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Hollywood Vault is the story of how the business of film libraries emerged and evolved, spanning the silent era to the sale of feature libraries to television. Eric Hoyt argues that film libraries became valuable not because of the introduction of new technologies but because of the emergence and growth of new markets, and suggests that studying the history of film libraries leads to insights about their role in the contemporary digital marketplace. The history begins in the mid-1910s, when the star system and other developments enabled a market for old films that featured current stars. After the transition to films with sound, the reissue market declined but the studios used their libraries for the production of remakes and other derivatives. The turning point in the history of studio libraries occurred during the mid to late 1940s, when changes in American culture and an industry-wide recession convinced the studios to employ their libraries as profit centers through the use of theatrical reissues. In the 1950s, intermediary distributors used the growing market of television to harness libraries aggressively as foundations for cross-media expansion, a trend that continues today. By the late 1960s, the television marketplace and the exploitation of film libraries became so lucrative that they prompted conglomerates to acquire the studios. The first book to discuss film libraries as an important and often underestimated part of Hollywood history, Hollywood Vault presents a fascinating trajectory that incorporates cultural, legal, and industrial history.
Roll! Shells fly overhead as night-scopes capture deadly fire fights with an eerie green hue, a category 5 hurricane devastates the Big Easy, hidden cameras enter a Cambodian village of brothels and a veteran journalist interviews himself throughout his own brain surgery. Part non-fiction drama, part trade publication, part text book, all woven together giving the reader a look through the viewfinders of the very best television photojournalists. As 19 experts weigh in with their candid, personal stories and photographic tips, it's as if you're over their should.
Bringing fresh insight to a century of writing by Native Americans The Political Arrays of American Indian Literary History challenges conventional views of the past one hundred years of Native American writing, bringing Native American Renaissance and post-Renaissance writers into conversation with their predecessors. Addressing the political positions such writers have adopted, explored, and debated in their work, James H. Cox counters what he considers a “flattening” of the politics of American Indian literary expression and sets forth a new method of reading Native literature in a vexingly politicized context. Examining both canonical and lesser-known writers, Cox proposes that scholars approach these texts as “political arrays”: confounding but also generative collisions of conservative, moderate, and progressive ideas that together constitute the rich political landscape of American Indian literary history. Reviewing a broad range of genres including journalism, short fiction, drama, screenplays, personal letters, and detective fiction—by Lynn Riggs, Will Rogers, Sherman Alexie, Thomas King, Leslie Marmon Silko, Louise Erdrich, Winona LaDuke, Carole laFavor, and N. Scott Momaday—he demonstrates that Native texts resist efforts to be read as advocating a particular set of politics Meticulously researched, The Political Arrays of American Indian Literary History represents a compelling case for reconceptualizing the Native American Renaissance as a literary–historical constellation. By focusing on post-1968 Native writers and texts, argues Cox, critics have often missed how earlier writers were similarly entangled, hopeful, frustrated, contradictory, and unpredictable in their political engagements.
With the advent of digital filmmaking and critical recognition of the relevance of self expression, first-person narratives, and personal practices of memorialization, interest in the amateur moving image has never been stronger. Bringing together key scholars in the field, and revealing the rich variety of amateur filmmaking-from home movies of Imperial India and film diaries of life in contemporary China, to the work of leading auteurs such as Joseph Morder and Péter Forgács-Amateur Filmmaking highlights the importance of amateur cinema as a core object of critical interest across an array of disciplines. With contributions on the role of the archive, on YouTube, and on the impact of new technologies on amateur filmmaking, these essays offer the first comprehensive examination of this growing field.
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