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The most visible cultural institution on earth between the World Wars, the Hollywood movie industry tried to satisfy worldwide audiences of vastly different cultural, religious, and political persuasions. The World According to Hollywood shows how the industry's self-regulation shaped the content of films to make them salable in as many markets as possible. In the process, Hollywood created an idiosyncratic vision of the world that was glamorous and exotic, but also oddly narrow. Ruth Vasey shows how the Motion Picture Producers and Distributors of America (MPPDA), by implementing such strategies as the industry's Production Code, ensured that domestic and foreign distribution took place with a minimum of censorship or consumer resistance. Drawing upon MPPDA archives, studio records, trade papers, and the records of the U.S. Department of Commerce, Vasey reveals the ways the MPPDA influenced the representation of sex, violence, religion, foreign and domestic politics, corporate capitalism, ethnic minorities, and the conduct of professional classes. Vasey is the first scholar to document fully how the demands of the global market frequently dictated film content and created the movies' homogenized picture of social and racial characteristics, in both urban America and the world beyond. She uncovers telling evidence of scripts and treatments that were abandoned before or during the course of production because of content that might offend foreign markets. Among the fascinating points she discusses is Hollywood's frequent use of imaginary countries as story locales, resulting from a deliberate business policy of avoiding realistic depictions of actual countries. She argues that foreign governments perceived movies not just as articles of trade, but as potential commercial and political emissaries of the United States. Just as Hollywood had to persuade its domestic audiences that its products were morally sound, its domination of world markets depended on its ability to create a culturally and politically acceptable product.
In 1954, Mike Connolly, the gay gossip columnist for the Hollywood Reporter from 1951 to 1966, was described by Newsweek as "probably the most influential columnist inside the movie colony," the one writer "who gets the pick of trade items, the industry rumors, the policy and casting switches." He was indeed one of the most talented and influential members of the Hollywood press of his time, and his column, for those who could read between the lines, was a daily chronicle of gay goings-on. Fifty years later, his cumulative output is a virtually untapped lode of gay Hollywood history. Mike Connolly's life and work are the focus of this book. It considers his formative years, his pre-World War II life at the University of Illinois and in Chicago, and the ways in which the homosexual community in Hollywood lived lives both secretive and open in the forties, fifties and sixties. It also examines the literary merit, power and newsworthiness of Connolly's "Rambling Reporter" column in the Hollywood Reporter and its significance as a chronicle of gay Hollywood life; the previously unexplored role of Connolly's column in the Hollywood blacklist and how his anti-Communist crusade was rooted in his earlier campaign to close down the brothels in his college town; and how his life informed his column and his column shaped his life.
Did loss of imperial power and the end of empire have any significant impact on British culture and identity after 1945? Within a burgeoning literature on national identity and what it means to be British this is a question that has received surprisingly little attention. Englishness and Empire makes an important and original contribution to recent debates about the domestic consequences of the end of empire. Wendy Webster explores popular narratives of nation in the mainstream media archive - newspapers, newsreels, radio, film, and television. The contours of the study generally follow stories told through prolific filmic and television imagery: the Second World War, the Coronation and Everest, colonial wars of the 1950s, and Winston Churchill's funeral. The book analyses three main narratives that conflicted and collided in the period - a Commonwealth that promised to maintain Britishness as a global identity; siege narratives of colonial wars and immigration that showed a 'little England' threatened by empire and its legacies; and a story of national greatness, celebrating the martial masculinity of British officers and leaders, through which imperial identity leaked into narratives of the Second World War developed after 1945. The book also explores the significance of America to post-imperial Britain. Englishness and Empire considers how far, and in what contexts and unexpected places, imperial identity and loss of imperial power resonated in popular narratives of nataion. As the first monograph to investigate the significance of empire and its legacies in shaping national identity after 1945, this is an important study for all scholars interested in questions of national identity and their intersections with gender, race, empire, immigration, and decolonization.
