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Hollywood has long been associated with scandal--with covering it up, with managing its effects, and, in some cases, with creating and directing it. In putting together Headline Hollywood, Adrienne McLean and David Cook approach the relationship between Hollywood and scandal from a fresh perspective. The contributors consider some of the famous transgressions that shocked Hollywood and its audiences during the last century, and explore the changing meaning of scandal over time by zeroing in on issues of power: Who decides what crimes and misdemeanors should be circulated for public consumption and titillation? What makes a Hollywood scandal scandalous? What are the uses of scandal? The essays are arranged chronologically to show how Hollywood scandals have evolved relative to changing moral and social orders. This collection will prove essential to the field of film studies as well as to anyone interested in the character and future direction of American culture. Contributors are Mark Lynn Anderson, Cynthia Baron, James Castonguay, Nancy Cook, Mary Desjardins, Lucy Fischer, Lee Grieveson, Erik Hedling, Peter Lehman, William Luhr, Adrienne L. McLean, Susan McLeland, and Sam Stoloff. Adrienne L. McLean is an assistant professor of film studies at the University of Texas at Dallas. David A. Cook is a professor of film and media studies at Emory University. He is the author of A History of Film Narrative.
As Americans flocked to the movies during the first part of the twentieth century, the guardians of culture grew worried about their diminishing influence on American art, education, and American identity itself. Meanwhile, Hollywood studio heads were eager to stabilize their industry, solidify their place in mainstream society, and expand their new but tenuous hold on American popular culture. Peter Decherney explores how these needs coalesced and led to the development of a symbiotic relationship between the film industry and America's stewards of high culture. Formed during Hollywood's Golden Age (1915-1960), this unlikely partnership ultimately insured prominent places in American culture for both the movie industry and elite cultural institutions. It redefined Hollywood as an ideal American industry; it made movies an art form instead of simply entertainment for the masses; and it made moviegoing a vital civic institution. For their part, museums and universities used films to maintain their position as quintessential American institutions. As the book delves into the ties between Hollywood bigwigs and various cultural leaders, an intriguing cast of characters emerges, including the poet Vachel Lindsay, film producers Adolph Zukor and Joseph Kennedy, Hollywood flak and censor extraordinaire Will Hays, and philanthropist turned politician Nelson Rockefeller. Decherney considers how Columbia University's film studies program helped integrate Jewish students into American culture while also professionalizing screenwriting. He examines MoMA's career-savvy film curator Iris Barry, a British feminist once dedicated to stemming the tide of U.S. cultural imperialism, who ultimately worked with Hollywood and the U.S. government to fight fascism and communism and promote American values abroad. Other chapters explore Vachel Lindsay's progressive vision of movies as reinvigorating the public sphere through film libraries and museums; the promotion of movie connoisseurship at Harvard and other universities; and how the heir of a railroad magnate bankrolled the American avant-garde film movement. Amid ethnic diversity, the rise of mass entertainment, world war, and the global spread of American culture, Hollywood and cultural institutions worked together to insure their own survival and profitability and to provide a coherent, though shifting, American identity.
Hollywood celebrities feared her. William Randolph Hearst adored her. Between 1915 and 1960, Louella Parsons was America's premier movie gossip columnist and in her heyday commanded a following of more than forty million readers. This first full-length biography of Parsons tells the story of her reign over Hollywood during the studio era, her lifelong alliance with her employer, William Randolph Hearst, and her complex and turbulent relationships with such noted stars, directors, and studio executives as Orson Welles, Joan Crawford, Louis B. Mayer, Ronald Reagan, and Frank Sinatra—as well as her rival columnists Hedda Hopper and Walter Winchell. Loved by fans for her "just folks," small-town image, Parsons became notorious within the film industry for her involvement in the suppression of the 1941 film Citizen Kane and her use of blackmail in the service of Hearst's political and personal agendas. As she traces Parsons's life and career, Samantha Barbas situates Parsons's experiences in the broader trajectory of Hollywood history, charting the rise of the star system and the complex interactions of publicity, journalism, and movie-making. Engagingly written and thoroughly researched, The First Lady of Hollywood is both an engrossing chronicle of one of the most powerful women in American journalism and film and a penetrating analysis of celebrity culture and Hollywood power politics.
