Jurassic Park, it's easy to see that filmmakers and audiences alike love to see dinosaurs on the screen. This comprehensive filmography, arranged alphabetically by title, contains entries that include basic facts (year of release, country of origin, studio, and running time), followed by a concise plot summary, the author's critical commentary, information on the production and the people behind it, and secrets of the often-ingenious special effects. Three useful appendices feature films with minor dinosaur content, planned but unfinished dinosaur movies, and the quasi-dinosaurs of Toho Studios. To be included, a movie must depict one or more representations of a "prehistoric reptile." Inaccurate portrayals are included, as long as the intent is to represent a real or fictional dinosaur. Not eligible are films featuring prehistoric mammals, prehistoric humans or humanoids, and beasts of mythology--unless, of course, the movie also has a dinosaur.
At the beginning of the 21st century, the US film industry had overtaken aeronautics and car industries to become one of the highest exporters of American products. Mark Wheeler's important new book provides both a political history of Hollywood and a reflection on the relationship between cinema and politics in America, from 1900 to the present day. Wheeler considers the interplay between the movies studios, state and national government and cultural policy and legislation, with case studies of the censorship that followed in the wake of the Hays Code 1930 and the investigations of the House Committee of Un-American Activities (HUAC) in the 1950s that led to the notorious blacklisting of alleged or known Communist sympathisers. His history of political constituencies within Hollywood ranges from the conservative right to the liberal and the communist left, from trades unionists to movie moguls. The book concludes with a look at the politics of show business, addressing links between Hollywood and political activism, films such as 'The Candidate' and 'Bulworth' that have themselves engaged with the political process, and considering the irony that despite the fact that Hollywood is perceived as a bastion of liberalism the two most famous actors-turned-politicians have been Ronald Reagan and Arnold Schwarzenegger.
The Music Man stands as one of the greatest achievements in American musical theatre, but few know about its rocky beginnings and the against-all-odds success story of its creator Meredith Willson. Mark Cabaniss steps back into the Golden Age of Broadway and brings to life the origins of this classic show, the music behind it, and the unlikely story of its creator. Interweaving behind-the-scenes accounts of people who worked with Willson, Cabaniss looks at his long and unusual career as a composer, conductor, radio personality, and flutist, which reached its pinnacle in The Music Man. No one initially believed in Willson’s “Valentine to Iowa,” seeing it as nothing but a corny flop or, worse, a recipe for disaster. But when the curtain fell on opening night, a star called The Music Man was born. Over 65 years later, that star is still marching right to this day, endeared by millions around the world. To understand Willson, his career, and his music is to understand how The Music Man came to be: he was truly the only person who could have ever written this show due to his unique background, talent, incredible persistence, and belief. The show’s ultimate success and longevity was anything but inevitable—rather, it was truly a miracle.
Mark Thewes is known for his wonderful arrangements of hymn tunes, and organists will enjoy this collection of intermediate-level carol arrangements. All of these carols are familiar and will make very nice additions to holiday services or recitals. These pieces will also sound nice on most any size instrument. Titles are: * He Is Born * Infant Holy, Infant Lowly * What Child Is This * Silent Night * Hark! The Herald Angels Sing * O Come, All Ye Faithful.
Situated at the intersection of anarchist and democratic theory, Anarchism and Art focuses on four popular art forms—DIY (Do It Yourself) punk music, poetry slam, graffiti and street art, and flash mobs—found in the cracks between dominant political, economic, and cultural institutions and on the margins of mainstream neoliberal society. Mark Mattern interprets these popular art forms in terms of core anarchist values of autonomy, equality, decentralized and horizontal forms of power, and direct action by common people, who refuse the terms offered them by neoliberalism while creating practical alternatives. As exemplars of central anarchist principles and commitments, such forms of popular art, he argues, prefigure deeper forms of democracy than those experienced by most people in today's liberal democracies. That is, they contain hints of future, more democratic possibilities, while modeling in the present the characteristics of those more democratic possibilities. Providing concrete evidence that progressive change is both desirable and possible, they also point the way forward.
