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Drawing upon personal recollections, contemporary Mass Observation reports, newspaper articles and advertisements, personal and archive photographs, Mike Brown and Carol Harris look at each wartime Christmas on the British Home Front, from 1939 to 1944.
Between 1933 and 1939, representations of the Nazis and the full meaning of Nazism came slowly to Hollywood, growing more ominous and distinct only as the decade wore on. Recapturing what ordinary Americans saw on the screen during the emerging Nazi threat, Thomas Doherty reclaims forgotten films, such as Hitler's Reign of Terror (1934), a pioneering anti-Nazi docudrama by Cornelius Vanderbilt Jr.; I Was a Captive of Nazi Germany (1936), a sensational true tale of "a Hollywood girl in Naziland!"; and Professor Mamlock (1938), an anti-Nazi film made by German refugees living in the Soviet Union. Doherty also recounts how the disproportionately Jewish backgrounds of the executives of the studios and the workers on the payroll shaded reactions to what was never simply a business decision. As Europe hurtled toward war, a proxy battle waged in Hollywood over how to conduct business with the Nazis, how to cover Hitler and his victims in the newsreels, and whether to address or ignore Nazism in Hollywood feature films. Should Hollywood lie low, or stand tall and sound the alarm? Doherty's history features a cast of charismatic personalities: Carl Laemmle, the German Jewish founder of Universal Pictures, whose production of All Quiet on the Western Front (1930) enraged the nascent Nazi movement; Georg Gyssling, the Nazi consul in Los Angeles, who read the Hollywood trade press as avidly as any studio mogul; Vittorio Mussolini, son of the fascist dictator and aspiring motion picture impresario; Leni Riefenstahl, the Valkyrie goddess of the Third Reich who came to America to peddle distribution rights for Olympia (1938); screenwriters Donald Ogden Stewart and Dorothy Parker, founders of the Hollywood Anti-Nazi League; and Harry and Jack Warner of Warner Bros., who yoked anti-Nazism to patriotic Americanism and finally broke the embargo against anti-Nazi cinema with Confessions of a Nazi Spy (1939).
Katy Cabot, a young American woman in Europe, was a patient of psychoanalyst Carl Jung (1875-1961) and part of his Zurich circle from the 1930s through the 1960s. She kept a diary recording the details of her psychoanalytic sessions and her inner and outer experiences. Her daughter Jane grew up in the same environment, and here edits the diary notes and adds her own comments and memories, and photographs and letters. She is now a Jungian analyst in Zurich. c. Book News Inc.
Do you remember the first movie you ever owned? It was probably a product of Castle Films. Before home video, Castle Films made every living room a screening room. For four decades the 16mm and 8mm film products of Castle Films were sold in every department store and hobby shop. Castle had big-screen movies for everybody: comedies with Abbott & Costello, The Marx Brothers, and W. C. Fields...monster movies with Frankenstein, Dracula, and the Wolfman...cartoons with Woody Woodpecker, Chilly Willy, and Mighty Mouse...westerns with Clint Eastwood, John Wayne, and James Stewart...travelogues of the world's picturesque places...newsreels of major headline stories...musicals with top singers and bandleaders. Collectors have always wanted a reference book detailing the total output of Castle Films. Here it is. Castle Films: A Hobbyist's Guide is a complete filmography of every title printed between 1937 and 1977. For handy reference, there are separate indexes by title, subject, and serial number, a listing of Castle's color film releases, and a special section "decoding" Castle's various pseudonym titles and disclosing the "true identities" of many films. Castle Films: A Hobbyist's Guide is a fascinating, nostalgic look at one of the pioneers of home entertainment.
The meteoric rise of Adolf Hitler and the Nazi Party cowed the masses into a sense of false utopia. During Hitler’s 1932 election campaign over half those who voted for Hitler were women. Germany’s women had witnessed the anarchy of the post-First World War years, and the chaos brought about by the rival political gangs brawling on their streets. When Hitler came to power there was at last a ray of hope that this man of the people would restore not only political stability to Germany but prosperity to its people. As reforms were set in place, Hitler encouraged women to step aside from their jobs and allow men to take their place. As the guardian of the home, the women of Hitler’s Germany were pinned as the very foundation for a future thousand-year Reich. Not every female in Nazi Germany readily embraced the principle of living in a society where two distinct worlds existed, however with the outbreak of the Second World War, Germany’s women would soon find themselves on the frontline. Ultimately Hitler’s housewives experienced mixed fortunes throughout the years of the Second World War. Those whose loved ones went off to war never to return; those who lost children not only to the influences of the Hitler Youth but the Allied bombing; those who sought comfort in the arms of other young men and those who would serve above and beyond of exemplary on the German home front. Their stories form intimate and intricately woven tales of life, love, joy, fear and death. Hitler’s Housewives: German Women on the Home Front is not only an essential document towards better understanding one of the twentieth century’s greatest tragedies where the women became an inextricable link, but also the role played by Germany’s women on the home front which ultimately became blurred within the horrors of total war. This is their story, in their own words, told for the first time.
A beloved, bestselling classic of humorous and nostalgic Americana—the book that inspired the equally classic Yuletide film and the live musical on Fox. The holiday film A Christmas Story, first released in 1983, has become a bona fide Christmas perennial, gaining in stature and fame with each succeeding year. Its affectionate, wacky, and wryly realistic portrayal of an American family’s typical Christmas joys and travails in small-town Depression-era Indiana has entered our imagination and our hearts with a force equal to It’s a Wonderful Life and Miracle on 34th Street. This edition of A Christmas Story gathers together in one hilarious volume the gems of autobiographical humor that Jean Shepherd drew upon to create this enduring film. Here is young Ralphie Parker’s shocking discovery that his decoder ring is really a device to promote Ovaltine; his mother and father’s pitched battle over the fate of a lascivious leg lamp; the unleashed and unnerving savagery of Ralphie’s duel in the show with the odious bullies Scut Farkas and Grover Dill; and, most crucially, Ralphie’s unstoppable campaign to get Santa—or anyone else—to give him a Red Ryder carbine action 200-shot range model air rifle. Who cares that the whole adult world is telling him, “You’ll shoot your eye out, kid”? The pieces that comprise A Christmas Story, previously published in the larger collections In God We Trust, All Others Pay Cash and Wanda Hickey’s Night of Golden Memories, coalesce in a magical fashion to become an irresistible piece of Americana, quite the equal of the film in its ability to warm the heart and tickle the funny bone.
"Perry's work is original, comprehensively researched, and a major contribution to understanding the central importance of the evolution of a consumer culture in modern Germany. The scholarship is sound, impressive, and provocative."ùRudy Koshar, University of Wisconsin-Madison --
Although she called herself "just a singer," soprano Lois Marshall (1925-97) became a household name across Canada during her thirty-four year career and remains one of the foremost figures in the history of Canadian music. She rubbed shoulders with Canada’s musical aristocracy – Glenn Gould, Sir Ernest MacMillan, Jon Vickers, Maureen Forrester – but Marshall always held first place in the hearts of her adoring fans. At the height of the Cold War, Moscow and St. Petersburg embraced her as warmly as Canada had. Yet Marshall remained true to her Canadian roots and to Toronto, her lifelong home. This first-ever biography recounts her dazzling career and paints an intimate portrait of the woman, her childhood encounter with polio, and her complex relationship with her teacher and mentor, Weldon Kilburn. Hers is a tale of a warm, courageous woman; it is also the story of classical music in Canada.