Download Free Hollywood North Book in PDF and EPUB Free Download. You can read online Hollywood North and write the review.

British Columbia’s billion-dollar film industry trails behind only those of California and New York. This book recounts the story of British Columbia’s rapid rise from relative obscurity in the film world to its current status as " Hollywood North." Gasher positions the industry as a model for commercial film production in the twenty-first century -- one strongly shaped by a perception of cinema as a medium, not of culture, but of regional industrial development. He addresses the specific economic and geographic factors that contribute to the province’s success, such as the low Canadian dollar and BC’s proximity to Los Angeles. Hollywood North is an important book that brings into focus the tension between globalization and localization in the film industry.
“Libling’s assured, quietly menacing debut [is] based on his World Fantasy Award–nominated novella of the same title. . . . Fans of Stand by Me and the like will find much to enjoy.” —Publishers Weekly It’s the 1960s, and Gus Berry is coming of age in Trenton, a small town on the north shore of Lake Ontario. The place isn’t known for much—unless you count the menacing stray dogs, plant explosions, plane collisions, and regular drownings. The adults seem to take it all in stride, but Gus can’t shake the feeling of impending doom. His friend Annie Barker doesn’t share Gus’s dark thoughts; she believes in things. So Gus goes about his days, surviving school, trying to live up to his widowed mother’s expectations, and growing increasingly obsessed with movies and TV shows. Indeed, he scripts his life to make it way more exciting and adventurous than it actually is. Gus is clearly a boy who wants things, which makes Jack Levin the perfect friend. He’s a local hero famous for finding stuff : a message in a bottle, a meteorite, a long-lost wedding ring. And when Jack makes his most mysterious discovery yet, Gus and Annie are drawn with him into an investigation of Trenton’s past. Guided by their curiosity, they soon uncover a malignant darkness behind the town’s senseless tragedies. In Hollywood North, World Fantasy Award–nominated author Michael Libling “spins a tale of movies and memories, nightmares and nostalgia, with such a frightening secret at its core, that you’ll understand why, even though you can go home again, you might end up wishing you didn’t” (Ian Rogers, author of Every House Is Haunted). “[A] fine first novel . . . Bradbury might have sketched out this mode in the darker parts of Dandelion Wine and the entirety of Something Wicked This Way Comes, but contemporary authors such as Libling are showing us refinements of sensibility and sense of wonder that the old Waukeganian never dreamed of.” —Locus
Vancouver is now North America’s third largest center for film and television production, recently witnessing the filming of Halle Berry’s Catwoman and Will Smith’s I, Robot, among others. But Vancouver has been hosting filmmakers for years, coming into its own in the early 1970s when Robert Altman, Warren Beatty and Julie Christie made McCabe and Mrs. Miller and Mike Nichols, Jack Nicholson and Candice Bergen filmed Carnal Knowlege. Dreaming in the Rain tells the story of how Vancouver became North by Northwest, from its early days as a Hollywood studio backlot to its becoming home to a vibrant indigenous scene that is among the most acclaimed, provocative, independent filmmaking communities anywhere. But with Hollywood’s growing concern over “runaway” productions, Vancouver’s growing filmmaking scene is wrought with controversy. The city’s American-based film industry is powerful enough to inspire loathing and threats from Hollywood. Along with tracing the art and commerce of Vancouver filmmaking, Vancouver Province movie critic David Spaner brings to life the flamboyant film personalities who left their marks. From visitors like Errol Flynn and Robert Altman, to local heroes such as The Matrix’s Carrie Anne Moss, who grew up in Vancouver, and Kissed star Molly Parker and director Lynne Stopkewich, vital players in the groundbreaking Vancouver indie scene. Includes more than 40 black and white photographs. “. . . [Spaner] has . . . scrupulous attention to detail and an obvious curiosity and passion for both Vancouver and its film industry.”—Entertainment Today David Spaner is a movie critic for the Vancouver Province.
A history of the Hollywood film industry as a modern system of labor, this book reveals an important untold story of an influential twentieth-century workplace. Ronny Regev argues that the Hollywood studio system institutionalized creative labor by systemizing and standardizing the work of actors, directors, writers, and cinematographers, meshing artistic sensibilities with the efficiency-minded rationale of industrial capitalism. The employees of the studios emerged as a new class: they were wage laborers with enormous salaries, artists subjected to budgets and supervision, stars bound by contracts. As such, these workers--people like Clark Gable, Katharine Hepburn, and Anita Loos--were the outliers in the American workforce, an extraordinary working class. Through extensive use of oral histories, personal correspondence, studio archives, and the papers of leading Hollywood luminaries as well as their less-known contemporaries, Regev demonstrates that, as part of their contribution to popular culture, Hollywood studios such as Paramount, Warner Bros., and MGM cultivated a new form of labor, one that made work seem like fantasy.
