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What do films such as The Breakfast Club, Dead Poets Society, and Freedom Writers have to teach us about American culture? Robert Bulmans Hollywood Goes to High School takes the reader on a fascinating journey through the high school film genre. Skillfully blending sociological theory and film analysis, Bulmans always accessible writing delightfully challenges the reader to think critically about American individualism and class inequality. Bulmans insightful sociological analysis of 177 new and classic high school films explores the complex ways in which Americans make sense of social class, education, gender and adolescence. Suitable for the beginning and advanced student, Hollywood Goes to High School is an essential piece of reading for a variety of courses in sociology, education, communication, anthropology, American studies, and film studies. For more from Robert Bulman read his analysis of McFarland USA starring Kevin Costner on Sociological Cinema here: http://www.thesociologicalcinema.com/blog/is-kevin-costners-mcfarland-usa-a-white-savior-film-well-yes-and-no.
They're the daughters of celebrities--the kind all the teen mags gossip about! But the It Girls of Hollywood High are about to discover that fame has a price. And no friendship--or romance--is safe. . . London Phillips will diet as her mother demands. She'll even date the billionaire her mother has chosen for her. But she won't give up her secret hottie, Justice Banks. She and Justice plan to elope--right after he becomes a hip-hop superstar. All he has to do is seduce a media mogul's darling daughter, Rich Montgomery, and a record deal is his! But he better remember London is really his girl. . . Rich is so lucky to have a BFF like London. It was London who introduced her to dreamy Justice. Little does she know that her new heartthrob is about to cause a media explosion that will change this spoiled princess's life forever. . . Spencer Ellington hates to see a billionaire go to waste. That's why she's hooking up with London's boyfriend, Anderson Ford. London may not be in love with Anderson, but she believes he'll do anything for her. Just wait till she finds out the only thing Anderson is doing is Spencer. . . Heather Cummings wants in with the It Girls to secure the spotlight for her actress mother. But when she stumbles upon a secret about the father she never knew, she discovers she has ties to the clique so scandalous it may just bring Hollywood High's in-crowd to their knees! "Simone tells authentic stories of teen life in the 'hood better than any other author currently writing contemporary YA street lit." --Library Journal on Teenage Love Affair (starred review)
The little-explored story of how politics, propaganda, and profits were combined to create the drama, imagery and fantasy that was American film during World War II. 32 black-and-white photographs.
Steven Spielberg once said, "I like ideas, especially movie ideas, that you can hold in your hand. If a person can tell me the idea in twenty-five words or less, it's going to make a pretty good movie." Spielberg's comment embodies the essence of the high concept film, which can be condensed into one simple sentence that inspires marketing campaigns, lures audiences, and separates success from failure at the box office. This pioneering study explores the development and dominance of the high concept movie within commercial Hollywood filmmaking since the late 1970s. Justin Wyatt describes how box office success, always important in Hollywood, became paramount in the era in which major film studios passed into the hands of media conglomerates concerned more with the economics of filmmaking than aesthetics. In particular, he shows how high concept films became fully integrated with their marketing, so that a single phrase ("Just when you thought it was safe to go back in the water...") could sell the movie to studio executives and provide copy for massive advertising campaigns; a single image or a theme song could instantly remind potential audience members of the movie, and tie-in merchandise could generate millions of dollars in additional income.
Vince Luca is just like any other high school guy. His best friend, Alex, is trying to score vicariously through him; his brother is a giant pain; and his father keeps bugging him to get motivated. There is just one thing that really sets him apart for other kids-his father happens to be the head of a powerful crime organization. Needless to say, while Vince's family's connections can be handy for certain things (like when teachers are afraid to give him a bad grade), they can put a serious crimp in his dating life. How is he supposed to explain to a girl what his father does for a living? But when Vince meets a girl who finally seems to be worth the trouble, her family turns out to be the biggest problem of all. Because her father is an FBI agent-the one who wants to put his father away for good.
A nickelodeon screening a Charlie Chaplin silent classic, the downtown arthouse cinemas that made Antonioni and Cassavetes household names, the modern suburban megaplex and its sold-out Friday night blockbuster: how American and global audiences have viewed movies is as rich a part of cinematic history as what we've seen on the silver screen. Going to the Movies considers the implications of this social and cultural history through an analysis of the diverse historical and geographical circumstances in which audiences have viewed American cinema. Featuring a distinguished group of film scholars—including Richard Abel, Annette Kuhn, Jane Gaines, and Thomas Doherty—whose interests range broadly across time and place, this volume analyzes the role of movie theatres in local communities, the links between film and other entertainment media, non-theatrical exhibition, and trends arising from the globalization of audiences. Emphasizing moviegoing outside of the northeastern United States, as well as the complexities of race in relation to cinema attendance, Going to the Movies appeals to the global citizen of cinema—locating the moviegoing experience in its appeal to the heart and mind of the audience, whether it's located in a South African shanty town or the screening room of a Hollywood production lot.