Filled with rare images and untold stories from filmmakers, exhibitors, and moviegoers, Forbidden Hollywood is the ultimate guide to a gloriously entertaining era when a lax code of censorship let sin rule the movies. Forbidden Hollywood is a history of "pre-Code" like none otherA name=_Hlk518256457: you will eavesdrop on production conferences, read nervous telegrams from executives to censors, and hear Americans argue about "immoral" movies. /aYou will see decisions artfully wrought, so as to fool some of the people long enough to get films into theaters. You will read what theater managers thought of such craftiness, and hear from fans as they applauded creativity or condemned crassness. You will see how these films caused a grass-roots movement to gain control of Hollywood-and why they were "forbidden" for fifty years. The book spotlights the twenty-two films that led to the strict new Code of 1934, including Red-Headed Woman, Call Her Savage, and She Done Him Wrong. You'll see Paul Muni shoot a path to power in the original Scarface; Barbara Stanwyck climb the corporate ladder on her own terms in Baby Face; and misfits seek revenge in Freaks. More than 200 newly restored (and some never-before-published) photographs illustrate pivotal moments in the careers of Clara Bow, Joan Crawford, Norma Shearer, and Greta Garbo; and the pre-Code stardom of Claudette Colbert, Cary Grant, Marlene Dietrich, James Cagney, and Mae West. This is the definitive portrait of an unforgettable era in filmmaking.
Mark Thewes has a reputation as a fine composer and arranger of hymns. This versatile collection offers the church organist lovely, moving settings of six very familiar hymns. These are useful in any church service, for preludes, offertories, or prayer time, as well as funerals. All are easily learned, and playable on most any size instrument. Titles are: * Meditation on Eventide * Meditation on St. Elizabeth * Meditation on Ellers * Trio on Nettleton * Meditation on Toplady * Pleading Savior.
Hollywood in the 1920s sparkled with talent, confidence, and opportunity. Enter Irving Thalberg of Brooklyn, who survived childhood illness to run Universal Pictures at twenty; co-found Metro-Goldwyn-Mayer at twenty-four; and make stars of Lon Chaney, Norma Shearer, Greta Garbo, Joan Crawford, Clark Gable, and Jean Harlow. Known as Hollywood's "Boy Wonder," Thalberg created classics such as Ben-Hur, Tarzan the Ape Man, Grand Hotel, Freaks, Mutiny on the Bounty, and The Good Earth, but died tragically at thirty-seven. His place in the pantheon should have been assured, yet his films were not reissued for thirty years, spurring critics to question his legend and diminish his achievements. In this definitive biography, illustrated with rare photographs, Mark A. Vieira sets the record straight, using unpublished production files, financial records, and correspondence to confirm the genius of Thalberg's methods. In addition, this is the first Thalberg biography to utilize both his recorded conversations and the unpublished memoirs of his wife, Norma Shearer. Irving Thalberg is a compelling narrative of power and idealism, revealing for the first time the human being behind the legend.