Hollywood's Overseas Campaign: The North Atlantic Movie Trade, 1920-1950 examines how Hollywood movies became one of the most successful U.S. exports, a phenomenon that began during World War I. Focusing on Canada, the market closest to the United States, on Great Britain, the biggest market, and on the U.S. movie industry itself, Ian Jarvie documents how fear of this mass medium's impact and covetousness toward its profits motivated many nations to resist the cultural invasion and economic drain that Hollywood movies represented.
All histories of Hollywood are wrong. Why? Two words: Colonel Selig. This early pioneer laid the foundation for the movie industry that we know today. Active from 1896 to 1938, William N. Selig was responsible for an amazing series of firsts, including the first two-reel narrative film and the first two-hour narrative feature made in America; the first American movie serial with cliffhanger endings; the first westerns filmed in the West with real cowboys and Indians; the creation of the jungle-adventure genre; the first horror film in America; the first successful American newsreel (made in partnership with William Randolph Hearst); and the first permanent film studio in Los Angeles. Selig was also among the first to cultivate extensive international exhibition of American films, which created a worldwide audience and contributed to American domination of the medium. In this book, Andrew Erish delves into the virtually untouched Selig archive at the Academy of Motion Picture Arts and Sciences Library to tell the fascinating story of this unjustly forgotten film pioneer. He traces Selig’s career from his early work as a traveling magician in the Midwest, to his founding of the first movie studio in Los Angeles in 1909, to his landmark series of innovations that still influence the film industry. As Erish recounts the many accomplishments of the man who first recognized that Southern California is the perfect place for moviemaking, he convincingly demonstrates that while others have been credited with inventing Hollywood, Colonel Selig is actually the one who most deserves that honor.
Offers reviews, comments, and production credits for films about rock music, musicals with rock scores, movies featuring rock stars as actors, rock documentaries, and films with influential rock soundtracks.
In 1969, a low-budget biker movie, Easy Rider, shocked Hollywood with its stunning success. An unabashed celebration of sex, drugs, and rock 'n' roll (onscreen and off), Easy Rider heralded a heady decade in which a rebellious wave of talented young filmmakers invigorated the movie industry. In Easy Riders, Raging Bulls, Peter Biskind takes us on the wild ride that was Hollywood in the '70s, an era that produced such modern classics as The Godfather, Chinatown, Shampoo, Nashville, Taxi Driver, and Jaws. Easy Riders, Raging Bulls vividly chronicles the exuberance and excess of the times: the startling success of Easy Rider and the equally alarming circumstances under which it was made, with drugs, booze, and violent rivalry between costars Dennis Hopper and Peter Fonda dominating the set; how a small production company named BBS became the guiding spirit of the youth rebellion in Hollywood and how, along the way, some of its executives helped smuggle Huey Newton out of the country; how director Hal Ashby was busted for drugs and thrown in jail in Toronto; why Martin Scorsese attended the Academy Awards with an FBI escort when Taxi Driver was nominated; how George Lucas, gripped by anxiety, compulsively cut off his own hair while writing Star Wars, how a modest house on Nicholas Beach occupied by actresses Margot Kidder and Jennifer Salt became the unofficial headquarters for the New Hollywood; how Billy Friedkin tried to humiliate Paramount boss Barry Diller; and how screenwriter/director Paul Schrader played Russian roulette in his hot tub. It was a time when an "anything goes" experimentation prevailed both on the screen and off. After the success of Easy Rider, young film-school graduates suddenly found themselves in demand, and directors such as Francis Coppola, Peter Bogdanovich, George Lucas, and Martin Scorsese became powerful figures. Even the new generation of film stars -- Nicholson, De Niro, Hoffman, Pacino, and Dunaway -- seemed a breed apart from the traditional Hollywood actors. Ironically, the renaissance would come to an end with Jaws and Star Wars, hugely successful films that would create a blockbuster mentality and crush innovation. Based on hundreds of interviews with the directors themselves, producers, stars, agents, writers, studio executives, spouses, and ex-spouses, this is the full, candid story of Hollywood's last golden age. Never before have so many celebrities talked so frankly about one another and about the drugs, sex, and money that made so many of them crash and burn. By turns hilarious and shocking, Easy Riders, Raging Bulls is the ultimate behind-the-scenes account of Hollywood at work and play.
Analyzes the role of women in popular Hollywood melodramas of the 1950s