Tina Bender is the gossip columnist at the infamous L.A. Informer tabloid. She knows everything about everyone who's anyone. And she's not afraid to print it. That is, until she receives a threatening note, promising, "If you don't stop writing about me, you're dead." Teaming with a built bodyguard, a bubbly blonde, and an alcoholic obituary writer, Tina sets out to uncover just which juicy piece of Hollywood gossip is worth killing over. (Previously published under the title: Scandal Sheet.)
From New York Times, and USA Today bestselling author Gemma Halliday comes a kidnapped movie star, a dead Hollywood agent, and the female paparazzi member thrown into the middle of it all! Cameron Dakota is the L.A. Informer's staff photographer and paparazza extraordinaire. Her latest subject is Trace Brody, top-shelf actor and half of America's favorite Hollywood couple. Trace is about to get married in a blow-out wedding, and Cam's editor, Felix Dunn (from the High Heels Mysteries), has assigned her to get the first shots of the bride and groom. But when Cam takes pictures of what looks like Trace being threatened at gunpoint, she suddenly finds herself smack in the middle of a scandal more sensational than even she could invent. On the run, under fire, and in serious danger of falling in love with one leading man, Cam must get to the bottom of this story... before she becomes tomorrow's headline. What critics are saying: "The latest in the Hollywood Headlines series is 320 pages of pure fun. Halliday has created yet another laugh-out-loud whodunit. She breathes life into her mystery with a rich cast of vivid, pulp-fiction type characters and a heroine worth rooting for. 4 1/2 stars!" ~ RT Book Reviews "Gemma Halliday's witty, entertaining writing style shines through in her new book! I look forward to seeing lots more of Tina as this series continues. A fun read!" ~ Fresh Fiction "Halliday writes the kind of books that just make you smile and put you in a great mood. They're just so enjoyable and I would without a doubt recommend this book to romance and mystery readers alike." ~ Enchanted By Books "Very well written with smart and funny dialogue. It is a well-paced story that is thoroughly enjoyable with a mystery, a little romance, and a lot of laughs. Readers are sure to enjoy this delightful tale which is highly recommended." ~ Romance Reviews Today
A critical survey of Hollywood film musicals from the 1960s to the present. This book examines how, in the post-studio system era, cultural, industrial and stylistic circumstances transformed this once happy-go-lucky genre into one both fluid and cynical enough to embrace the likes of Rocky Horror and pave the way for Cannibal! and Moulin Rouge!.
The importance of a headline for a news item hardly needs to be emphasized. It is perhaps the single most important factor that draws the reader`s attention to a story. Thus, while writing a compelling headline is a priority for anyone working on a news desk, this task is not easy to accomplish. This book treats headline writing as a craft that can be learnt, a skill that can be honed and perfected. It examines in detail the basic elements of a headline and explains the best way to assemble them in order to write an arresting one. Sunil Saxena carefully examines the different kinds of headlines and the advantages and disadvantages of each style of writing. The book instructs the reader in: - The functions of a headline - The way to write a headline - The different kinds of headlines - The do`s and don`ts of headline writing The author also focuses on writing headlines for the Internet, a skill that is essential in the age of new media and technology. The book is well illustrated by examples and images from newspapers and news magazines. All these have been taken from the Indian media, so that readers can relate to the subject more easily. Exercises and highlighted points at the end of each chapter are useful tools for students of journalism to whom this book will appeal primarily. It will be equally useful for professional journalists.
Olive Thomas was one of Hollywood's first true movie stars. Born in Charleroi, Pennsylvania, in 1894, she moved to New York at age sixteen and began to pursue an acting career. By 1915, she had landed a job as one of Ziegfeld's famous "Follies" girls. Before long her beauty was discovered by Hollywood, where she quickly became one of the biggest names in motion pictures. Her marriage to film star Jack Pickford further enhanced her popularity. Olive's death by poison on September 10, 1920, created a media circus. This biography begins with Olive's birth, follows her trip to stardom, and covers in detail the circumstances surrounding her mysterious death at age 25. Rare and beautiful photographs and a complete filmography are included.
An intriguing look at how the American film industry imposed the rating system upon itself to control competition from films independently produced and distributed.
Filmed Shakespeare criticism has largely centred on aesthetic critiques of filmic devices, or on comparisons between the film and the source text. Employing a new angle, this book explores the reasons why contemporary filmed Shakespeare prompts cultural anxiety about high-culture adaptation.