Through a series of vivid case studies, Authors in Court charts the 300-year-long dance between authorship and copyright that has shaped each institution’s response to changing social norms of identity, privacy, and celebrity. “A literary historian by training, Rose is completely at home in the world of law, as well as the history of photography and art. This is the work of an interdisciplinary scholar at the height of his powers. The arguments are sophisticated and the elegant text is a work of real craftsmanship. It is superb.” —Lionel Bently, University of Cambridge “Authors in Court is well-written, erudite, informative, and engaging throughout. As the chapters go along, we see the way that personalities inflect the supposedly impartial law; we see the role of gender in authorial self-fashioning; we see some of the fault lines which produce litigation; and we get a nice history of the evolution of the fair use doctrine. This is a book that should at least be on reserve for any IP–related course. Going forward, no one writing about any of the cases Rose discusses can afford to ignore his contribution.” —Lewis Hyde, Kenyon College
Canadians are not accustomed to thinking of censorship, secret intelligence, and propaganda as a single entity. Much less do they consider that these covertly militaristic activities have anything to do with culture.' So writes Mark Krismanson in this important study of the intertwining activities and careers of those involved in Canada's security agencies and in the state-sanctioned culture industry during the delight of the Cold War. The connections between secret intelligence and culture might appear to be merely coincidental. Both the spies and the arts people worked with words, with symbols and hidden meanings, with ideas. They had regular informal luncheons together in Ottawa. Some members of the intelligence community even found careers in the arts. Less than a decade after defecting, the Russian Igor Gouzenko wrote a pulp fiction Cold War spy novel- for which he received a Governor General's award. And Peter Dwyer, Britain's top security official in North America during World War II, was a playwright who after the war worked in Canada's intelligence community before drafting the founding for the Canada Council and becoming its first director. But Plateaus of Freedom details much more than a casual relationship between security and the arts. As Kristmanson demonstrates, 'the censorship-intelligence-propaganda complex that proliferated in Canada after World War II played a counterpoint between national culture and state security, with the result that freedom, especially intellectual freedom, plateaued on the principle of nationality.' The security and cultural policy measures examined here, from the RCMP investigations at the National Film Board that led to numerous firings, to the harassment of the extraordinary African-American singer and Soviet sympathizer Paul Robeson, 'attest to the fragility and the enduring power of art to effect social change'.
This book provides a fresh account of the major cultural and intellectual trends of the United State in the 1910s, a decade characterised by war, the flowering of modernism, the birth of Hollywood, and Progressive interpretations of culture and society. Chapters on fiction and poetry, art and photography, film and vaudeville, and music, theatre, and dance explore these developments, linking detailed commentary with focused case studies of influential texts and events. These range from Tarzan of the Apes to The Birth of a Nation, from the radical modernism of Gertrude Stein and the Provincetown Players to the earliest jazz recordings. A final chapter explores the huge impact of the First World War on cultural understandings of nationalism, citizenship, and propaganda.Key Features*three case studies per chapter featuring key texts, genres, writers and artists*Detailed chronology of 1910s American Culture*Bibliographies for each chapter*Fifteen black and white illustrations
Mr. Thewes has earned a reputation as a fine composer, as well as an arranger of hymns. This collection includes seven of the most popular and powerful hymns for the Thanksgiving season, or general use. These are designed for use with congregational singing, and each includes an introduction, standard verse, and interlude/modulation to a final verse accompaniment. A sure winner for every organist! Titles: * Now Thank We All Our God (Nun Danket) * We Gather Together (Kremser) * Come, Ye Thankful People, Come (St. George's Windsor) * For the Beauty of the Earth (Dix) * All Hail the Power of Jesus' Name (Coronation) * Onward Christian Soldiers (St. Gertrude) * Praise, My Soul, the King of Heaven (Lauda Anima).
This critical edition publishes—for the first time anywhere—the original manuscript and revised versions of Pudd’nhead Wilson. Mark Twain's story of the antebellum South, first published in 1894, continues to prompt conversations about race and the dire legacy of American slavery. At its heart is Roxy, a mixed-race woman enslaved to a wealthy Missouri family. To save her infant son (whose father was white) from being "sold down the river," Roxy switches him in the cradle with her master's son, setting in motion a train of ironic and bitter events. With its mixture of farce, social commentary, tragedy, and satire, Pudd'nhead Wilson has come to be one of Mark Twain's most-read and most-studied works. But few have read the original Pudd'nhead Wilson. The text familiar since 1894, as editor Benjamin Griffin shows, was heavily edited and censored—first by the author himself under pressure from family and friends, then by his publishers. Now the Mark Twain Project makes available the full text of the Morgan Library manuscript (the original version), together with a critical text of the revised version, stripped of the changes imposed by Mark Twain's editors and publishers—two fascinating ways to encounter this troubled and troubling novel.
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