A history of the Hollywood film industry as a modern system of labor, this book reveals an important untold story of an influential twentieth-century workplace. Ronny Regev argues that the Hollywood studio system institutionalized creative labor by systemizing and standardizing the work of actors, directors, writers, and cinematographers, meshing artistic sensibilities with the efficiency-minded rationale of industrial capitalism. The employees of the studios emerged as a new class: they were wage laborers with enormous salaries, artists subjected to budgets and supervision, stars bound by contracts. As such, these workers--people like Clark Gable, Katharine Hepburn, and Anita Loos--were the outliers in the American workforce, an extraordinary working class. Through extensive use of oral histories, personal correspondence, studio archives, and the papers of leading Hollywood luminaries as well as their less-known contemporaries, Regev demonstrates that, as part of their contribution to popular culture, Hollywood studios such as Paramount, Warner Bros., and MGM cultivated a new form of labor, one that made work seem like fantasy.
A history of the Hollywood film industry as a modern system of labor, this book reveals an important untold story of an influential twentieth-century workplace. Ronny Regev argues that the Hollywood studio system institutionalized creative labor by systemizing and standardizing the work of actors, directors, writers, and cinematographers, meshing artistic sensibilities with the efficiency-minded rationale of industrial capitalism. The employees of the studios emerged as a new class: they were wage laborers with enormous salaries, artists subjected to budgets and supervision, stars bound by contracts. As such, these workers--people like Clark Gable, Katharine Hepburn, and Anita Loos--were the outliers in the American workforce, an extraordinary working class. Through extensive use of oral histories, personal correspondence, studio archives, and the papers of leading Hollywood luminaries as well as their less-known contemporaries, Regev demonstrates that, as part of their contribution to popular culture, Hollywood studios such as Paramount, Warner Bros., and MGM cultivated a new form of labor, one that made work seem like fantasy.
The City of David, more specifically the southeastern hill of first- and second-millennium BCE Jerusalem, has long captivated the imagination of the world. Archaeologists and historians, biblical scholars and clergy, Christians, Muslims, and Jews, and tourists and armchair travelers from every corner of the globe, to say nothing of politicians of all stripes, look to this small stretch of land in awe, amazement, and anticipation. In the City of David, in the ridge leading down from the Temple Mount, hardly a stone has remained unturned. Archaeologists have worked at a dizzying pace digging and analyzing. But while preliminary articles abound, there is a grievous lack of final publications of the excavations—a regrettable limitation on the ability to fully integrate vital and critical results into the archaeological reconstruction of ancient Jerusalem. Excavations of the City of David are conducted under the auspices of the Israel Antiquities Authority. The Authority has now partnered with the Center for the Study of Ancient Jerusalem and its publication arm, the Ancient Jerusalem Publication Series, for the publication of reports that are written and designed for the scholar as well as for the general reader. Excavations in the City of David (APJ 1), is the first volume in this series.
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