From the late 1920s through the thirties, Greta Garbo (1905–1990) was the biggest star in Hollywood. She stopped making films in 1941, at only thirty-six, and thereafter sought a discreet private life. Still, her fame only increased as the public and press clamored for news of the former actress. At the time of her death, forty-nine years later, photographers continued to stalk her, and her death was reported on the front pages of newspapers worldwide. In The Savvy Sphinx: How Garbo Conquered Hollywood, Robert Dance traces the strategy a working-class Swedish teenager employed to enter motion pictures, find her way to America, and ultimately become Hollywood’s most glorious product. Brilliant tactics allowed her to reach Hollywood’s upper-most echelon and made her one of the last century’s most famous people. Garbo was discovered by director Mauritz Stiller, who saw promise in her nascent talent and insisted that she accompany him when he was lured to America by an MGM contract. By twenty she was a movie star and the epitome of glamour. Soon Garbo was among the highest-paid performers, and in many years she occupied the number one position. Unique among studio players, she quickly insisted on and was granted final authority over her scripts, costars, and directors. But Garbo never played the Hollywood game, and by the late twenties her unwillingness to grant interviews, attend premieres, or meet visiting dignitaries won her the sobriquet the Swedish Sphinx. The Savvy Sphinx, which includes over a hundred beautiful images, charts her rise and her long self-imposed exile as the queen who abdicated her Hollywood throne. Garbo was the paramount star produced by the Hollywood studio system, and by the time of her death her legendary status was assured.
A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Between 1919 and 1961, pioneering Chinese American actress Anna May Wong established an enduring legacy that encompassed cinema, theater, radio, and American television. Born in Los Angeles, yet with her US citizenship scrutinized due to the Chinese Exclusion Act, Wong—a defiant misfit—innovated nuanced performances to subvert the racism and sexism that beset her life and career. In this critical study of Wong's cross-media and transnational career, Yiman Wang marshals extraordinary archival research and a multifocal approach to illuminate a lifelong labor of performance. Viewing Wong as a performer and worker, not just a star, To Be an Actress adopts a feminist decolonial perspective to speculatively meet her as an interlocutor while inviting a reconsideration of racialized, gendered, and migratory labor as the bedrock of the entertainment industries.
The fan magazine has often been viewed simply as a publicity tool, a fluffy exercise in self-promotion by the film industry. But as an arbiter of good and bad taste, as a source of knowledge, and as a gateway to the fabled land of Hollywood and its stars, the American fan magazine represents a fascinating and indispensable chapter in journalism and popular culture. Anthony Slide's Inside the Hollywood Fan Magazine provides the definitive history of this artifact. It charts the development of the fan magazine from the golden years when Motion Picture Story Magazine and Photoplay first appeared in 1911 to its decline into provocative headlines and titillation in the 1960s and afterward. Slide discusses how the fan magazines dealt with gossip and innuendo, and how they handled nationwide issues such as Hollywood scandals of the 1920s, World War II, the blacklist, and the death of President Kennedy. Fan magazines thrived in the twentieth century, and they presented the history of an industry in a unique, sometimes accurate, and always entertaining style. This major cultural history includes a new interview with 1970s media personality Rona Barrett, as well as original commentary from a dozen editors and writers. Also included is a chapter on contributions to the fan magazines from well-known writers such as Theodore Dreiser and e. e. cummings. The book is enhanced by an appendix documenting some 268 American fan magazines and includes detailed publication histories.
From 1934 to 1954 Joseph I. Breen, a media-savvy Victorian Irishman, reigned over the Production Code Administration, the Hollywood office tasked with censoring the American screen. Though little known outside the ranks of the studio system, this former journalist and public relations agent was one of the most powerful men in the motion picture industry. As enforcer of the puritanical Production Code, Breen dictated "final cut" over more movies than anyone in the history of American cinema. His editorial decisions profoundly influenced the images and values projected by Hollywood during the Great Depression, World War II, and the Cold War. Cultural historian Thomas Doherty tells the absorbing story of Breen's ascent to power and the widespread effects of his reign. Breen vetted story lines, blue-penciled dialogue, and excised footage (a process that came to be known as "Breening") to fit the demands of his strict moral framework. Empowered by industry insiders and millions of like-minded Catholics who supported his missionary zeal, Breen strove to protect innocent souls from the temptations beckoning from the motion picture screen. There were few elements of cinematic production beyond Breen's reach he oversaw the editing of A-list feature films, low-budget B movies, short subjects, previews of coming attractions, and even cartoons. Populated by a colorful cast of characters, including Catholic priests, Jewish moguls, visionary auteurs, hardnosed journalists, and bluenose agitators, Doherty's insightful, behind-the-scenes portrait brings a tumultuous era and an individual both feared and admired to vivid life.