Teaching and learning through Hollywood, or commercial, film productions is anything but a new approach and has been something of a mainstay in the classroom for nearly a century. Purposeful and effective instruction through film, however, is not problem-free and there are many challenges that accompany classroom applications of Hollywood motion pictures. In response to the problems and possibilities associated with teaching through film, we have collaboratively developed a collection of practical, classroom-ready lesson ideas that might bridge gaps between theory and practice and assist teachers endeavoring to make effective use of film in their classrooms. We believe that film can serve as a powerful tool in the social studies classroom and, where appropriately utilized, foster critical thinking and civic mindedness. The College, Career, and Civic Life (C3) framework, represents a renewed and formalized emphasis on the perennial social studies goals of deep thinking, reading and writing. We believe that as teachers endeavor to digest and implement the platform in schools and classrooms across the country, the desire for access to structured strategies that lead to more active and rigorous investigation in the social studies classroom will grow increasingly acute. Our hope is that this edited book might play a small role in the larger project of supporting practitioners, specifically K-12 teachers of United States history, by offering a collection of classroom-ready tools based on the Hollywood or History? strategy and designed to foster historical inquiry through the careful use of historically themed motion pictures. The book consists of K-5 and 6-12 lesson plans addressing the following historical eras (Adapted from: UCLA, National Center for History in Schools).
Fifteen-year-old Ruby Milliken leaves her best friend, her boyfriend, her aunt, and her mother's grave in Boston and reluctantly flies to Los Angeles to live with her father, a famous movie star who divorced her mother before Ruby was born.
This intimate portrait by his former personal assistant and confidante reveals the man behind the legendary filmmaker—for the first time. Stanley Kubrick, the director of a string of timeless movies from Lolita and Dr. Strangelove to A Clockwork Orange, 2001: A Space Odyssey, Full Metal Jacket, and others, has always been depicted by the media as the Howard Hughes of filmmakers, a weird artist obsessed with his work and privacy to the point of madness. But who was he really? Emilio D'Alessandro lets us see. A former Formula Ford driver who was a minicab chauffeur in London during the Swinging Sixties, he took a job driving a giant phallus through the city that became his introduction to the director. Honest, reliable, and ready to take on any task, Emilio found his way into Kubrick's neurotic, obsessive heart. He became his personal assistant, his right-hand man and confidant, working for him from A Clockwork Orange until Kubrick's death in 1999. Emilio was the silent guy in the room when the script for The Shining was discussed. He still has the coat Jack Nicholson used in the movie. He was an extra on the set of Eyes Wide Shut, Kubrick's last movie. He knew all the actors and producers Kubrick worked with; he observed firsthand Kubrick's working methods down to the smallest detail. Making no claim of expertise in cinematography but with plenty of anecdotes, he offers a completely fresh perspective on the artist and a warm, affecting portrait of a generous, kind, caring man who was a perfectionist in work and life.
A legendary love letter to Los Angeles by the city's most charming daughter, complete with portraits of rock stars at Chateau Marmont, surfers in Santa Monica, prostitutes on sunset, and Eve's own beloved cat, Rosie. Journalist, party girl, bookworm, artist, muse: by the time she’d hit thirty, Eve Babitz had played all of these roles. Immortalized as the nude beauty facing down Duchamp and as one of Ed Ruscha’s Five 1965 Girlfriends, Babitz’s first book showed her to be a razor-sharp writer with tales of her own. Eve’s Hollywood is an album of vivid snapshots of Southern California’s haute bohemians, of outrageously beautiful high-school ingenues and enviably tattooed Chicanas, of rock stars sleeping it off at the Chateau Marmont. And though Babitz’s prose might appear careening, she’s in control as she takes us on a ride through an LA of perpetual delight, from a joint serving the perfect taquito, to the corner of La Brea and Sunset where we make eye contact with a roller-skating hooker, to the Watts Towers. This “daughter of the wasteland” is here to show us that her city is no wasteland at all but a glowing landscape of swaying fruit trees and blooming bougainvillea, buffeted by earthquakes and the Santa Ana winds—and every bit as seductive as she is.