Some of the most beloved characters in film and television inhabit two-dimensional worlds that spring from the fertile imaginations of talented animators. The movements, characterizations, and settings in the best animated films are as vivid as any live action film, and sometimes seem more alive than life itself. In this case, Hollywood’s marketing slogans are fitting; animated stories are frequently magical, leaving memories of happy endings in young and old alike. However, the fantasy lands animators create bear little resemblance to the conditions under which these artists work. Anonymous animators routinely toiled in dark, cramped working environments for long hours and low pay, especially at the emergence of the art form early in the twentieth century. In Drawing the Line, veteran animator Tom Sito chronicles the efforts of generations of working men and women artists who have struggled to create a stable standard of living that is as secure as the worlds their characters inhabit. The former president of America’s largest animation union, Sito offers a unique insider’s account of animators’ struggles with legendary studio kingpins such as Jack Warner and Walt Disney, and their more recent battles with Michael Eisner and other Hollywood players. Based on numerous archival documents, personal interviews, and his own experiences, Sito’s history of animation unions is both carefully analytical and deeply personal. Drawing the Line stands as a vital corrective to this field of Hollywood history and is an important look at the animation industry’s past, present, and future. Like most elements of the modern commercial media system, animation is rapidly being changed by the forces of globalization and technological innovation. Yet even as pixels replace pencils and bytes replace paints, the working relationship between employer and employee essentially remains the same. In Drawing the Line, Sito challenges the next wave of animators to heed the lessons of their predecessors by organizing and acting collectively to fight against the enormous pressures of the marketplace for their class interests—and for the betterment of their art form.
Between 1917 and 1941, Hollywood studios, gossip columnists and novelists featured an unprecedented number of homosexuals, cross-dressers, and adulterers in their depictions of the glamorous Hollywood lifestyle. Actress Greta Garbo defined herself as the ultimate serial bachelorette. Screenwriter Mercedes De Acosta engaged in numerous lesbian relationships with the Hollywood elite. And countless homosexual designers brazenly picked up men in the hottest Hollywood nightclubs. Hollywood's image grew as a place of sexual abandon. This book demonstrates how studios and the media used images of these sexually adventurous characters to promote the industry and appeal to the prurient interests of their audiences.
This comprehensive reconstruction and interpretation of Louise and Walter Arensberg’s groundbreaking collection of modern and pre-Columbian art takes readers room by room, wall by wall, object by object through the couple’s Los Angeles home in which their collection was displayed. Following the Armory Show of 1913, Louise and Walter Arensberg began assembling one of the most important private collections of art in the United States, as well as the world’s largest private library of works by and about the philosopher Sir Francis Bacon. By the time Louise and Walter died—in 1953 and 1954, respectively—they had acquired some four thousand rare books and manuscripts and nearly one thousand works of art, including world-class specimens of Cubism, Surrealism, and Primitivism, the bulk of Marcel Duchamp’s oeuvre, and hundreds of pre-Columbian objects. These exceptional works filled nearly all available space in every room of their house—including the bathrooms. The Arensbergs have long had a central role in the histories of Modernism and collecting, but images of their collection in situ have never been assembled or examined comprehensively until now. Presenting new research on how the Arensbergs acquired pre-Columbian art and featuring never-before-seen images, Hollywood Arensberg demonstrates the value of seeing the Arensbergs’ collection as part of a single vision, framed by a unique domestic space at the heart of Hollywood’s burgeoning artistic scene. This publication has been generously supported by Furthermore: a program of the J.M. Kaplan fund.